The stage was comprised of three chairs on tarmac with a shed as a backdrop. A growing crowd gathered around as each performer took to the stage. Some of the performers used the chairs as props emphasizing their presence, while for others the chairs were only significant in that they created the space in which the person could share their ideas. As the organizer Sheena Rose described, this space was meant to be a “playground for ideas,” and it was. The event was filled with singing, performing, dancing, painting, and speaking. The connecting force of which is expression, and each performance was valuable and important in its own right.
The performance that impressed me the most was by Keoma Mallett a.k.a
Rhy Minister. He sat on each chair and drew inspiration from his surroundings. Words flow through this man like water from a spring, and it’s just as refreshing. The best part was when he received a phone call and spontaneously incorporated this into the “act.” The word “act” is misleading though; it signifies a carefully considered and calculated performance but can also connote deception. This was far from the reality at The Three Chairs. Every performance shown in/on The Three Chairs was genuine. Sheena and Simone’s performance emphasized this aspect as they narrated personal experiences about issues ranging from being a female in a male dominated society to language barriers. Unfortunately the repeat of this performance did not seem to carry the same power and presence.
Whether someone was creating work on the spot, or using this as an opportunity to showcase recently composed pieces, the event was successful. It just goes to show, when there is no funding for creative spaces, creative souls can be very resourceful and use just about any space to express themselves
@Harriet Rolitt
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