BY STEPHANIE ESLAKE
Blue Mountains composer Emma Greenhill was so moved by the bushfires of 2019-20, she wrote a piece of music about it. Through Regrowth, Emma meditates on the extraordinary scale of this natural disaster, but also acknowledges the resilience of nature — the green that started to spread back over the land, and the connection between humans who helped each other through hardship.
It’s a story that resonates with so many Australians, which is why it was selected for MadeBy — a national composition and choreography initiative from OneMusic Australia and the Royal Academy of Dance with APRA AMCOS.
Emma’s work Regrowth was chosen as the winner of the first stage of this competition; in the second stage, choreographers used the piece to create their own entries through dance. Brisbane choreographer Monique Mangano’s work AURA won the round. Now, these two artists will collaborate to create something new.
In this interview, Emma tells us about her winning composition, and what it’s like to see her music evolve through movement.
Emma, how did it feel to know your music Regrowth was used to inspire choreographers as they entered the competition?
I was absolutely thrilled to have my music be the source of inspiration for the next stage of the competition. How overwhelming to have so many new works of art created from this one piece, especially after the arts has taken such a blow over the last couple of years.
So when you first watched Monique’s interpretation of Regrowth, what feelings struck you?
When I first saw Monique’s dance, I was captivated with the way it told a story through movement. The narrative of the dance progressed as the musical story did, the movement and sound collaborating seamlessly.
I was also very drawn to Monique’s submission, because the choreography felt very organic — as if the movement was embodying nature rebuilding after the bushfires, which is what Regrowth is about.
How does watching your music move change your own understanding of the notes you wrote?
This is a very interesting question! When we compose in solidarity, we focus so much on the aural aspect of what we are creating. However, when you watch a piece of music performed live, the movement of the musician performing becomes such a large component of how the piece is conveyed. The performers’ body movements, facial expressions, and breath help narrate the musical story.
Seeing a piece that I composed through the medium of dance is much like this, but on a much larger scale. You watch someone’s interpretation of this literally come to life — their own personal connection and story intertwined with your own through dance.
You’re going to compose another piece now with Monique (pictured below). How will you work together to tell a story through your two artforms?
I am very excited to work in this format! I love dance and can’t wait to put our ideas together.
I am really keen to collaborate on a concept that is important to the both of us, not just me! Hopefully we can work together to tell a story that resonates with Monique personally.
What do you feel composers could learn by paying more attention to movement?
I think that writing to or for dance is a great way of focusing on direction, phrasing, and storytelling in your music.
Sometimes I find — and I think most composers can relate — that I can get too fixated on a tiny little aspect of my work. I obsessively zoom in on one bar, one chord, or one motif. However, when writing to dance or movement of some kind, we have to take a step back; think about the bigger picture and overall flow and direction of the piece. I think this is very important!
What do you hope to take away from this opportunity with Monique?
I really look forward to learning more about the world of choreography and dance through Monique’s experience and knowledge! I really love the idea of doing more collaborations through dance and other artforms, and this will be a huge insight into how these processes can work.
Watch the winning entry AURA with choreography by Monique Mangano and music by Emma Greenhill, performed by Emilia Bignami.
Shout the writer a coffee?
Thanks for supporting Stephanie Eslake!
Images supplied. Emma captured by Thomas Novak.
