When 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.
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…
I 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.
In 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?
Today we created a movement phrase based on the following parameters:
Leading/Initiated movement with a particular body part
Primary weight in a place that is not your feet
Sliding with weight
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.
This summer we were tasked with reading “Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow” and I was very excited to then sign up for a class with the author. How fun is it to take a course from the person who literally wrote the book on it! I am currently in Dr. Kosstrin’s Laban class and although this book is not required for that course it is wonderful to see two sides of someone you have just met. Below you can read my summary of her book for Graduate Seminar. There are so many grad words in there! 😉