Archives for posts with tag: Three Score Dance Company


I’ve always been fascinated by the body: its structure, shapes and movement. My new exhibition, Back to Black, at Paddock Studios Stable Gallery in Lewes, explores this obsession in black and white. Made using charcoal and ink, the pieces range from small sketches to life-size drawings, and from more realistic life drawings to looser, abstracted approaches to movement.

Stable Gallery, Paddock Art Studios
Paddock Lane Lewes BN7 1TW
17 August – 1 September

Wed-Sat 10am-6.30pm Sun 11-6pm (closed Mondays & Tuesdays)


Seven years ago I joined a contemporary dance company in Brighton, newly established. Three Score Dance Company was created to offer contemporary dance opportunities for women and men aged 60+. From merely watching dance theatre I started using my body. Three Score Co has a brilliant artistic director, Jason Keenan-Smith, and we’ve worked with some great choreographers to make performances .


I made some sketches of the other dancers when not actually involved. Of course there’s a great legacy of dance art: Manet, Degas, Matisse, Toulouse-Lautrec, Picasso… aside from the whole world of non-Western art. But while not daring to include myself in that list, I started to make drawings of dance.


Then I started to work the other way round: dancing the drawing. I was intrigued by what marks might result if an artist would dance over and on paper or canvas, trailing charcoal or paint. So over large sheets of paper I would move and (sort-of) dance with charcoal in both hands, tracing my movements. The results were intriguing, and formed a basis for building on; life-size figures in motion. It would be a real achievement to make a coherent performance from it, but it’s early days yet.

Back to Black:
Michael Munday Drawings

Stable Gallery, Paddock Art Studios
Paddock Lane Lewes BN7 1TW
17 August – 1 September

Wed-Sat 10am-6.30pm Sun 11-6pm (closed Mondays & Tuesdays)

The Lewes Artwave Festival



Blog5And so, once more, unto the beach… on the hottest day of the year (so far) and our pebbly stage is crowded with barbecuing flesh and the smell of weed is strong in the air. Most of the sunbathers move reluctantly away; some assert their rights to their beach, and we have to work round and over their bags, dogs, shoes, legs… We finally perform Tall Tales!

Crunching implacably from four directions towards our allotted (but not yet empty) performance space, in our costumes: traditional pacamacs in five colours, our props held high, unfazed by the puzzlement all around us…

“…they’re prawns affected by the sea’s plastic bag pollution”

“…they’re different bits of Brighton”

“… something to do with Shakespeare”


Come ON! It’s the Brighton Festival!! It’s bloody ART!!!

My left elbow in Barbara’s palm, her leg in my right hand, we crash to the floor. Uninjured, we (fortunately) haven’t taken any of the others down with us. It’s a tricky manoeuvre: you offer your partner a hand, s/he places it on her/his (new pronouns please!) body somewhere, apply or withdraw pressure, they offer their hand etc etc. It’s fun, a bit like Twister, and there’s this interesting moment where you don’t know where your hand is going to end up. Or where you are (going to end up, that is).

Three choreographers, one after another, are here in the Methodist chapel hall (sprung floor!) to work us through improvisatory routines. Each has an hour, separated only by a water break, and admittedly, lunch in the nearby café. Rachel had us lying down, feeling and visualising the shapes we made with our bodies’ contact points on the floor; Laila had us working through the hand-place-pressure sequences, and stringing several together (before crashing to the floor, preferably); Toni made us give each other ‘screen-tests’: directing the auditionee/victim to act out a role. This is all so exhilarating, using your body, improvising with it, inhibitions falling away (as does your resistance to the dreamy gurgling music) and awareness becoming sharper.

The Company finally gets to rehearse our dance piece in the venue where we’re to perform it: the Foyer Bar area of the Dome complex. It’s (of course) smaller than all the spaces we’ve rehearsed in, and (of course) it’s got a rather hard Regency/Art Deco pillar in the middle of it. Which we have to avoid. And somehow we do, winding into an ever-tighter spiral around it like a totem pole, before breaking out and into the final image. Finally, we know what it feels like. We run through it several times. The piece, not the pillar.

(Three Score Dance Company performs the new contemporary dance piece, Twice Upon A Time, choreographed by Bettina Strickler, on Sunday 15 July, Brighton Dome Foyer Bar, 5pm)