Artwork Chosen: Ghost Dances by Christopher Bruce. Please follow link to video of one of the sections. Click here to video.

This work, created by Christopher Bruce and first performed in 1981, has provoked me to reflect on my year of clinical practice thus far and the impact illness, disability and disease has on both an individual and a community; specifically addressing how these factors influence one another. The production was inspired by the political unrest so prevalent in many South American countries and most particularly the military coup in Chile, thus the work is ultimately an expression of human spirit, human rights, cruelty and suffering (Rambert, 2000). In my opinion, there is also a representation of the situations I have experienced or witnessed in my clinical practice thus far, and reflecting through this piece of choreography has enabled me to develop empathy and understanding towards my patients.

In the piece, there are 8 ‘peasants’ (male and female- picture 3), and 3 ghost dances (male- picture 1). The movements, the music and the costumes these two groups perform and embody represent, for me, the relationship between health and the community/environment in our current health care system- a vicious cycle of suffering, occasional recovery, helplessness and hope. The first patient scenario that came to mind when I watched this work was that of fatal TB and/or HIV patients of which I have witnessed at Brooklyn Chest and Eerste Rivier Hospital (ERH). I have noticed the struggle patients face in returning to their communities and homes with little support and in areas where their respective disease is so prevalent but often undiagnosed. Often, there are community members who are diagnosed and not compliant with treatment and others who are undiagnosed. This cycle of infection, reinfection, recovery, death and life is eye-opening.

Bruce’s training consisted of ballet, contemporary, tap, and acrobatics which is apparent in the variety of styles and movements in the piece, and for me personally, this represents the variety of illness, disability and disease that is present in South Africa. The sections of the work are performed on the same stage setting and backdrop which is a stark and rocky area could be that is depicted as a cave but, in my eyes, it is a hospital setting. Bruce speaks of the setting as an underworld whereby the characters are brought together in a meeting place, a ‘stopping off place,’ or an underworld/transition from life to death (Rambert, 2000). This is apparent for me as a hospital setting is a place where people either come to die or ‘to live,’ and often the outcome is not known, specifically in a fatal TB/HIV case. For example, during my time at ERH, many TB patients would be admitted with the hope of receiving care to return home but the patient’s scenario would either be a late diagnosis or a non-compliance with medication and often they would die shortly after arriving. Nevertheless, during their time at the hospital I learnt about their lives, their jobs, their families and where they come from- similar to this piece where the ‘peasants’ take us through scenes from their lives through different sections of dance styles representing the sad, happy and frightening moments. For example at 0:40 the male and female dressed in a smart suit and dress respectively dance together in folk like steps, reminding me of some of the husband and wife relationships I have witnessed in hospital settings.

In my clinical practice experience I have treated patients ranging in age, gender, race and this is expressed in the 11 dancers by the use of different costumes, complexions and movements or gestures performed. I have also treated patients with diseases such as TB, HIV (some terminally ill and some not), neurological conditions such as Gullian-Barre Syndrome and disabilities such as amputations. The vast array of movements and gestures ‘the peasants’ perform, the costumes they wear and the different styles of dance they embody illustrates the different patients and conditions I have come across. For example, the movements of the men/women in suites and smart dresses represent the ‘higher class’ patients I have seen and the men/women in ragged clothing represent the ‘lower class’ patients I have seen. Although they are presented differently on stage and initially partake in different styles in their respective sections, they all perform the same movements and gestures towards the end and this emphasizes how human beings are all the same, regardless of race, gender or age. At the core, we are the same and ‘the peasants’ show this in their unison movements and folk like choreographic patterns- holding hands with duet sections too. In this way this work is relevant when looking at South Africa and its history of Apartheid.

The ghost dances on the other hand, represent death and the transition phase between life and death. For me, they represent the suffering and the helplessness of a patient with TB and/or HIV. Their movements are strong and animalistic (they appear to be waiting like birds of prey or lizard like creatures, always overlooking ‘the community’ (the peasants). Their costumes are much like skeletons, illustrating the very image of illness and death with the additions of masks and rags to further enhance this dark, peculiar image. The relationship between the ghost dances and the peasants, who in my eyes are the patient’s I have seen on clinical blocks, illustrates suffering, helplessness and death. The ghost dances interfere with the peasants in such a way that they seem to always be under threat (4:34 in the video), all the short sections they perform to illustrate their lives, which are upbeat and colourful in their music and lighting, are halted by the ghost dances stark entrance and themed music (see picture 2 for example). This can be seen in the video at the end of the group section (3:18 on video) where the peasants come to a stand-still as the ghost dances make a lizard like entrance through the peasants who seem to have ‘died’ or been manipulated by death or circumstance in some way (4:34-5:38 on video), this correlates with the different death experiences I have witnessed in clinical practice- sometimes sudden and surprising and other times expectant.

Much like in our health care settings in South Africa, I have experienced treating a TB and HIV patient in a hospital with a fatal clinical presentation due to social circumstances or lack of health care and death is usually the form that ‘wins,’ this is so well depicted for me in the piece whereby the ghost dances interrupt the peasant’s movements.  A specific example includes a patient that was not able to return home for reasons being lack of support as well as the risk of contracting MDR TB as majority of her family members were diagnosed but not on treatment. This made me think about how sometimes the community can be the uplifting aspect of health as it can provide social support, but it can also have a detrimental effect on your health depending on the people in your environment and the environment itself.

The music is South American folk songs which illustrate simplicity and pathos. In my opinion, the folk tunes illustrate the sense of community and togetherness in the piece. They are upbeat, and uplifting compared to the ghost dances themed music which is ‘heavy’ and slower. Combined with the everyday movements and gestures performed by the ‘peasants,’ they show how people can come together and support one another. The dancers further emphasise this with their unison folk dance steps (1:44 in the video).

This piece enabled me to process my thoughts on what patient’s undergo in the grand scheme of things, their communities, their struggles and in fatal cases, ultimately their deaths. It has also helped me process my understanding of community and patient interaction and how these two factors play off one another, just like the ghost dances and peasants dance together and alone throughout the piece.

By Jemma Houghton 2018

References
Rambert. (2000). Ghost Dances by Christopher Bruce Teachers’ Notes. London.

Picture Links
1.http://www.rambert.org.uk/wp-content/uploads/2016/12/7.-Ghost-Dances-Daniel-Davidson-Liam-Francis-Juan-Gil-%C2%A9Jane-Hobson-1500×844.jpg
2.http://cvj1llwqcyay0evy-zippykid.netdna-ssl.com/wp-content/uploads/2017/05/dm-ghost-dances-miguel-altunaga-carolyn-bolton-ghost_1000.jpg
3.http://dancelines.com.au/wp-content/uploads/2016/09/Artists-of-Houston-Ballet-Photo-Amitava-Sarkar.jpg