Caroline Radcliffe works in music, dance and contemporary theatre. She started clog dancing in the 1990s when she was writing a PhD thesis on the ‘Champion Dancer of the World’, Dan Leno. She learnt with clog dancer, Pat Tracey, who handed down her steps for ‘The Machinery’. Caroline is a lecturer in the Department of Drama and Theatre Arts at the University of Birmingham.
Sarah Angliss is a composer, performer, roboticist and sound historian whose work explores the uncanny properties of technology and early notions of electricity and sound. Sarah is currently completing her solo album 'Ealing Feeder', creating sounds for The Young Vic, London, and The Armory, New York, and composing an electroacoustic opera on the life and death of Charles Byrne (with Aldeburgh Music, funded by a Jerwood Opera Writing Fellowship).
To anyone interested in the relationship between music and automation, The Machinery is a fascinating work. Devised by women working in the Lancashire mills, the steps of this nineteenth-century ‘heel and toe’ clog dance directly mimic the repetitive sounds and movements of cotton mill machines. In the twentieth century, The Machinery survived as it was passed on by Pat Tracey and other dancers with family associations with the mill. Here, Caroline Radcliffe and Sarah Angliss take it back to its industrial context, as they juxtapose it with found sounds and video fragments from a working cotton mill and a telephone call centre. With thanks to staff at Quarry Bank Mill, Styal, Cheshire.
Appearing at:A concert of the diverse artforms of clog dancing, music boxes, embroidery and live coding, each giving a different perspective on the human side of mechanisms and algorithms. The concert will take place 12th November 2016. We are also programming a second concert on the following day (13th Nov), which will be free of charge to Crafting Sound ticket holders.
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