My name is Vickey Curtis and I am an (out) spoken word artist from Dublin. I am obsessed with the word sorry and how we use it. The Live Collision festival has given me the opportunity and platform to invite an audience along and explore how I started to eliminate the word from my vocabulary. This process started two years ago and has now culminated in this piece VICKEY CURTIS ISN’T SORRY.
Having been told by my housemate that I was using sorry constantly, I took stock of where, when and how I was using it. This led to me being hyper aware of the word and who else was saying it, and the spaces and places that sorry is being used in.
By using it as a crutch, the true weight and meaning of sorry was lost. In this piece I take responsibility for it. I break it down and bring it back to its true purpose. I want the audience to consider their usage of the word.
Sorry, in my opinion is a bit of an epidemic in Ireland, especially amongst women. We are forever saying it when we really mean something else. Why is that? Are we too polite? Do we lack the confidence in using other words? What do we replace sorry with when we cut it out? I’ve found that replacing ‘sorry I’m late’ with ‘thanks for waiting for me’ in a case where I’m late to meet someone has gotten that meeting off to a better start.
The regret and compunction that sorry carries when it is said has an impact on our surroundings and situations.
What happens when we stop saying sorry? And more importantly how do we learn to use it again in its correct form. When we stop throwing out the word sorry countless times a day, our apologies mean much more. They’re genuine.
Sorry, in my opinion is a bit of an epidemic in Ireland, especially amongst women. We are forever saying it when we really mean something else.
There is also an element of ridiculousness to the sorry epidemic. How often have you said sorry to the stranger on the street that walks into you? Or when saying sorry for paying something with the exact change in coins.
VICKEY CURTIS ISN’T SORRY is being presented off site, and out of a traditional arts venue and space. I am inviting the audience to the place I am the most unapologetic, my home. That is what is unique about Live Collision, that as artists we have an opportunity to present in spaces that perhaps we wouldn’t normally consider.
Live Collision is an extraordinary festival to be part of. It allows artists and audiences to collide in non-traditional means and forms. It allows us the artists to present work that traverses different mediums. There is a freedom to live art that lets the pieces artists are presenting take on different lives. It exposes the audiences to diverse ways of thinking and hopefully ways of consuming art. It’s an opportunity for audiences to question what they might think art is and where it can happen.
I like to think that live art lives in the everyday, that it can happen all around us. I think that is the real beauty of a festival like Live Collision, that as an audience member or artist you are brought through these moments and they stay with you. You bring them forward and carry them even after the festival is over.