|21/06/18 - 01/07/18
our second exhibition, OUTPUT gallery is showing work by
Liverpool-based artist TANNSAH (b. 96, Burton-on- Trent). TANNSAH’s
practice explores the emotional and psychological consequences of
forced marriage, domestic abuse and cultural enforcement. The artist
works in performance, spoken word, as well as sound and dance. For
TANNSAH, spoken word is the release of ‘the suppressed emotions of
victims’ to whom she relates. When it comes to the meaning of things
she does and makes, she encourages conversation and for that reason has
answered the questions listed below to help the viewer engage with her
practice and the activities in this specific exhibition.
On June 28th, the artist will return to the gallery for a performance using two of her sound pieces ‘Dhancha’ and ‘Hasad’.
|Why has the artist build a shed in the gallery and why is it made of broken wood?
shed is a representation of how the victims of abuse rebuild life out
of broken pieces. This has turned out to be part of an ongoing project
in which Sikander has been deconstructing the shed and reconstructing
it. In the first performance, held at LJMU, the artist smashed the shed
with a sledgehammer following the rage of built-up energy from previous
performances and unfortunate events. At OUTPUT gallery, Sikander will
reconstruct the shed out of the broken pieces as a symbolic
demonstration of how difficult it can be to build a shed (or life) out
of broken pieces, but how it is still achievable. She wants to reach
out and reinforce these messages through performances to motivate the
many people who are struggling with or have been victims of similar
events. The choice to use a shed is because her last performance
entailed the narration of her own personal flashbacks of being locked
in a shed for over two weeks before fleeing home. The spoken word
elements of her work have all been leading up to something, something
that was unclear to identify through words. She gave this ‘something’ a
form – the form of a shed.
How does the artist's identity come into the sound pieces?
performances use musical elements or rooted sounds. These are
associated with raag, which are used in Indian Classical genres, or
some may also link them to Arabic folk music. It is considered a means
to evoke certain feelings in an audience. Her work illustrates this
through both the rooted sounds and spoken-word. This brings cultural
elements into this performance without creating direct links to a
singular culture - just an expression of feeling immense remorse.
In her performance how does the artist use movemment to explore issues of forced marriage and domestic abuse?
artist uses three elements in her performances: spoken word, sound and
dance. Through this, Sikander disassociates from the performance and
finds themselves feeling every part of their body through the energy in
the room. The dance is not classified within any specific dance
movement, however the performer was inspired by Indian Bharatnatyam. It
is the improvised gestural movement made because of the immense
build-up of energy from the performance itself. Dhancha & Hasad are
a combination of two individual sound pieces made by the artist that
will be combined together for the purpose of the show in order to
illustrate two parts of her ongoing life story of unfortunate
incidents. Dhancha (We Are Bones) is about feeling suppressed and not
being able to stand up for your human rights. It deals with a domestic
abuse victim who sarcastically states that they are nothing more than
skin and bones. This is to express the suppression of abuse that the
victim has suffered. Hasad is a take on the experiences she faced while
being trapped in a shed and her story of fleeing home through a hidden
vail of spoken jumble, using her own account of vivid and unclear
memories. While it doesn’t talk about specific cultural issues such as
forced marriage, it deals with its outcomes, which are domestic and