One-Minute

The assignment: To devise a one-minute solo to be dropped into a collective devised amalgamation and premiered in March 2020 at Drake Performing Arts Center.

I chose to further the arc of my character, one of the ghosts of Mirror Lake. I thought of my character as a ghost stuck in time, repeating moments of the past over and over, and reliving moments of anger, sorrow, and regret. The text from my monologue in the larger scene, The Ghosts of Mirror Lake, stuck with me as key lines that highlighted the character’s need to continually circle the perimeter of the lake for decades. I included a comment on the requirements of women in the early 1900s. Wearing dresses when walking, running, or completing any physical activity was absurd and visually representative of gender constraints of that time. My character’s one-minute solo blended the emotional trauma of a ghost and the visual representation of gender during that time period.

The improvisational experiments I initially worked with included the feelings of regret, anger, and sorrow combined with the visual representation of a woman in a Victorian dress. My monologue in the larger scene, The Ghosts of Mirror Lake, includes “Where are you?” and “Did you kill yourself to get away from me?” Through repetition—using a one-minute timer—a psychosis began to develop in my character that I imagined would have resulted from the repetition of anger and sadness represented in the text of the monologue. This psychosis built into accusations of the other ghosts near the lake that might have slept with or taken her husband from her. Movements began to emerge including a spiraling twist characteristic of an ice skater and more literal gestures such as my toe lowering gingerly toward the floor as if testing the water paired with, “Did you dip your toe in that?” The improvisations began to solidify into an identifiable scene beginning with where I left off in the last scene, “Where are you?” and ending with a stripping of gender expectations.

The final image of taking off and removing the Victorian dress—made difficult by my uncooperative zipper—and leaving it in a pool on stage felt like a resting place for this ghost. After decades of circling, calling for, and hoping to see her husband in the afterlife, she finally made peace with the fact that he left her. Was their marriage broken before this? Was he seeing another woman? Or was he mentally ill? Like the Wicked Witch of the West, her dress lies in a puddle on the stage, after she defeats her daemons. In this final one-minute, this ghost sheds her anger, the restrictions of her past, and finds peace.

See experiment here: https://osu.box.com/v/tarasoneminute

Summer Making 2019

My summer research turned out to be two months of rehearsals digging into how I view different ways of making and different dance aesthetics. I will continue and finalize an iteration of this research next semester.

In May and June, I met with fellow, almost 2nd year, amazing, talented dance grads Alessandra, Davianna, Laura, and Emily for four hours a week in addition to two hours a week of solo research. Alessandra was a wondrous resource as dramaturg and Davianna, Laura and Emily were important and vocal collaborators in the process as well. Using making methods and ideas surrounding emergence and improvisation, we explored the complicated definitions of control, specifically surrounding societal conduct and power structures affecting women.

I began this process with some ideas I found in Paulo Friere’s Pedagogy of the Oppressed detailing the education of oppressive societies to fight against their oppression. Although the stakes are much greater in Friere’s books, I found that some of the words he used to subdivide the last chapter define complicated and layered societal formulas that happen in the everyday.

The first four phrases were ways groups of people elicit power and the next four are their counters describing ways people can come together to liberate themselves from their oppression. We began by defining these words within our bodies through improvisation and the use of space:

  • Conquest
    Divide and Rule
    Manipulation
    Invasion
  • Unity for Liberation
    Organization
    Cooperation
    Cultureal Synthesis

The concepts of separate/divide and together/away kept resurfacing physically. The ideas of bodies in unison and then not, bodies high, middle and low as a power structure, three against one, and bodies intercepting or inhibiting another’s movement came to the surface. The ideas of women empowerment, control, and social structures were apparent as these themes were explored further.

The questions that remain are: How do I unite improvisation and codified movement in a way that doesn’t seem forced and goes along with my personal aesthetic? What am I trying to say and how much of that do I want the audience to actually glean?

Below is an example of what I consider codified movement. A phrase or sentence of movement designed to be completed somewhat the same each time.

Below is an improvisatory exploration involving the parameters of finding moments where the other person is completely supporting your weight and you theirs as you move together and then away.

Below is an improvisation where Emily and I are trying to force Davianna to one corner as she is trying to get to the opposite corner.

Tilt World’s 2nd Iteration

Drawing Glitter
KJ, Tara & Keith

My final “Tilt Brush” iteration this semester was an installation/performance during ACCAD’s open house on April 5th in the Motion Lab. The audience/participants entered a circle of projection screens where cardboard boxes, feather boas, pool noodles, and random small balls littered the space. Tasks were written on cards around the space for the audience to complete such as, “Build a castle.” Two performers were also in the space, one acted as safety and instigator of movement (KJ Dye), while the other (myself) was immersed in VR. As the performance transpired, painted traces of the immersed’s VR experience was projected throughout the space.

I wore the VR headset in the black void of Google’s Tilt Brush and except for running into the occasional cardboard box obstacle or feather boa adornment I was in my own world, a world absent from that of the audience-participants. People came in, sat on blankets or “played” in the space while KJ and I completed our score.

The technology stopped working at the beginning. A tower had been created out of cardboard boxes and was possibly obstructing the view of one of the cameras making it difficult for us to complete part of the score that began on the floor. The house I was to build, the tracing of bodies and the reflection of looking at the house from a transported place had to be skipped over. We completed this iteration with the standing portion of the score.

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KJ crawling through a box and Tara wearing a boa. Keith is a spectator.

Documentation was also on the fritz, schedules had been mixed up and although Oded filmed the event, his video was corrupted. Technology often breaks or doesn’t work at moments when I am around. However, even though it didn’t work perfectly, I’m not sure it mattered. From my perspective, my world was cutting out, but from everyone else’s perspective (from what I have gathered so far from people’s explanations of what happened) they didn’t notice. It was swirling, surrounding colors in a space where the audience became performers. They watched me navigate blindly through a messy environment with KJ keeping me safe and directing my movement in alternate routes.

There was a push and pull to KJ and my relationship. Do I allow her to draw for me or do I draw residually? When she stops me, do I let her? Ideas of permission and control came up for me, perhaps, in part, because I wasn’t able to see her. One of the most unexpected things was that I have no memory of what the audience was doing while I was in VR. When performing without a VR headset, I could remember who came to see the event and what they did. But here, I only remember the brief time I took the headset off and hugged my babies because it wasn’t working. That moment is particularly magical for me because it is the only moment I knew what the space looked like and when I took my headset off the first thing I saw were my two girls.

Reflecting back to the beginning of this project, I was planning on short iterations of three different projects. The other two fell away as I became enamored with objects in space and the theory of absence/presence introduced in Dr. Nadine George-Graves Performing Bodies. In Leder’s “The Absent Body” the idea of yourself as nullpoint played right into the idea of yourself in VR. Sensation at the forefront, other theorists exploring perception (Merleau-Ponty), subjection, and the “zero point of orientation” (Husserl) informed my interest in these two worlds.

Finally the use of task to empower the participant in a way that the performer is empowered. Through Freire’s ideas of liberation pedagogy and praxis, I found a connection between Freire’s definition of praxis and what is happening in participant environments. Freire’s definition of praxis, “reflection and action upon the world to transform it,” can be applied to these environments. I was transformed. KJ protected me and the audience’s world left traces that were beautiful, creative and a reminder that they were there too, even though I didn’t see them.

Click here or here to view two of 12 traces created during the semester of rehearsals I had inside of Google’s Tilt Brush. During these rehearsals, I was researching how to create an improvisational score that I would paint live.  These are traces 11 and 10. (These links are best viewed and interacted with on a touch screen, like your phone or tablet, you can swipe around to see different angles and zoom in and out. They will only work on computers with enough computing power.)

Tilt World Sandbox

As I’ve mentioned in previous posts, a Sandbox is something Norah uses in her Research Studio class that allows room for change and brainstorming of a group. In the following photos by Dan Shellenbarger (thank you!!) he documented some experiments in my sandbox in February. This project, titled “Tilt World” is an exploration of how an embodied mover informs physical painting in VR using Google’s Tilt Brush while an audience creates an outside environment using found objects.

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Photos and Drawing by Dan Shellenbarger (you’re awesome!)

“a little awkward”

On Monday I showed where I was in my project Tilt World which is investigating a body in a virtual world (Google’s Tilt Brush) and objects and bodies in the physical world.

Tilt-World-Documentation

This iteration of the work included three performers. At the beginning of the work, I wore a red face mask and was painting a red house in the virtual environment with Tilt Brush’s wand in front of a wall of cardboard boxes.

Later, a dancer in a VR headset was traced by myself. I removed the face mask while she built her own virtual environment to move inside of and then I took the wand again to add to the environment that only she could see. Only the person in the headset can see the painted world.

All the while, a third performer was tasked with building and deconstructing environments with cardboard boxes, pool noodles, boas and small toys.

This iteration stemmed from my “Sandbox session” in my research class (a Sandbox could be seen as a rehearsal or improvisational physicalization of some ideas).

More clearly, the roles were:

  • Constructer/deconstructer of objects in space
  • Move as paint, interrupt/disrupt and echo
  • Virtual builder/painter wearing the VR headset

I received three really interesting moments of feedback from this iteration.

1. The audience participation that I have talked about for a while was non-existent in this version. This is so weird because I didn’t realize I deleted this but I feel exactly as Oliver Herring said in his book TASK.

“The first TASK was small and a little awkward. Initially, I approached TASK as a performance. It seemed like the most simple and uncomplicated way to think about it. Although I don’t think of TASK as a perforamnce anymore, the structure of the inaugural TASK was the same as it still is.” – Oliver Herring’s TASK

So, I have another idea for the second iteration to incorporate the audience from the beginning in perhaps a TASK-like way.

2. During my Sandbox there was a role of care that was included that wasn’t in this role. This is true, but perhaps the builder also needs to be tasked with moving around the person in virtual reality so there is something to protect them from?

3. I needed to be clear what I wanted people to get out of this whole thing. I don’t know the answer to this yet. I think I replied with I wanted each person to feel like they built a world but are watching other worlds built in an alternate reality? I’m not sure that is true but I think this comment links to the idea of roles or tasks. And if so, the audience needs to have one.

 

It’s about trusting the process, coloring the lines and angling your approach

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My youngest daughter’s drawing (3 years old), but how I felt most of the semester.

This semester has resulted in a real community of support. My grad-cohort is awesome and most if not all the preliminary tools I need to make, write, create, put forth work and fail have been introduced to me in our “Foundations in Dance Research” course.

“Laban Systems: Movements, Methods, and Analytical Frameworks” has been a wonderful addition to the writing kind of making. Not only do I have a new treasure chest of descriptive words specifically crafted for movement, but also a new way to look at movement and a toolbox of sprinkles and ingredients to add to my movement-making process. “Aboutness” can be applied to my whole first semester here. Trying to frame and understand specifically what I am interested in is the “aboutness” of my work and my-artist-self.

My body feels strong and smart. I am articulate in my joints and muscles in a way that I haven’t been for a while and it feels amazing. Crystal Perkin’s Afro-Horton technique class was an integral part in this strength and agency as was my Pilates course. I was able to apply Pilates techniques in Crystal’s technique class. The integration of whole body movement in Pilates is something I am still working on but I now have a practice to bring with me for the next two years. Pilates challenged my self-motivation in multiple ways and Crystal’s class was my grounding force throughout the semester. Technique class is my home, I know how to be a dancer and trust the movement and my body, so once I gave into the discipline and physical effort, this class was healing and got me through other more tumultuous moments.

I believe the next two and a half years will result in a confident, strong, maker who can own her place in an academic setting. This department has a professionalism built into it that is transparent but also ingrained. Research is what you make it. Figuring out what specifically interests me is the hardest part. There seems to be a fine line between what I’m interested in and what falls flat. In this academic context, it’s about framing your questions and spending time figuring out your project and writing it down before you actually get to figure anything out. This backwards approach is difficult for me but a skill worth developing. It’s similar to grant writing, but with a different flavor I can’t quite place.

In the moments to come, I’m interested in exploring some new practices of making, perhaps more improvisatory or contact-based processes, perhaps some making with friends/current grads, perhaps some non-mandatory uses of technologies. I’m still working on what I’m interested in, who I’m interested in doing it with and how to get it done in this still new environment but I trust the process. At the end of the day, it’s about coloring inside and outside the lines. It’s about appreciating all approaches and angles but also figuring out where you fit into them, how to best apply them to help you grow and how you want to approach your own angles or angle your own approach.

The “aboutness” of Digital Recess

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A screen shot of a texture from our “Media First” study.

Our final performance in Intermedia was the culmination of three months of “digital recess” as coined by a former student of Norah’s. It was so exciting to have two willing participants wheeled into our playground like “Mr. Toad’s Wild Ride”from Disney’s Magic Kingdom. That’s not a metaphor, they were sat in chairs and wheeled in. The participants/audience were brought into the space to witness, choose and be the performers often in absurd events like what we titled, “Dada Birthday Party” where we sat at a table and sang “Happy Birthday” to the participants in a surprising and upbeat way and then handed them a tiny mallet in front of a tiny cake and waited to see what would happen. The mallet referenced one of our readings by Soke Dinkla who wrote about one of the first Dadaist artists to include audience participation. “Ernst placed an ax next to one of his works to be used by the visitors in case they did not like the object.” (Dinkla, 280) We asked the participants to choose cards that would determine the next scene. The other three scenes were “Motion Capture,” “Hot Air Balloon” and “Box Head” which we yelled out when they chose the card. “Motion Capture,” a station that was from our second study, was a play on words, two people sat facing each other in chairs and one mimicked (captured) the movements (motion) of the person opposite them. “Hot Air Balloon” was giving the audience/performer a bag of unblown balloons and seeing what they would do when sitting on a white cube at the center of the space and “Box Head,” pulled from our first portrait study and had the person put their head on a box while we took a live feed of their face and asked them mundane questions about their life. Each situation was an experiment commenting on or inhabiting expectation and power. Other aspects of the piece included some movement developed from questions answered earlier in the work, saying a memory and throwing an imaginary ball to another person in the space and at times a voice over commentary, by yours truly. The aboutness of the work seemed to be community and absurdity or audience and performer or perhaps reflection and memory. 

As I discovered at the end of our last lab study, “Interactivity and Participation,” I’m interested and excited about the awkward moments and the moments that could change each performance. Throwing an audience member into the mix throws a wild card that is performatively exciting and something that my lab group played with the entire semester. In this study we focused on comparing viewed performance and interactivity in the form of stations. Tricking the audience that they might just sit and watch and then ushering them from station to station where they were to complete a similar “Box Head” and “Motion Capture” moment from our final experiment. Our third and final station was an array of “bric-a-brac” which had a sign that said, “Arrange.”  This was inspired by our readings from Dinkla about Duchamp’s ready-mades. At the end we performed some movements we captured during the “Motion Capture” station and watched peoples faces float around in bubbles captured from the “Box Head” station. The ideas of being seen and watched were at the forefront of the work.

Our second “Media First” study, came directly out of discovering textures that could be used as projections. Zooming into a moving object or objects, water, leaves blowing, bubbles rising, screens moving or a swing shifting can create a texture when projected into an environment. We gathered textures and then made a study using them. The Motion Lab has screens that can be moved into a circle which made us think of a carousel and I was particularly interested in how we could guide the audience’s gaze around the space.

I found Laurie Anderson’s “O Superman” music video to be even more inspiring after having learned the origin of the projection magic she utilized. Jerome Bel’s “Veronique” Series is an almost poignant solo for a corp de ballet dancer from the Paris Opera. These and others were “Viewings” we watched throughout the semester. The course highlighted an array of artists using not only technology but also other mediums. Our reading from Simon Morely’s “Writing on the Wall” highlighted artists influenced by Duchamps “readymades” that began to experiment with mixed media approaches to panel art in the 1950s.  In the text I was interested with the “affichistes” and their ripping down advertisements and using them to create their own art. Intermedia is a course about creating with found objects. Everything we experimented with was already made, we just put it together in different ways. Use what you have to create something new.

The collection of topics, viewings, technologies and the history of media art we’ve explored has allowed me to place the concepts and people we’ve discussed in a way I couldn’t before. I can see how certain artists were influenced and where that landed their trajectory. I’m beginning to understand what interests I have and what kind of art I want to make. I’m beginning to understand my artistic world a little better and that is an important piece in trying to figure out what place I want to have in the puzzle. What’s the puzzle? That’s another question entirely. 

What is dance about?

labanfloorThis photo is a projection on the white floor of OSU Dance’s 50th Anniversary Concert. It is a Labanotation score. 

Dance is about so many things.

Bebe Miller writes in Andrea Olsen’s “Between Brooklyn and Bearnstow: Translating through Dancing” the following notions about dance:

“Is it ever a repetition or is it a spiral cycle.” (Olsen, 32)

I am imaging a spiral cycle of something speeding up in time, or building or decreasing in intensity.

“There is a rise and fall, a breath, and there is a return.” (Olsen, 31)

It could be a repetition or just a movement in general. It could be the beginning or the end.

“I am less interested in technology as something to show. I am interested in what it changes about how we as humans in a community interact with it and because of it and alongside it.” (Olsen, 32)

There is something futurist about this statement. I think it is the ever-changing idea of technology.  Is she interested about what changes when we interact with it? How does it change our interaction? Does the presence of technology change our interactions with others, like through Facebook and texting or is it because technology itself is continually changing? And if it’s continually changing than does Miller mean that as it changes and because it changes our interactions and relationships to it and with it are always changing and different? If so, this is also true of our relationship with our community within an environment built around and/or with technology. Or is it all these things?

Dance is what you make it. Dance is questioning interaction. Dance is questioning alignment, movement, orientation, space, time, flow and weight. Dance is thinking. Dance is taking care of those around you. Dance is embodiment and doing.

Works Cited

Olsen, Andrea. 2009. “Between Brooklyn and Bearnstow: Translating through Dancing: An Interview with Bebe Miller” Contact Quarterly Summer/Fall: 28-33.

 

Feedback Manifesto

feedbackWhen I was teaching composition at a magnlet arts high school, the class would often revolve around a set of tasks designed to give the students creative tools to craft “interesting” compositions. When it was time to give feedback, I would always say to the students, “Take what you want and throw the rest away.” If we had showings, other teachers also proscribed to the “Take it or leave it” mentality. Even though I said that, I didn’t really mean it. I think I meant, “I’d like you to at least try to apply a part of my feedback to get a different result. If in the end you don’t like the result, you can always revert back to where you started or somewhere in the middle. In the trying, you might find something new somewhere along the path.”

I still had expectations about their products and as teachers we would often struggle with how much to lead a student to get a “good product.”* If the student was using the tools, testing boundaries and following their instincts I was always happy with their process and often their product was more successful, but not always. When mentoring the creation of a senior project, the students were struggling with figuring out what they instinctually liked, navigating what they thought “good work” looked like and how to make their work “good.” I gave the advice, “Stick to the process and the work will follow.”

I’m now the student and it’s interesting to see the teachers struggle in the same way. How much are they leading me toward their aesthetic or their style of discussion. Am I learning how to survive in the academic world or am I learning how to survive in their specific setting. I’ve decided in this moment that I will try to apply what I wanted my students to do. Try out some options revolving around the feedback given and see where that takes the work. It’s been a long time since I’ve been in a setting where I’ve had to take into account constant feedback. It’s interesting that I am also still wrestling with the notions of “good work.” Stick to the process and the work will follow.

*A good product by definition is something created that is desired or approved of and is therefore all about perception and opinion. Not everyone likes the same things, that is why there are so many options and reasons for creating the art you want to make. Not everyone will like what you make, but someone will…somewhere.

Physical Thinking

Update (as requested):
Click here to see a video about Synchronous Objects!

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From visualcomplexity.com

Synchronous Objects examines William Forsythe’s “One Flat Thing” in ways I’ve never seen quantified. It’s an interface designed to visually represent connections through movements, improvisations and choreography. It’s as if the “making of” part of a movie was integrated with the performance in three different camera views. It allows the viewer to both decide what they want to hear and/or see and at the same time focus there attention on specific carves, arcs, weight, etc. through space.

You can also click through the creation process of the interface on the website, further deepening your understanding of the creation process. At the beginning of this web-experience the question, “What else might physical thinking look like?” pops up.

Wayne McGregor did a Ted Talk, “A Choreographer’s creative process in real time.” I was immersed in the familiar way the dancers were asked to perform newly synthesized movements and relationships. I immediately recognized the familiar assignments and the state of the dancers as they instantly synthesized physical thought. As the dancers moved from jittery (first learning and applying) to a little more integrated in the body only 5-minutes later, I thought, look at all the ways we can think with our bodies and how they move. Amazing.

I think this might be a running post as I continue to add examples of physical thought…

 

Laban meets creative process

IMG_20181001_135632I went into the studio on Monday with a stack of newspapers, a highlighter and my computer with a article of Susan Kozel discussing the possibility of doing a phenomenology on affect. I had an image in my head of drawing a simple house on pages of newspaper and crumbling them up and throwing them away. I couldn’t and still can’t figure out if or how that fits into my laban movement phrase but when I presented my further investigation to my MFA Choreography Workshop, they found a seriousness, a darkness and a political content within the new laban inspired phrase. I found this interesting because I envisioned drawing that picture of a house on the politics section of the paper. In the studio, I adhered to the rules stated in the previous post. I noticed I was seemingly most interested in leading/initiated movement with a particular body part and primary weight in a place that is not your feet.

IMG_20181008_194747In Choreography Workshop it is currently an open forum for anyone to give suggestions or choreographic thoughts in an attempt to remove the preciousness of something created and find other creative avenues. I performed the movement the first time among Dave Covey’s paintings on canvas scattered around the floor. Dave is the facilitator of Choreography Workshop and he has created paintings inspired by our workshop together among others. For the second showing of my phrase, Dave selected a soundtrack of the women who confronted Senator Flake in the elevator to play during my movement and another student suggested I confine the phrase to a specific part of the stage surrounded by his paintings.

I’m noticing the state of the country, our president, Kavanaugh/Ford, the “Me Too” movement, the fact that California has to make a law to require women on the boards of publicly traded companies, etc. etc. etc. is increasingly effecting me. Perhaps this movement does have something to do with the current political climate. Perhaps my affect has something to do with the effect?

Laban Movement Phrase

Today we created a movement phrase based on the following parameters:

  1. Leading/Initiated movement with a particular body part
  2. Primary weight in a place that is not your feet
  3. Sliding with weight
  4. Sliding without weight

The phrase I created was task based and ended up being really interesting. I might have done these movements without these tasks, but what was most interesting was the intention and focus required to make sure the movement was most about sliding without weight or initiating with the elbow.