As a personal aspect of his growth as a holistic artist, Nathan completed intensive trainings at the School for New Dance Development in Amsterdam and with Germaine Acogny at L’Ecole des Sables in Senegal. He then became involved in dance performance in Amsterdam, casted by girlfriends who were choreographers. This matured into collaborations and performances with choreographers and directors such as David Hernandez at Frascati Amsterdam, Ji-hyun Youn at DasArts Amsterdam, Jirka Blom at Rietveld Academy Amsterdam, Ragna Aurich at Gasthuis Theater Amsterdam, Felix Ruckert at Tacheles Berlin, Dance Company Jallore in Senegal, Toshiko Oiwa at Centre National de la Danse in Paris, Hans van den Broeck / Company SOIT at ImpulsTanz Festival Vienna, Anna Konjetzky at Muffathalle Munich, and a 3 month creation and performance residency at Von Krahl Theater in Tallinn, Estonia for their European Capital of Culture year.
Nathan has also created his own evolving dance project, Liminal Music.
"The most beautiful piece of music I ever saw."
– composer Seamus Cater, in reaction to the first public showing of
Liminal Music in a duo version by Nathan Fuhr and Sara Wookey.
Maximum Clarity, Amsterdam, November 2003
Liminal Music is a dance improvisational game-piece score for 2 or more performers, in which the circular time pulse and spatial design are preset, and the choreographic material is composed in real-time. It is a process-based work in which the articulation of a time-cycle, which flows in a cross-rhythmic relationship to the number of performers, is gradually transformed from spoken voices to silent physicality, and back again: time = time, medium ∆. It is a performative research which finds itself in a continuous state of evolution in the infinite dimensions of poetry between movement and sound.
The construction and accumulation of the choreographic material, piece-by-piece and performer-by-performer (depending upon who finds her/himself with ideas), results in the surprising, poetic, and subtly playful relationships between the performers and their movement proposals, in its inherent intimacy, suggestivity and consequentiality. "Mistakes" are generally inevitable, and always interesting and integrable.
The performance may take on any character, for example a kaleidoscopic circular meditation or a ritual of play & provocation. From the perspective of the observer, the resonance of circular time in cross-rhythmic cycles accounts for the mesmerizing and ritualistic glow of interdependence (physical contact is encouraged), uniting the performers into a single attentive, breathing, creating, egoless organism... while all ears in the space maintain a soft memory of the original spoken pulse. The rules of the game and the decision-making processes of the performers slowly become revealed to the observer, and gradually basic human impulses have them engaged in the act of witnessing in an entirely fresh and unexpected way… Not unlike the empathy with which one watches competitive sports.
The score of Liminal Music is available upon request from Nathan directly.
Scene conceived & performed by Nathan Fuhr
From Is There Life After Capitalism?
Von Krahl Theater, Tallinn, Estonia
Dance & Theater