Undeniably, climate change is one of the most urgent and complex global dilemmas we are facing today. The younger generation, who are set to inherit this planet, are particularly active in grappling with the sobering consequences of this issue. They realise that they will bear the burden of its repercussions.
In an upcoming event, around 70 young artists and musicians from all over Ireland will carry out a large-scale environmental demonstration, utilising techniques from dance, music, film and interactive discussions. The production, known as Shift, aims to evoke conversations about the existential threats looming over our world.
DU Dance (NI), a Belfast-based company, is leading the production. This organisation, rooted in dance, extends its benefits to diverse communities, spanning across a range of ages, religions and cultures. They offer people, who may not traditionally have access to dance, an opportunity to partake. Their focus is always centred on the youth. Several months ago, their youth steering group expressed the need to raise awareness about environmental problems. As part of the Green Arts NI collective, they readily took on board these concerns.
The artistic inspiration and creative philosophy of this company stem from Mags Byrne, its co-founder and artistic director, and her experiences working with disadvantaged children and community groups in nations such as Romania, Ethiopia, Palestine and South Africa. Amongst her widespread international connections is Southpaw, a northeastern England-based company specialising in dance-theatre productions that can scale from intimate tours to grand outdoor extravaganzas.
Southpaw is recognised for its engaging performances in local communities and on national stages around the globe. The brainchild of Robby Graham, its founder and artistic director, it creates meaningful performances that reflect real-life experiences and shed light on emerging societal matters. They use a combination of immersive live performances, storytelling, video projections, striking decor and visual effects to effectively communicate their message.
The creative triad behind Shift is completed by Music Generation, the Irish national music-education programme which aims to enrich the lives of the youth through access to high-quality performances.
Climate change is compelling individuals to relocate from their dwelling places, requiring us all to transition from our present safe havens to ensure the future of humankind – according to Mags Byrne.
Essential scholarly contributions have been made by John Barry, an ex-politician of the Green Party and now a professor of green political economy at Queen’s University, Belfast, who also serves as co-chair of Belfast Climate Commission.
Despite an unexpected start, Graham has now achieved international recognition as a highly regarded dance and theatre creator. He initiated his breakdancing journey at a tender age of 15 in Omagh, Co Tyrone, shortly before the Omagh bombing. A philosophy course at Newcastle University enticed him to leave Northern Ireland three years later.
“We had been dancing collectively in Omagh and participated in a few UK competitions,” Graham shares. “Newcastle was one of those locations. I regarded it as an amazing city with wonderful inhabitants. It seemed like a wise choice for me.
“Originated from a breaking, hip-hop background, upon reaching England, I ventured into teaching and diversifying into various dancing genres. I wanted to be a choreographer. Instead of training, which I never received as a dancer, I started professional work. I plunged directly into companies and devoted the next six years working across the UK. These were the organisations that were only interested in me as an individual artist.
“With little time, I learnt the ropes of contemporary practice. As a breaker, I had to perform all these virtuoso, intricate tasks to captivate an audience, alongside all the other show choreography. So, I had to pick up things quickly.”
Graham’s departure from Omagh was just the beginning. A dozen young males from the town, determined to chase their dance aspirations, followed suit. They were already a part of Bad Taste Cru, a B-boy group that had been successful in significant national and international championships.
“It’s quite odd how many of us emerged from that tiny locale known as Omagh,” Graham enthusiastically states. This provokes inquiries from many, asking what is so special about the water in our town. “During that era we were just a crew isolated in our own world, learning and growing from each other. We strongly believed in the mantra of ‘each person educating another.’
“We were under the impression that we’d be outclassed by some British crews in the first face-off we attended. The surprising victory gave us the realisation of our potential. By 2008, we had become champions of the UK and ventured into international competitions. It was around this period I got involved with theatre production.
“I had initially choreographed for Bad Taste with a few projects in progress. It was, however, very much a democratic, joint team with the absence of much organisational structure. Wishing to intensify the quality of our work and acquire financial support, I officially established Southpaw in 2013. We had accomplished a few noteworthy touring works, but to upscale we needed a formal entity.
“Circa 2010, Doke (Conor O’Kane), Balen (Paul Allen) and DJ Kenny from Bad Taste Cru collaborated with the youngsters of the DU Dance’s ongoing Merge programme. The relationship of these firms dates back to 2008 when I met Byrne at a European community-dance residency located in the German city of Detmold, initiated by esteemed Berlin-based choreographer Royston Maldoom. The alliance of Maldoom and Byrne goes back even further dedicating years towards working with underserved youth in Ethiopia in the1990s.
“Graham states that Mags’ job ought to be highly acclaimed and recognised. “She was in Palestine on October 7th, when turmoil erupted. Her firsthand experience indeed paved the way to new horizons in dance”.
“I eagerly accepted Byrne’s proposal to direct and choreograph this fresh piece, and my focus now is entirely on its progression. Currently, I’m heavily engaged in projection mapping, a method I often integrate into my projects. As I go through stacks of video files, I am intrigued by the subject matter,” Graham shares.
Never in my life have I had an encounter as horrifying as the one I experienced with John Barry. The issue of climate-induced displacement is a shocking revelation of what we could potentially endure in the upcoming two decades.
Roughly six years in the past, I produced a work in Castlemaine, a town located in Victoria, Australia. It was during this time that such issues began to surface. Situated in a bushfire-prone region, locals were expressing their fears about being on the cusp of climate change, facing water shortage and the risk to human lives. I came to realise that this situation is not a future prediction but rather a troubling reality occurring at this very moment.
[How do we drown out the echo chamber that is climate change? Opens in new window]
What concerned me greatly about John’s revelations was that there aren’t any arrangements in place for individuals displaced due to climate change – let’s say, climate refugees. They are devoid of rights and asylum application is not an option for them. When such problems become major international news, the inevitable question raised will be about their fate. This is the query our show attempts to probe.
The narrative follows Aisling, a young character based in Belfast. The city is at risk from flood due to issues in the design of its sewage systems. When her household faces flooding, she and her family are forced to enter the climate migration process. She writes a letter back into the past along with others, in a desperate hope that it could bring about a transformation. The target audience for these letters is our past. One impactful statement from her is that, “We assumed we were safe and that this wouldn’t transpire so rapidly. However, the planet had a different path mapped out for us.”
Byrne explains that the name of the piece indicates the shifting world we live in. Climate change is stripping individuals of their homes, leaving us no alternative but to step out of our comfort zones for our species to prevail. There are no direct solutions within the show as these questions remain unresolved, yet there’s a clear message: we are compelled to adapt.
Throughout his diverse career, Graham has amassed a noteworthy portfolio of dance and theatre productions globally. Intriguingly, this is his inaugural large-scale production in Northern Ireland.
“After two decades away, the concept of returning home to undertake a creative piece is truly exhilarating,” he shares. “It’s been a considerable journey. I’ve engaged in some minor touring productions in Belfast and Omagh, but never have I taken part in a prolonged artistic project here, with a large cast and such an expansive performance. I’m eager to begin.”
The performance, titled ‘Shift’, is suitable for all ages and is set to be showcased at the BBC Blackstaff Studios located in Belfast. The performance dates are Wednesday, the 21st of August with two shows, one at 3pm and one at 7pm, and the subsequent day, Thursday the 22nd of August at 1pm. Tickets are priced at £5 each. Additional information can be obtained from [email protected].