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
  • Unity for Liberation
    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.

Mette Ingvartsen’s Yes Manifesto (2005)

Yes to redefining virtuosity
Yes to conceptualizing experience, affects, sensation
Yes to materiality/body practice
Yes to investment of performer and spectator
Yes to expression
Yes to excess
Yes to ‘invention'(however impossible)
Yes to un-naming, decoding and recoding expression
Yes to non-recognition, non-resemblance
Yes to non-sense/illogic
Yes to organizing principles rather than fixed logic systems
Yes to methodology and procedures
Yes to editing and animation
Yes to style as a result of procedure and specificity of a proposal
Yes to multiplicity and difference

Page 98 in “Dance” edited by Andre Lepecki