Sonatas and Interludes (1946-1948) is highly recognised as one of John Cage’s distinct masterpieces, a hallmark of an era during which the composer was drawn particularly to eastern philosophy and to new sound sources. However, it also deeply reflects the influence on Cage’s oeuvre owed to his collaboration with several modern dance companies in late 30’s and 40’s. Indeed, Cage was the composer for pioneer African-American choreographers like Syvilla Fort and Pearl Primus, but who are rarely associated with his breakthrough in music composition and performance: the prepared piano. Cage explored the effects and placements of different materials in the piano while he was composing music for a new dance, Bacchanale by Syvilla Fort.

Lenio Kaklea takes her own approach to Cage’s emblematic work by focusing on this minor, ‘lost’ (or hardly cited) detail. By recalling the presence of those leading female dance figures, and through her elaborated choreographic language, Kaklea proposes a new reading of herstory, and a whole new perspective to Cage’s score. 

At times playful and dynamic at others insinuating a more emotional –yet not expressionistic—approach to the score, her own presence becomes a way to explore the subtly colored musical structure of Sonatas and Interludes. The stage, thus, becomes a kaleidoscope to contemplate not only on the fascinating and rigorous choreography but also a critical tool to think of our history and present.