Time Out Istanbul: Nebahat goes native
“Society needs rebels, and I believe that dancers are very skilful in confronting issues in society and have a lot of fun doing it. ”
Originally published on timeout.com
Independent choreographer and performance artist Nebahat Erpolat is known for mixing various media like dance, film, photography and ecological art. Casey Marriott speaks with the Istanbul and Berlin- based ingénue about her work
What does choreography mean to you?
Choreography can briefly be defined as the creation of sequences of movements in which motion, form, space and time are specified. I like to create choreographies that use either one or all of these elements in an original dance work or a new interpretation of existing dances. I like that the word ‘choreography’ stems from a Greek word that literally means ‘dance writing’.
How does one create good choreography?
Good question – and one that I’m not sure has a definitive answer. I don’t believe good choreography is limited to dancers who spend years training and perfecting techniques. Sure, complex movements and dance on stage do not happen without hard work, but choreographers and dancers also have to translate those skills into movement that expresses ideas and stories. This, I believe, is what creates good choreography. For me, it’s more about exploration, taking risks, asking questions and trusting the process rather than techniques, methodology and sequence of movements alone. The choreographer needs to be independent of rules in order to create a work that challenges people and to make contributions that inspire critical reflection of the audience’s attitudes, beliefs and value systems.
You’re originally from Melbourne, Australia. Why did you decide to move to and work in Istanbul?
I moved to Istanbul about four years ago to be closer to Europe and the Middle East and immerse myself in a completely different culture than Australia. My parents’ being Turkish was also a catalyst for my decision. I wanted the chance to live and understand the country and culture they left behind. I think artists thrive on contradictions, due to our own inner worlds, which reverberate with an unsettling need to ask questions. My education grounded in Western Eurocentric values alone was insufficient in providing me with a reason to make sense of my lived experiences. I think you must have a certain spirit to live here, especially if you’re an outsider, which, regardless of my Turkish ancestry, I still pretty much feel like I am.
What projects have you been working on?
My latest dance work was ‘Make Me Laugh, Make Me Cry’, which I performed at Galata Perform and Kumbaracı50. The title was inspired by a dance festival that had the theme ‘Laughter, Crying’. At the time it appeared absurd, as it seemed an impossible task. But last year I kept a journal on entertainment, popular culture and art, and I found myself drawn to these issues. ‘Make Me Laugh, Make Me Cry’ explores all themes through movement, dance, sound and text. The setting is minimal, a few props and a microphone accompanied by some very powerful scenes exploring our obsession with entertainment, popular culture and art. I have also just recently finished performing in Berlin, where I performed my new series, ‘Etiquette’. Another project I’m currently working on is a performance I created on the issue of Afghan women and the burqa. I was invited by Petra Rietz Salon Gallerie to perform and collaborate with Afghan artist Lela Ahmadzai. This is an ongoing work, and we are preparing to present it as a live art installation piece.
What do you think are the major differences between working here as an independent choreographer and working in Australia?
One obvious difference is that in Australia, dance has established itself as an art form within the mainstream culture. The Ministry for Arts and Culture plays an important role in ensuring that dance is given a platform within the wider cross-section of the arts sector, so this helps choreographers and dancers earn a respectable place as artists. The lack of government support and funding for Turkish dancers and choreographers puts tremendous burden on dancers to create performances in small, obscure spaces with very little technical support and media exposure. But it is slowly starting to change in Istanbul, largely due to the determination of dance artists and some independently-run venues such as Kumbaracı50 and Galata Perform, which support independent performers in staging their works in a professional context.
Do cultural differences affect dance?
My experience in Istanbul as a choreographer and performance artist has been very different due to cultural values, where dance is perceived by the majority as either entertainment or taboo. There is also a conservative fixed notion of the body, which, although it’s inherent in some Islamic values and beliefs, I believe is more a political issue. Therefore, dance is only slowly starting to be recognised as an art form, so it has been difficult for dancers to work and survive in this environment.
What have been some of the challenges and high points of working in Istanbul?
Apart from the challenges mentioned before, I guess the main issue is being an outsider. The fact that I am both Turkish and Australian has meant my insights haven’t always sat well with some people, and I’ve often had to find my own way. The advantage to this, however, is that it has challenged me and transformed me to be a stronger person. As an independent choreographer, experimenting with movement in Istanbul has given me the opportunity to transcend.
What are your future plans and projects?
My current dance work is ‘Urban Rapture’, which is about urban despondency. I plan to premiere it in Istanbul in 2012. I would like to continue to perform my works here in Istanbul and forge new relationships with Turkish choreographers and dancers. I think it would be great to create a collective group for dance professionals to voice concerns and build a network to establish a solid foundation of support.
What advice do you have for Turkish students currently enrolled in dance lessons or who are thinking of taking up dance as a profession?
I would say go for it! But make sure you have another career to support you, as dancers and choreographers very seldom make a viable career from their professions. It is important to know this but also to remain patient and passionate about dance, as this will carry you through your doubts and fears. It is necessary to know why you want to dance and for whom. I think the rule-breaking that contemporary dance and art do is necessary. Society needs rebels, and I believe that dancers are very skilful in confronting issues in society and have a lot of fun doing it. So enjoy it and be prepared for a lot of hard work and self-discipline!
Read more about the work
Make Me Laugh, Make Me Cry
A performance that looks at how art has become an instrument for commercial and social means.
