Education, Magic Carpets, Visual Arts

Gemma Riggs: games that bridge social constructs


What is in the heart of every human interaction? How are people able to connect to one another in the complex web of differences, miscommunication and defiant stubbornness? Game is a phenomenon older than culture, the need for it ingrained in our souls, it’s an activity connected with no material interest, and yet it has the potential to serve as an important tool in numerous aspects of daily life, to overpass boundaries of social constructs, prejudice and learned patterns.
  
Through the process of capturing digital and 16-millimeter films and connecting with the day-to-day visitors of the courtyard, Gemma turned to the games presented through the memories, experiences and personal stories of the players. This process, shown in the installation In our own time, explores the feasibility of games and the ways they choreographically determine our bodies by creating parallel spaces for interaction. Through understanding and modifying the rules, rhymes and counting songs shared by the local community Gemma asked what happens to us when we play a game? What freedom can a set of rules and fictional parameters give us? How much of our real self manifests when we engage in play?
  
The starting point of Gemma’s process was through communication and observance of playing habits, One of the ways we approached it was setting up a base for working and meeting in the courtyard, outside of the Garage Kamba gallery, where all the workshops, meetings and decisions were being made and where the current of frequenters of the courtyard can be understood. Communication with the children, artists, and shopkeepers about the games that use to be played was a crucial tool in gathering the idea of gaming habits and the approach to everyday play.  Information gathering was being done formally (gathering a group of people in discussions) as well as informally (relaxed chats over the counter or a beer), in this way creating a clear lines of joint experiences – what games were and are still being played by multiple generations, which games persist in their rules, which are modified. Since the games are not for being talked about but rather played, the explanations were being made first hand, by playing the games or drawing them graphically, especially by the children who later became the core part of Gemma’s community. During this stage Martina Tomić, a contemporary dancer and choreographer was involved in the process. Her addition came naturally, since she too is connected organically to the courtyard, since her father is one of the shopkeepers in the courtyard, and since her practice is rooted in the similar field of interest, mainly dealing with interdisciplinary collaborations, social aspects o games and education. The process of gathering and sharing knowledge allowed Gemma and Martina to recognize patterns that are crucial part of game playing and then to develop simple choreographies based on the movements and spoken words used in game playing. The development of choreographed sequences was at first acted and filmed with the artists gathered around Kamba as well as shopkeepers of the courtyard, that were documented digitally. Gemma’s inclination to record some of the developed sequences on the 16 mm film involved Klubvizija Lab and Ivor Glavaš in the process, where the choreographed patterns were developed and filmed with the group of ten girls, ages 10 to 12, through a couple of filming and developing sessions.
  
The result was  the installation In our own time, composed of a 16mm film made with the group of girls as they play, a digital documentation of interactions, set inside an installation of objects and the girls’ drawings, a graphic black and white explanations of the games played in the film on the walls of Kamba. It uses the filmic frame to extract and abstract and show micro aspects of ourselves at play. The work extends from a creative practice that looks at gesture and translation of phenomenological experience through the body as well as engagement of communities as performers and investigates the performativity of games and how they choreograph our bodies by creating parallel spaces of interaction and becoming.

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