Pedagogy

img_20190129_095954.jpg

In class the other day we had to teach something off the cuff with two of these cards. We selected them face down and didn’t know what we were selecting. I like the idea of switching things up with these cards.

Advertisements

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

img_20181206_1715191-e1544389397776.jpg
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

screen-shot.jpg
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. 

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.

Labels and meaning

00379-img_7454-304-15-mm-libya-saharaThe 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.

STEAMing it up

img_20181027_172848.jpgSaturday night I attended “TICKTOCK” a work-in-progress showing of Syren Modern Dance and The Ohio State University’s Center for Cosmology and AstroParticle Physics (CCAPP) Visiting Fellow, Dr. Paul Sutter.  The collaboration was sponsored by The STEAM Factory which is an Ohio State space fostering research relationships in a STEAM (Science, Technology, Education, Art and Math) custom. I was super excited to see the space and get to know what actually happens there. This is the first time there was an event of this kind open to the public (so I still don’t know what actually happens there) and it was engaging and the audience’s reaction was palpable.

The performance was inside a demonstration illustrating how Syren generally works choreographically, how the company sought out Dr. Sutter for his expertise in physics and how their collaboration unfolded. That’s a lot of hows…

IMG_20181027_172737_1
Syren Modern Dance’s Jessica Nolan, Darcie Perkins and Rivkins Christopher

Sutter is an avid speaker and has the radio show, Space Radio.*  WCBE 90.5 hosted the event as a fundraiser. The first segment of the work they showed featured his speaking and walking around the performance area Morgan Freeman style in the “Through the Wormhole series” as the dancers narrated his words, “The faster you move in space, the slower you move in time.” Sutter varied this sentence repeatedly and the dancers organized in different ways demonstrating/acting out through movement what he was saying. He also told stories and the dancers gathered around his storytelling self before blasting off as characters traveling through space, illustrating different continuums, alluding to time-travel and multidimensional worlds. At one point the dancers even lift him up in a half-sitting position and float him across the space. All to illustrate different moments of time. If you haven’t surmised, the piece Syren and Dr. Sutter are creating together is about time.

IMG_20181027_172803
Syren warming up. Dancers Darcie Perkins, Jessica Nolan, Rivkins Christopher, Lynn Peterson and Victoria Ellis with Choreographer Kate St. Amand

They showed multiple sections. One section was created from physics action words that Kate St. Amand, co-director of Syren and choreographer for TICKTOCK, asked Sutter to come up with, such as rotation (which as discussed is about traveling less through time and more through space). Let’s just remember my affinity toward aboutness for a second. And we’re back.

The audience was given multiple opportunities to ask questions. At one point the dancers improvised the answers that Sutter was giving about questions such as, “Is there such a thing as a parallel universe? and “Is the discovery of time travel considered inevitable?” The dancers mirrored each other through space as Sutter described perpendicular multiple dimensions as a possibility more than parallel universes. This reminded me of Marvel’s The Flash.  Sutter responded to the latter question explaining that time travel at this moment is considered impossible, but no one actually knows why. The ten year old next to me even asked a few completely succinct and thoughtful questions throughout the evening about the speed of light. The audience was energized and felt engaged and heard, you could feel it.

*He also hosted a segment this week with the Syren Modern Dance’s co-directors Kate St. Amand and Lynn Peterson.

 

Curating our worlds

img_20180924_174450.jpg

Light and shadow is resonating with me. What you see and what you don’t see. There are parts hidden, always; Andre Zachary mentioned this Monday. During our portrait study we shared details about people in the class that were chosen or curated creating a lens the audience would see through. Each person’s world is curated by themselves. Facebook and Instagram profiles are curated to project a certain persona. The news is curated. I curate my children’s world as much as I can. I curate my work, my blog, my fashion (if you can call it that), my food. Choices are the curation of life. Ideas of protection, mediation, filtering and triangulation come up for me when thinking about a curated life, either the life you curate for yourself or the life someone else’s perspective has curated of your life.

My intermedia lab group ended up creating our Portrait Project with me at the center. There were ideas of interviews, auditions, interrogations and being put in situations where I was told my truths were being questioned. The social experiment of it was interesting to me. My team mates were to ask questions of me that I didn’t know before hand so I would have to really think about the answer and upon answering the question they would say, “Interesting,” in a way akin to an interrogation. The fascinating part was even though I knew they meant no ill will and we had set the project up like this I questioned my answers. Which is absurd because there was no reason the truth of the answers could be questioned.

The conceptual and social commentary in our Viewings spark some particular feelings right now. Jerome Bel’s “Veronique,” Antonia Baehr’s “LAUGH”, Amara Tabor Smith’s “House/Full” and Michelle Ellsworth’s “The Rehearsal Artist,” along with Andre Zachary’s examples of process in Monday’s class and our subsequent discussions of mapping/notation with him in Laban today. These all create a web of discourse linking the viewer to the artist in different ways. I’m interested in the word “affect” right now as well and I think there is something of that in here. Zachary links his dancers through his new dissection of language through process. Ellsworth, Bel and Baehr are linking the audience, performer and artist by prompting the viewer to question what is happening and why it’s happening. Smith is linking her work with different areas of Oakland giving it a sense of place and mapping automatically linking it to people watching but also the communities in those places.

Process can be concept. Process is full of context. Process can be performance. The behind the scenes is often more interesting to me than the performance, but in these works they have weaved process into the performance. The process is happening as it unfolds, the audience is processing and will continue to process after. The artists are saying something. Speaking out is resonating with me right now and these choreographers did that in a way that speaks on many levels, in many different contexts and cross culturally. What are you going to say and what makes this the moment you are going to say it? These choreographers are speaking out, sometimes more subtly than others, but even if you don’t get it immediately, you can feel it.