Tethered

As the piece starts, the cold, indifferent view of a surveillance camera is employed, prying quietly and unsolicitedly. The shared narrative is restriction and liberation. The music is made with field recordings mostly taken around the Cutty Sark DLR station, such as the creaking escalator, beeping of tap-in-and-out at ticket validator captured through electromagnetic recording using coil pick-ups, random conversations of the passengers waiting outside or inside the carriage, noises of rail friction and et cetera. The sound gets denser after a brief moment of breath. However, it implies that although the voices of the public still exist and might potentially worsen, true freedom is not to live without external expectations but to live without being bothered. For the dance, instead of untangling, dancers gained more freedom in tighter interactions, increased physical contact, and freedom beyond the assumed polite social distance. The sudden switch of viewpoint to overlayed Go-pro angles (from the arm and the forehead) and a mobile camera in the middle of the interaction accentuate the intimacy and engagement, breaking the boundary between the real world and the lens, introducing a tilting layer of enquiring what does the body see, and the world inside two interacting people.