Here are two short clips of the beginning stages of my choreographic research, “intersecting policy and dance.” It is the same movement layered with a different sound-score. The first is “This is Heaven” by Madeleine Peyroux and the second is a sound-score I wrote and recorded; it combines Garmin direction language with common policy words we often hear that affects the way we move through public and personal spaces.
In these clips, I am working on physical movement problems; specifically, movement generated by my physical capabilities and limitations, working within the permissions and denials of my own body. To give an example: a flexible lower back and tight hamstrings. What possibilities come from these physical ‘problems’? And how can I solve movement sequences in new ways?
I am purposely trying to challenge my physical capacity to accomplish problems in new ways and thereby generate a more fresh, three dimensionality style.
The Process of Policy – The unveiling of process, problem, feedback, and evaluation. What does this look like in movement? How does the body physically move under policies, both known and unknown? My current work is directed at these questions. Bringing the affects of policy to the physical level may reveal more about policy implications and ramifications than at first recognized. It also reveals how the body is able to adjust, adapt, and renegotiate in the moment of change or the moment of conform.
I recently viewed a showing of works by graduate students and was questioning their processes. One piece in particular peaked my interest…the bodies were full of three dimensionality, the space seemed to explode from the center and expand beyond the borders of the stage, and the physically of the moment was so tactically expressive – and it all had to do with the physical intention of the dancers. They were more than moving shapes, or rote material; their bodies had a life and energy to them because of the ‘realness’ of the physical problems they were solving. Authentic weight and resistance, momentum and flow guided by specific direction caused by gravity. Awesome.
I am interested in the presentational and the process – which is applauded – which is authentic – how can they both be demonstrated at once and what does one say about the other? It seems as if my previous modes of choreography are falling away; born with new eyes to unpack movement and a curiosity about physical movement: The political body ushered in by process.
Here is my final work of Duet for 3. It was presented at OSU’s spring dance concert in ’09 and has come a long way since the rehearsal process. One of the best results of the piece was the elimination of the long gestural phrases, they offered great fodder for the rest of the work and I found this process tedious, but necessary, to generate richer movement vocabulary as well as better defined relationships among the three characters. Comments are welcome!
Check out this video dance. This was an attempt at a new process of choreography. I took footage from various events and locations wondering how I was going to put them all together. Then I thought artists see art everywhere in everything. There is motion, music, color, rhythm all around us – one just has to find it. This process gave me the complete work, but was lacking organization. It was as if I had the complete score without any meter, arrangement, or bars. I carefully filtered through about 15 minutes of footage and found the simple patterns that seemed to connect each segment. I approached the piece as I would any dance choreography, the transitions, timing, accent, space, repetition, and music should be well developed. The project showed me how to explore choreography in a new way starting was all the material and then finding a structure. There could be great value in generating lots of movement and then finding a meaning, purpose, or connection. The meaning may be found in ‘context-free’ movement. Something for me to chew on.
This is a current work, check out my Current Projects page for details on this piece entitled “Duet for Three.” My dancers and collaborators are Courtney Harris, Lisa Ferrugia, and Kelly