process (9)

Repetition + Adaptation = Truth

On November 19, I attended Vida Midgelow‘s lecture and post-discussion “Dance Improvisation as Research: Liquid Knowing and Languaging” with OSU cohorts and faculty (I consider them “cohorts” in ways) and was sparked as thought fanned questions. Some of the language from her felt sense turned voice dripped over me like warm oil, running down, finding spaces of dry flesh to slick. Others hung in the air and didn’t approach my skin to sink in. There was discussion after about the liquiding of knowledge – how it is a violent process – as disruption of a solid to become a liquid can be thought of – so that a certain knowing, which is thought to be solid, may run through our bodies as liquid. Ok.
But what of the ether? What of the knowledge that is felt to be like air? Liquiding this knowledge is a much different process. The knowing which we do not have language for is said to be in the ether. It is for the interest of liquidating and languaging this knowledge that I proceed. It reminds me of something Lyndsey said to me, I paraphrase: “maybe for you it’s about learning new language”. 
During the post-discussion we bleed self-reflection like reflex.
The circle sees something. But what is it?
False dichotomies run through my awareness on into the night:
Self- Other
Masculine-Feminine

Words-Movement
Maker-Witness
Known-Unknown
Space-In Between Space
Finding-Losing Oneself
Myth-Truth
Listening-Responding
Motion-Stillness
Pleasure-Pain
Question-Answer
Together-Apart
The way of this or that.
Seems to me that all things can explain/correlate/equate/negate one another.
This is that, as it is not.
So now what?
Move. Even sitting here. feel the movement of thought. the blood in the veins, the juice in the hips. pleasure yourself as these fingers stroke the keys and learning cums.
Ok, so for example there is pleasure and there is pain, in an endless spectrum but i am unable to think of any other occupier. The spectrum i see is linear. Pleasure at one end and pain at the other. Though of course, pleasure and pain often coincide. So it is a circle – yet even a circle is a line curved. Linear. But I know it is  not. There are many other models of choosing. there is the unfeeling. the giving of no fucks. The thinking of cramming of density. emotionless. the style of guts/ the style of gut that is in your face, that is in the place. Be still and see the you in me. What is the void? What is a human, anyway? We are neither this nor that.
Model of dichotomies is false.
We are the *third thing* (a term I borrow from K.J. Holmes), or an infinite number of things, and maybe only one.
Repetition + Adaptation = Truth
(excerpt 11.20.14 | nicogarlo.wordpress.com)

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Feedback culture in artistic circles and practices is increasingly growing and changing; many methods have been developed, adapted and modified in order to essentially support the creative process and realisation of a work. We are seeing ever more formats that open up the rehearsal process to receive feedback and communicate with audiences in a manner that goes beyond the known artist talk. Also within artistic education contexts, the desire is mounting for more quality-structured feedback that can guide students in both a critical and reflective way through their creative endeavours. Feedback is everywhere, and as a means to reflect, gather and share resources and methods on this expanding field the “Laboratory on Feedback in artistic processes” was initiated within the frame of “Teachback” – one of the modules of the project "Life Long Burning"in collaboration with HZT Berlin (Inter-University Centre for Dance) and Uferstudios Berlin.

The lab, held between 17th  and 19th  January 2014, invited a group of people who shared an interest in the topic. Over the two and a half days the group practiced, articulated and discussed different approaches, aims and experiences of existing methods of feedback. The idea was that a number of feedback-methods should be applied and tried out within the lab, as opposed to merely remaining on a theoretical discursive level.

Some of the questions that the meeting focused on were: What are the pitfalls of feedback? Where does it go wrong or become enforced? How to avoid feedback being a fashionable thing to do? How do we learn, improve and widen our means of giving and receiving feedback? How is this implemented in art practice and education today? How can the expertise and practise of feedback be passed on and grow, and what differences does it make, giving and receiving feedback depending of the perspective you take: for example as an artist, as a student, as an educator or a curator?

Here you can listen to the audio documentation of each contribution during the lab:

Siegmar Zacharias

Charlotte Vandevyver

Emma Tricard

Nik Haffner

Inge Koks and Frederik Le Roy

Britta Wirthmüller

Allison Peacock and Charlotte Vandevyver

Frank Bock

Jörg Koslowsky

Eva Meyer-Keller

Dejan Sr

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Imagery as starting or ending point

Tonight I will perform at St. Marks Church in Dagmar Spain's YELLOW IS NOT GOLD. Will I be able to replace moments in the piece that feel amorphous with those that feel potent and compelling?  Daniel Nagrin once advised his choreographic students never to verbally share the basic impulse for your choreography, save the urge to share through your dance. Guard it as your secret.  Lacking the toolbox of final cut pro to shape/morph/frame that image, I'm left to bumbling around in the dark room of my mind. With a video dance, one could simply show the idea, find it or create it, manipulate it. But for a live dance, the image is the impulse behind the choice of speed, shape, flow, a guide perhaps for the improvisation.

Perhaps awareness of physical sensations triggers thoughts which conjures images..

The altered state of dancing can interfere with clear thinking on how to transfer that pleasure, that escape from the daily norm, to the viewer. How does one dance to heat the blood in the viewer, make them feel their breath in a singular way.  Lifting one's eyelids up for the metaphorical kiss.

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This is how you keep the movement moving:

Embark on a Movement Adventure! Here you create work through other dance artists' work! CLICK HERE

Ask your friends at Facebook or followers on Twitter to provide you with movements and ideas to your next work. See example HERE

Bring your Iphone out in the street, play the radio, and dance! VIDEO-EXAMPLE of Mobile Disco

Share your dance blog to DANCEBLOGGERS! Here you share your dance blog with hundred others!


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Anatomía de un sueño nace de la necesidad de reflexionar sobre el hecho creativo.
Una directora de escena es atacada por un sueño. Cuando se recupera de las heridas se dedica a analizar la anatomía de los sueños con el objetivo secreto de que la próxima vez en que uno de ellos venga a atacarle ella sabrá defenderse y ponerlo contra las cuerdas.

Una pieza sobre dramaturgia y coreografía en la escritura escénica contemporánea.

La pieza parte de una investigación sobre dramaturgia y coreografía en la escritura escénica contemporánea. Sobre el proceso de creación y composición de un espectáculo en el que se funden la danza, el teatro, las imágenes, la música….Y busca respuesta a preguntas como
¿Es una pieza el fruto de un sueño?
¿Es posible diseccionar ese sueño?
¿Es posible ofrecer al público en un espectáculo el íntimo proceso de creación de ese espectáculo?

Una conferencia escenificada, en la que se analizan diversos aspectos de la creación "You Gonna Dance".

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Al informe 003 de Anatomía de un sueño le han dado el premio al espectáculo más original e innovador en el Festival Intenacional de Teatro TAC de Valladolid.
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From 3rd July to 11th December, 2010
Titanik Gallery & Kutomo
Turku, Finland


Together with Titanik Gallery Ehkä-production initiates a new concept for experimental performances and works in progress in Turku. BETA is a mobile platform for artists from different fields to show their work while being in the process of making. Fundamental part of the whole idea is to encourage the art community into more open conversation upon performances. By inviting the participating artists and the audience to join an informal discussion after the performances (with a cup of coffee!) BETA gives to these not polished pieces a chance to get feedback and to grow.

Starting the 3rd of July 2010 BETA takes place in the street in front of Titanik Gallery, Itäinen Rantakatu 8 Turku, four Saturdays on a row. In August the lo-fi platform moves inside to the Kutomo space and changes its nature into an evening event.

Depending on the duration of the performances there will be 1-4 pieces in each BETA. If you´re interested in joining in as a maker please mail to info(at)ehka.net or info(at)titanik.fi.

Free entrance for public -WELCOME!
https://www.youtube.com/watch?v=3Id-atJT2Io


BETA in front of Titanik Gallery, Itäinen Rantakatu 8 at 12-16
3.7. Jari Kallio
10.7.
17.7. Maija Reeta Raumanni & Anna Torkkel
24.7. Superihminen -group

BETA at Kutomo, Kalastajankatu 1B from 19--
21.8. Karavaani -collective
16.10. Maanalainen Seurakunta laulaa
11.12. Kimmo Modig

More info:
http://www.ehka.net/
http://www.titanik.fi/

Source: http://www.facebook.com/event.php?eid=125146944184227
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Evolution

Marlon & I have been debating the design of an on-line component to dance on camera. We've explored some names, such as dance on camera: mash-up or Mash-Up Mambo. We've wondered whether to make it a contest to be judged by editors, to tie it to specific scores or themes, to offer prizes or to set it up as something more timeless, something that could continue into perpetuity.Reading today that Charles Darwin would be 200 next year, I propose that we honor his theory of evolution. How to do this exactly? We could provide the "garden" of dance footage on-line and invite everyone to cross-pollinate.Designing this venture challenges everyone and simultaneously pushes the merits of honing an idea.We have a sponsor as of this afternoon.More soon.
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