Björk’s ‘Cornucopia’ was a prime example of effective, and impactful, visual performing arts. It was best viewed in the scope of an immersive multimedia narrative, then as a concert, nestled in the largest constructed pavilion in the hemisphere within Langley Park.
What audiences may not have noticed is that the venue reflected the shape of the cornucopia – also known as the ‘horn of plenty’, and a symbol of the Greek Goddess Demeter, the mother of Persephone, and the deity of agriculture, and considered an Earth/Death goddess.
The venue utilised side and crowd lighting, allowing for a deeper level of immersion and drew the crowd into the thematic of the performance. There were two movements however, where the lighting queues (and the placement of seating) struck eyelines more aggressively – this resulted in audience members actively looking away from the stage, which did break the immersion and distracted from any other visual performance element.
The stage had hanging threads, that projections were cast upon, in various layers. The stage was elevated, and a mushroom hut was off to the side – which at times reflected the vocal wavelengths of Björk’s performance. As much as audiences were there to hear Björk, the performance was undulating between flutists, percussionists, and Perth’s own choral choir, Voyces – allowing these artists to draw focus.
A downfall of this venue construction was that, if you were seated in the far end of the pavilion, there was a lack of projection of Björk and the musicians on stage, which meant that viewing opportunities of the performance were lacking.
The performance possessed an ‘Alice In Wonderland’ aesthetic, both in its botanical psychedelic visuals, but also crossed genres of enchantress-cottage core, and dystopian philosophical thriller. A fever dream of visual elements, including the beautifully crafted costumes of Björk and her supporting performers - with Björk and her flutists reflective of woodland fae / nymphs, and the percussionists as corporate politicians with up-pointed shoulders.
Another theme, which has become more prominent in mainstream media recently thanks to ‘The Last of Us’ television series, is that of the Cordyceps virus – a fungal infection that spreads spores, taking over a host and wearing their skin. The ‘beauty’ of this naturally occurring virus, and why it’s important to the narrative, is the idea of surrendering to nature and the environment, and letting it have power. This was driven home with the inclusion of a direct message from Greta Thunberg towards the closing of the performance.
Despite the performance being the biggest spectacle and experience an audience member can have – it is also a very intellectually and emotionally taxing undertaking.
You are engaged from start to finish, equating to 120 minutes of sensory stimulation. Björk’s ‘Cornucopia’, as its title denotes, is a performance of abundance – but a short interval would have allowed audiences to recharge, regulate their inner self, to then tackle the very prevalent concerns and messages of the piece.
Whether you were a hardcore fan of Björk (and knew what to expect), or you were simply aware of the sheer talent of Björk and wanted to have this become a core memory, ‘Cornucopia’ was the centrepiece of the Perth Festival, and a once-in-a-lifetime experience.
