This 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.
Olsen, Andrea. 2009. “Between Brooklyn and Bearnstow: Translating through Dancing: An Interview with Bebe Miller” Contact Quarterly Summer/Fall: 28-33.
The other day I realized I actually know things. I’ve been perfecting technique and practicing performance for a while, studying from different people along the way that had skills and certifications in Bartenieff, Alexander, Yoga, Feldenkrais, Meditation, Release technique, classical techniques (Horton, Graham, Humphrey, Limon, etc.) and various other forms of techniques that I don’t even know about and yet most of the time no one labeled them for me. You don’t go through a dance class labeling everything you have ever studied and explaining where it came from. You begin lying on the floor feeling your weight into the floor (meditation), perhaps some effort based stretching and abdominal work (yoga and pilates) and as you move through the class you talk about weight, time, space and flow (Laban) and then perhaps some discussions about finding ease and efficiency (Alexander), etc. You don’t necessarily label them as a teacher and I can’t say I knew their lineage and I still can’t say that I do. So as I’m finally realizing I know things, I’m just realizing that here is the place where I label them and understand their history and lineage. Pedestrian walking on stage originated in the Postmodern era. Ok, I knew that one. But, Laban is where you define weight, time, space and flow and dissect them. I just found this out.
Grad School is where it happens, this is where connections are made, this is where you dig into the granules of what has created what you already know.
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?
One of the team building exercises we have done in the first few weeks of my MFA at OSU is called “Your awesome!” I think it’s a great way to open the space with positivity and help everyone feel, well, awesome actually. Norah said it came from a theater exercise.
You stand in a circle and jump up and down and one at a time yell out 3 things you learned. It doesn’t have to be the most insightful thing. It could be that you saw plants in the space. You label each thing as 1-3 and everyone repeats the number back to you, loudly. Then you say your thing, like “Plants!” and everyone yells, “Your Awesome!”
It was awesome to take a minute to recognize everyone’s feelings of displacement of self in location, field and humanness* and break the ice. The exercise made me feel grounded in a safe space for creating.
This would be great for any age group. We all could use a little more recognition that we are awesome. YOUR AWESOME!
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! 😉
Continue reading “Dr. Kosstrin’s Honest Bodies”