The Dancing Plague tells a real story, from 1518, when a whole lot of inhabitants of Strasbourg had been out of the blue seized by the unusual and unstoppable compulsion to bounce, from the imagined perspective of Mary, one in every of its witnesses. Susceptible to mystic visions as a toddler, betrayed within the convent to which she flees, then abused by her loutish husband, Mary endures her life as an oppressed and in the end scapegoated girl with braveness, energy, and galvanizing magnificence. As tough to interpret now (as a psychological response to social injustice?) because it was then (as a collective demonic possession?), the story of the “Dancing Plague” finds suitably extraordinary expression within the totally distinctive mixed-media model Gareth Brookes has devised to inform it. The pioneering mix of his trademark “pyrographic” method with sumptuously vibrant (and literal) embroidery completely displays, in a good looking murals, the enduring fragility of our human situation – from “choreomania” to coronavirus.
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