For all the Beverlys in the world
Its about control, its isolation, its humiliation, degradation. Its demands and threats, a grooming process meant to tear you down and push your boundaries back, chip away at them until they are non-existent. You are standing amongst the rubble with nothing left but them extending their hand in an act of occasional kindness, and you get a sliver of humanity off this person you think you loved. But they dont exist. With that rubble, I built a house for my son and I.
Participant/Beverly
First published in 2018 by Oberon Books Ltd
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Copyright Rhiannon Faith, 2018
Rhiannon Faith is hereby identified as author of this work in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted her moral rights.
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A catalogue record for this book is available from the British Library.
PB ISBN: 9781786825414
E ISBN: 9781786825421
Cover: image by Foteini Christofilopoulou
design by Machine Heart Design
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eBook conversion by Lapiz Digital Services, India.
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Foreword.
Rhi Rhi asked me to write this intro to her book months ago. I was honored. She is, as she knows, one of my favorite people in the world. And an artist I respect. As usual, I have been so swamped with writing and touring and single-mumming that she has had to politely remind me to pull my finger out approximately six times since. This epitomizes her as a person, beavering away politely. Making work that says something about the world, delicately. Taking chunks out of the establishment, setting things straight with swear words And absolute love. She is the kindest girl I know and it is that beautiful heart that makes her work so unique. Dance and theatre and fierce love.
So Rhi and I met in Cambridge, my old stomping ground, at the Junction in we think 2008. She presented a small scratch of a work called Love my Bones at a night and she asked for honest feedback so I gave it, scrawled on a small piece of paper designed to keep you brief. I put my email on there. I worked for Chisenhale Dance Space at the time as their Executive Director and I was always on the lookout for feminist, interesting artists who were trying to push the boundaries of what dance could be and mean to an audience. I saw in her a little Charlotte Vincent, a little Wes Anderson and a little Brit Pop. She was cool. I liked her.
She came and joined our coven at Chisenhale and for 2 or so years we hung out, drank beers, saw pieces of work and schemed. I remember realizing she had become my friend when we did an overnight photo shoot with some of the Chisenhale En Suite girls and the wonderful Manuel Vason, probably in 2011. We were up all night shooting, each of the feminist girl gang of makers and artists getting their photo taken, and me and Rhiannon drinking Red Stripe minding the door. We slept next to one another in a heap on a crappy single mattress from under the seating banks that night. The next morning I invited her to come up to Edinburgh and visit for a week whilst I did 7 Day Drunk. Its become a tradition for her to visit now. She is the sort of person you always want around.
Rhiannon asked me to be her mentor when I left Chis. It has been delightful working with her over the years. Watching her improve, seeing her gain confidence, find her place in the ecology, hone her style. I would love to still be in a job where I could commission her to make something with a big budget as I just know she would just nail it. That is why I asked her to come and choreograph a telly thing I was doing last year. It was with some very vulnerable women who had been working in the sex industry and I was throwing them a parade. I couldnt think of a better person to combine dance, creative therapy and genuine, heartfelt outreach skills. So she came and helped for the week. She is literally the go-to for this sort of work. How amazing is that; to be a go-to for anything!
We are older now, we talk about babies more and drink less beer but shes one of those artists that you know will be around forever. Making new exciting things, listening to her heart, doing something good for the world. And I know she will be my friend forever too. Rhiannon, it has been a pleasure to work with you all these years and congratulations on your beautiful book. You are Superwoman.
Bryony Kimmings
Performance Artist
Foreword.
I first met Rhiannon Faith and Maddy Morgan when they approached Safer Places to discuss Smack That (a conversation) and ask for assistance in making contact with survivors of Domestic Abuse. They were both very enthusiastic about the project and I thought it sounded amazing and would be empowering for survivors so, to their surprise, I immediately said yes. The impact of Domestic Abuse can be monumental and recovery is different for everyone, as such I am always open to opportunities we can provide for women to help them understand their experiences and move forward. This was one of those opportunities.
Initially, we asked our clients if they would like to be involved with the project and then arranged for Rhiannon to meet with them and talk about their experiences. This happened over the course of several meetings and I think we were all humbled by their openness and willingness to share. The women became involved on various levels, some only wanting to be involved in the initial process and others agreeing to take a much more active part. These women not only contributed but also became participants in the piece.
Through the course of our meetings, I also invited Rhiannon to attend a J9 training session that I was facilitating. The J9 Domestic Abuse initiative was named in memory of Janine Mundy who was killed by her estranged husband in June 2003 while he was on police bail. Victims of Domestic Abuse and Coercive Control are often isolated by their abuser, giving them limited space for action and impeding on their ability to disclose. The J9 initiative seeks to open doors by creating a network of Domestic Violence champions and safe places for victims to seek help and advice. When the J9 logo is displayed in premises it alerts victims that this is somewhere they can access help and advice. Following this training Rhiannon decided that as a legacy to Smack That (a conversation) they would ask any venue where they performed to become a J9 venue.
