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rish choreographer Catherine Young launches her c
ontemporary dance show, CISEACH: An Embodied Manifesto, at Pavilion Theatre on 7 May, kicking off a nationwide tour across Ireland this Spring. The performance combines contemporary dance, live music, and immersive choreography to explore humanity’s fractured relationship with nature. “I had made work in the past about social issues; I did a piece on Direct Provision and another inspired by my time in Palestine, but I realized I had been avoiding the biggest crisis: the environment,” Young said. Created in 2024, CISEACH is structured as an “embodied manifesto.” Young and her collaborators designed six sections in the show that guide audiences through remembering the past, reconnecting with the land, and imagining new ways forward. “We wanted it to be human and hopeful, not doom and gloom,” she explained. “It’s about slowing down, paying attention, and realizing that we are part of the land.” The piece opens with singer Mícheál O’Dubhghaill performing ‘The Song of Amergin’, an ancient Irish poem considered the first piece of literature written in the Irish language. Young describes the transition from old tradition to contemporary soundscapes: “He sings this beautiful, otherworldly piece, and then the modern world crashes in with pop music. It’s a way of showing how the past informs the present.” Young’s choreography draws inspiration from indigenous cultures she has studied in West Africa, Australia, and Mexico. “I was struck by how connected the people are to the land. Part of the piece is asking: how do we reconnect to the land here in Ireland?” Collaboration is central to Young’s process as she works closely with a dedicated team to shape the movement, music, and structure of the show, ensuring every element aligns with her vision for CISEACH. “I couldn’t make this work alone,” Young said. “Every piece of movement, sound, and staging comes from conversations and shared ideas with my team.” Young described her process as “letting the work find its own shape.” Much of the choreography grew from improvisation, with the dancers and creative team experimenting with movement, music, and visual design. “We started bringing tree stumps and branches into the studio, and they just became part of the set,” she added. “You try things, see what works, and slowly the piece reveals itself.” The show’s choreography reflects a mix of grounded contemporary dance, African-inspired movements, and traditional Irish styles. “We wanted it raw, earthy, and sweaty,” she said. “Not just elegant, we wanted the audience to feel the connection to the land and each other.” The performance also incorporates audience interaction: “We ask the audience to engage their bodies, not just their heads. Sometimes they move with us, sometimes they witness. Either way, they feel the connection,” Young said. Live music improves the experience, ranging from traditional instruments to electronic soundscapes. “Music shapes the atmosphere and rhythm of the body,” Young 38 Dance as Catherine Young’s CISEACH is one of the many highlights at this years Dublin Dance Festival. WORDS Peace Okolo PHOTO Patricio Cassinoni