Sunday, 2 December 2012
Monday, 26 November 2012
I managed to do a little improvisational practice this weekend. My favourite score was trying to walk as far as I could along the beach with my eyes closed to see what happened to my footsteps when I wasn't sure where the ground was. The sound of the sea became more present. So really there was just the ground below and then a wall of sound to my left. This cut out the visual information so it was very refreshing and put me more in touch with sensing my weight. It was also a much more fun way to walk back. Through other explorations I realised I'm not interested in letting the potential energy of my movement drop past a certain level once it begins. I feel like it's possible for the movement to become more contained, though keep the dynamic flowing and evolving. I feel like once it's diminished then that improvisation is over. And I wondered if for 20 minutes it's possible to keep in the air a constantly evolving choreography? Rather than etching one into the eyes of the viewers by repeating movements and pinning them down. It's quite difficult to keep it light but substantial. I think I need a lot more practice and how will it change when it becomes a dialogue with you? Then we're both responsible for it right? But when do we know it's over and what if it never gets off the ground? I enjoyed working with my breath as a way of keeping the movement alive, also giving me rhythm and when I worked more structurally - with my skeleton - the movements became more pendulum like but I feel like the energy was stopping before it reached out of my finger tips and toes. I think this comes back to my exploration of the movement being expandable and rich dynamically through using my weight but at the same time bounded. Trying to find a way with it.
Monday, 18 June 2012
Recently I danced in two urban spaces in Berlin: the first was an underground venue that used to be a brewery, re-claimed as a site for experimental theatre and music. The second was in a park - Mauer Park or "wall park" next to the old divide between East and West Berlin. Both times I was dancing with another person and both times the reaction between people passing by was totally different, yet what we were doing was pretty much the same. Using hard concrete surfaces as our 'stage' and finding ways for our bodies to engage in not such a friendly environment. We were trying to move softly in contrast to the spaces we chose to work in. The classic reaction we received in the park was surprise we weren't tripping on something - because whatever it was that inspired us to do what we were doing, the guy who commented wanted to get some. In some ways could be considered a compliment, but in other ways points to a less than healthy system of expected social control and hierarchy. In this instance, the body is the clear locus for discussion of our physical engagement in our surroundings. It constantly shocks me how unused to seeing anything other than day to day movements in urban spaces we are. I would for the sake of argument define everyday movements in a western urban context as walking, sitting (not on the ground - park benches are acceptable), standing (but not loitering - defined as standing without purpose) and possibly running - but only after a bus or a thief. If you aren't running after a bus or wearing exercise clothes then it's quite possible you are the thief. I have struggled with these limited expectations of human activity, being moved on from urban spaces before for 'suspicious' activities I've been taking part in. My artistic practice being physical there are indeed socio -political questions that arise in relation to shared public urban spaces that I can't ignore.