Chrysa Parkinson self interview
I'm always wondering that there is no much knowledge of performers discussed and talked in dance. There are lots of talks by choreographers but not performers. I believe that performers have very unique knowledge on creativity and strategy, apart from how to prevent injuries and keep fit.
Here, at the link above, Chrysa Parkinson digs a discussion about what performance means to her.
This gives me enormous energy to keep going. Rather than where I get to in future, the important thing is to practise practise practise every moment. Even I am not dancing physically, even I am teaching Pilates for six hours in a studio, let me think that I am practising.
Writing is very important part of practice, and I wish I can develop the skill better.
Showing posts with label dance. Show all posts
Showing posts with label dance. Show all posts
Tuesday, 9 November 2010
Monday, 8 November 2010
Ukiyo 2 Creation Scene Short Version
The Creation Scene (slim down version), a small abstract from Ukiyo 2.
UKIYO 2 - A mixed reality installation fusing dance, sound, design and digital projections.
European premiere: Friday, June 8, 2o:oo
KIBLA Media Art Center / Maribor, Slovenia
www.kibla.org
presenting dap-lab / dans sans joux.
Conceived and directed by Johannes Birringer.
Performance by : Katsura Isobe
Costume Design : Michèle Danjoux
Real time 3d Graphics by : Doros Polydorou
In this scene the dancer, by using physical movements, is navigating and changing the virtual 3d environment in real time.
I'm Here, evolution. 進化中
夏以降「I'm Here」というタイトルの作品に取り組んでいて，２回の全く違った公演の機会に恵まれました。一つ目は10月5日にあったCafe OTOでのパフォーマンス。10月末だろうと勝手に思っていた日程が早まり，あわててサウンド・アーティストの島田学さんとご対面し，話し合い，メールを送り合い，スタジオでの作業を重ね，やっとの本番では多くの人たちに来ていただいて，好評のまま終えることができて、やれやれでした。
このときにやったのは，振りや音との関係が90％決まっている，I'm Here，バージョン1。
その後，たまたまStranger than Fictionという即興のパフォーマンスをやっているグループの定期公演に招いていただき，折角この2ヶ月I'm Hereのテーマでいろいろ考えて来たので，その同じテーマで即興のパフォーマンスをすることにしました。Cafe OTOでのパフォーマンスの後，見に来てくださった高校の大先輩，原由美さんとお話してて，私が考えていることが作品に反映されていないということが課題に残ったので，その点をとくに改善すべく。それからOTOの時の振付けが，私らしくなく，ガチガチに決まったもので，音との関係も「この動きでこの音」ときつかったので，その決まり事から解放されて，その場の素直な身体と頭脳でパフォーマンスしたら，一体どうなるのだろうという好奇心もありました。
これが2つ目のバージョン，I'm Here- improvisation version。
1つ目のバージョンの方がハイ・エネルギーで圧倒されるかもしれないけど，2つ目の即興の方がお客さんとコミュニケーションがとれている感じがした。そして，パフォーマンスしている本人としては即興の方が楽しい。
作品の創作のきっかけとなったのは，自分が旅をするときの体験。例えば，10年ロンドンに住んでいる私が，2年ぶりに東京に帰る時。飛行機に12時間乗って，身体は東京にうつっても，頭の中ではそれに追いついていけなかったりする。まだロンドンでのあれこれを考えていたりして。そうゆう実際の身体の居所と，頭の中での自分の居所とのギャップって面白いなと思った。抽象的だけれども，違ったタイプの空間を同時に感知するとき，私は痛くシビレるのである。数学的、物理的な話。
身体存在と，頭脳内存在の違いを考えたときに，音楽を聴くということを思った。音楽を聴くと，身体はここに居るまま，頭の中の自分は一定の場所や時間にぶっ飛ぶ。飛行機で旅する私とは逆の現象。
という，ことで，じゃあ，サウンド・アーティストさんと一緒に作品を創ろう！と思い立った経過なわけです。
2つのパフォーマンスをやったあとで，さらに自分の尻をたたき，前進するために，来週の金曜日，19日にIndependent Danceの主催するFeedback Forumというものに参加することにしました。文字通り，創作中の作品に対して意見感想をもらえるというものです。ここでの，私の課題は，第1と第2のバージョンをどううまく合体させるかということです。
どうしよう，どうしようと考えつつ，風邪でばてていたこともあり，残る所1週間余りになってしまいました。
どうしよう。
なにか，個人的な経験など思い当たることがあったら，ぜひお知らせください。
見ている人の記憶や感覚を呼び起こせるような作品を創りたいので，第3の見方でまたアプローチすることも必要かもしれません。
---
For non Japanese readers, this is the summary of the this post.
How can I make the 3rd version of "I'm Here" as the result of the 1st version, a set choreography at Cafe OTO and the 2nd version, an improvisation at Stranger than Fiction?
このときにやったのは，振りや音との関係が90％決まっている，I'm Here，バージョン1。
その後，たまたまStranger than Fictionという即興のパフォーマンスをやっているグループの定期公演に招いていただき，折角この2ヶ月I'm Hereのテーマでいろいろ考えて来たので，その同じテーマで即興のパフォーマンスをすることにしました。Cafe OTOでのパフォーマンスの後，見に来てくださった高校の大先輩，原由美さんとお話してて，私が考えていることが作品に反映されていないということが課題に残ったので，その点をとくに改善すべく。それからOTOの時の振付けが，私らしくなく，ガチガチに決まったもので，音との関係も「この動きでこの音」ときつかったので，その決まり事から解放されて，その場の素直な身体と頭脳でパフォーマンスしたら，一体どうなるのだろうという好奇心もありました。
これが2つ目のバージョン，I'm Here- improvisation version。
1つ目のバージョンの方がハイ・エネルギーで圧倒されるかもしれないけど，2つ目の即興の方がお客さんとコミュニケーションがとれている感じがした。そして，パフォーマンスしている本人としては即興の方が楽しい。
作品の創作のきっかけとなったのは，自分が旅をするときの体験。例えば，10年ロンドンに住んでいる私が，2年ぶりに東京に帰る時。飛行機に12時間乗って，身体は東京にうつっても，頭の中ではそれに追いついていけなかったりする。まだロンドンでのあれこれを考えていたりして。そうゆう実際の身体の居所と，頭の中での自分の居所とのギャップって面白いなと思った。抽象的だけれども，違ったタイプの空間を同時に感知するとき，私は痛くシビレるのである。数学的、物理的な話。
身体存在と，頭脳内存在の違いを考えたときに，音楽を聴くということを思った。音楽を聴くと，身体はここに居るまま，頭の中の自分は一定の場所や時間にぶっ飛ぶ。飛行機で旅する私とは逆の現象。
という，ことで，じゃあ，サウンド・アーティストさんと一緒に作品を創ろう！と思い立った経過なわけです。
2つのパフォーマンスをやったあとで，さらに自分の尻をたたき，前進するために，来週の金曜日，19日にIndependent Danceの主催するFeedback Forumというものに参加することにしました。文字通り，創作中の作品に対して意見感想をもらえるというものです。ここでの，私の課題は，第1と第2のバージョンをどううまく合体させるかということです。
どうしよう，どうしようと考えつつ，風邪でばてていたこともあり，残る所1週間余りになってしまいました。
どうしよう。
なにか，個人的な経験など思い当たることがあったら，ぜひお知らせください。
見ている人の記憶や感覚を呼び起こせるような作品を創りたいので，第3の見方でまたアプローチすることも必要かもしれません。
---
For non Japanese readers, this is the summary of the this post.
How can I make the 3rd version of "I'm Here" as the result of the 1st version, a set choreography at Cafe OTO and the 2nd version, an improvisation at Stranger than Fiction?
Thursday, 1 July 2010
Sunday, 30 May 2010
FRAGMENTS creative process
I am working towards perofrmances of FRAGMENTS.
The project is aiming to involve the audience or others in its creative process, and launched a blog where people and read and leave comments.
Please visit the blog:
FRAGMENTS
We look forward to communicating with you.
Thursday, 27 May 2010
Sunday, 2 May 2010
Thursday, 4 February 2010
Stranger Than Fiction: improv dance and comedy
I noticed a collective called Stranger Than Fiction probably several month ago. They do improvised dance performance once a month. Last Saturday, finally I managed to go and see their performance in a little modern church in Isligton.
There were three solos for 15 minutes each or so, and a duet for 20 minutes or so. The most remarkable point is that THEY ALL TALKED! It is not too unusual to talk in improvised dance but I would say it is one corner of improvised dance. They talk quite a lot, not only words, lots of lots of sentences. So basically they are telling absurd stories with talk and movement. It's funny. I laugh. But I can feel that the performer is trying to do something interesting so that people don't get bored. This brings me a question.
When I go to an improvised music gig, it seems that they are more going with the flow. They are not afraid of waiting until something comes up.
The approach in Henry's class is also like that. All the improvisers has gone through this kind of slow process for the body so that you can let the body's own intelligence come out.
But when improvisers perform, do they have to be out from the deep state of the body-centred? I don't mean that they have to stay in that state. The state always shifts and we go one to the other even in a second.
In a way, I felt a danger of improvised dance performance becomes comedy. Too much concern of the audience response changes the nature of improvisation.
This is an developing area, and we can try so much.
I feel I need to have a regular platform of improvisation dance, inspired by Amsterdam.
How can I make it happen?
There were three solos for 15 minutes each or so, and a duet for 20 minutes or so. The most remarkable point is that THEY ALL TALKED! It is not too unusual to talk in improvised dance but I would say it is one corner of improvised dance. They talk quite a lot, not only words, lots of lots of sentences. So basically they are telling absurd stories with talk and movement. It's funny. I laugh. But I can feel that the performer is trying to do something interesting so that people don't get bored. This brings me a question.
When I go to an improvised music gig, it seems that they are more going with the flow. They are not afraid of waiting until something comes up.
The approach in Henry's class is also like that. All the improvisers has gone through this kind of slow process for the body so that you can let the body's own intelligence come out.
But when improvisers perform, do they have to be out from the deep state of the body-centred? I don't mean that they have to stay in that state. The state always shifts and we go one to the other even in a second.
In a way, I felt a danger of improvised dance performance becomes comedy. Too much concern of the audience response changes the nature of improvisation.
This is an developing area, and we can try so much.
I feel I need to have a regular platform of improvisation dance, inspired by Amsterdam.
How can I make it happen?
Henry's class: jelly body
Following last Thursday, I went to a class with Henry Montes at ID. Henry is one of my favorite dancers. I admire his gentle careful fluid soft movement quality. His class description is the below:
Henry’s class is informed by his ongoing studies in Craniosacral Biodynamics. Focus of the class will be inquiry into the quality of the breath, tuning into our midline, grounding and orienting to space, how our fluids support our tissues, organs and how they in turn support our structure. Class will consist of open explorations, puzzles and culminate in set material, sometimes complex.
'how our fluids support our tissues, organs and how they in turn support our structure'
This is new concept to me. Structure means the skeleton and perhaps muscles. When we think about moving, we think about muscles moving bones. But the real quality comes from much subtler system in the body- fluid.
I was feeling pretty heavy this morning, but after the first exploration, I was tasting my movement.
I feel like I can keep moving forever.
I feel my body like jelly, and a flow in the body moves my body, so I don't need to make myself move.
I can feel some of my body parts has less flow than others.
Touch by a partner is a magic.
Then after a while, I don't need a touch any longer.
I keep getting stimulation from other people anyway.
The whole class was well thought and everything we did made a sense. With a great care of how the body feels, the building up of the class was smooth. It is art to deliver such a class. Rooted on experience and knowledge, I would like to be able to teach like that.
Henry’s class is informed by his ongoing studies in Craniosacral Biodynamics. Focus of the class will be inquiry into the quality of the breath, tuning into our midline, grounding and orienting to space, how our fluids support our tissues, organs and how they in turn support our structure. Class will consist of open explorations, puzzles and culminate in set material, sometimes complex.
'how our fluids support our tissues, organs and how they in turn support our structure'
This is new concept to me. Structure means the skeleton and perhaps muscles. When we think about moving, we think about muscles moving bones. But the real quality comes from much subtler system in the body- fluid.
I was feeling pretty heavy this morning, but after the first exploration, I was tasting my movement.
I feel like I can keep moving forever.
I feel my body like jelly, and a flow in the body moves my body, so I don't need to make myself move.
I can feel some of my body parts has less flow than others.
Touch by a partner is a magic.
Then after a while, I don't need a touch any longer.
I keep getting stimulation from other people anyway.
The whole class was well thought and everything we did made a sense. With a great care of how the body feels, the building up of the class was smooth. It is art to deliver such a class. Rooted on experience and knowledge, I would like to be able to teach like that.
Friday, 29 January 2010
Giovanni's class: yoga, movement and the world
On Thursday 28th, at last I managed to go to a class at ID by Giovanni Felicioni, whose classes I am always interested in but don't make it often for some reason. Here is a description of his class:
Giovanni Felicioni
Mon 25th – Thurs 28th January
Finding The Ground Finding The Sky | This Body -- No Body
In these morning classes, which help us orient for the day, we will take the Tonic Function Theory of Hubert Godard as the main theme of our embodiment explorations on ourselves alone and on ourselves with others.
We will look at how context and perception are the basic continuum in which human movement takes place in space and time.
How this gives rise to our resource and our missing gestures and all the before before activity that goes on to finally blossom as movement in our changing world.
The experiential nature of the class will hopefully satisfy our need to move and our need to know. The small pools, puddles and rivulets will hopefully satisfy our need to know and our need to move. Yoga
Well, I actually did not read this carefully before I went and because I went only once I have no idea what the Tonic Function Theory is. For me, it felt like what we looked in the class was something really broken down from yoga. I recognise this rotation of the shoulder or that extension of the leg from this and that yoga asana (position) but what we did was just the initiation of asana and we repeat slowly to understand with the bones and deep tissues, which leads me to the state of a half sleep, like I used to feel in a Pilates session. A half sleep must be a good state to work on the body deeply.
Yoga tends to be alone practice even in a class. What I liked in Giovanni's class was that we did a kind of duet work. How do I tune in or not tune in to my partner. Then another good thing here was that we kept swapping a partner so that it was more like encountering a person and have a little conversation, rather than sitting down with a cup of coffee and talk for hours. I like this not-so-deep communication. This is more like the world. I remember what Deborah Hay said in her workshop; "here and gone. here and gone." about a moment in time that we never be able to catch and hold.
From a simple movement we tried in the class, I realised a clear fact that I tend to forget. As Giovanni pointed I tend to initiate a movement from my core, which is the essence of Pilates. But in fact, that is not only kind of movement. There is a movement that is initiated by a push with the feet or a swing of the arm. I do know these from dance but do they exist in Pilates? I guess not. Then suddenly I see this small box of Pilates as movement. Movement has much more varieties and there is no right or wrong in the end (unless you hurt yourself). The complex brings the expression and the identity of the person.
Giovanni Felicioni
Mon 25th – Thurs 28th January
Finding The Ground Finding The Sky | This Body -- No Body
In these morning classes, which help us orient for the day, we will take the Tonic Function Theory of Hubert Godard as the main theme of our embodiment explorations on ourselves alone and on ourselves with others.
We will look at how context and perception are the basic continuum in which human movement takes place in space and time.
How this gives rise to our resource and our missing gestures and all the before before activity that goes on to finally blossom as movement in our changing world.
The experiential nature of the class will hopefully satisfy our need to move and our need to know. The small pools, puddles and rivulets will hopefully satisfy our need to know and our need to move. Yoga
Well, I actually did not read this carefully before I went and because I went only once I have no idea what the Tonic Function Theory is. For me, it felt like what we looked in the class was something really broken down from yoga. I recognise this rotation of the shoulder or that extension of the leg from this and that yoga asana (position) but what we did was just the initiation of asana and we repeat slowly to understand with the bones and deep tissues, which leads me to the state of a half sleep, like I used to feel in a Pilates session. A half sleep must be a good state to work on the body deeply.
Yoga tends to be alone practice even in a class. What I liked in Giovanni's class was that we did a kind of duet work. How do I tune in or not tune in to my partner. Then another good thing here was that we kept swapping a partner so that it was more like encountering a person and have a little conversation, rather than sitting down with a cup of coffee and talk for hours. I like this not-so-deep communication. This is more like the world. I remember what Deborah Hay said in her workshop; "here and gone. here and gone." about a moment in time that we never be able to catch and hold.
From a simple movement we tried in the class, I realised a clear fact that I tend to forget. As Giovanni pointed I tend to initiate a movement from my core, which is the essence of Pilates. But in fact, that is not only kind of movement. There is a movement that is initiated by a push with the feet or a swing of the arm. I do know these from dance but do they exist in Pilates? I guess not. Then suddenly I see this small box of Pilates as movement. Movement has much more varieties and there is no right or wrong in the end (unless you hurt yourself). The complex brings the expression and the identity of the person.
Friday, 22 January 2010
Rosemary's class: Deep, honest, simple
Rosemary Butcher is one of the greatest choreographer in UK, and I would always go and see her works.
I was fortunate to have her as my choreography teacher when I was studying at Laban, then I did her workshop at Independent Dance in winter 2008. First two weeks in January, she led professional morning classes at ID. This is quite unusual because she normally does not 'teach' a dance technique class like other teacher would do. She 'leads' a class where each participant explores their own identity in movement. Her class is very much based on her idea of dance, which is further beyond what most people would think. But it is like searching for the golden rule for human, not only dance. The truth is applicable to many other things and communicative to many other people.
The classes were very satisfying experience for me to explore movement, the body and the mind in the improvisation (if I may call it) clearly led by Rosemary's vision. It was challenging as usual to understand or interpret her abstract directions and suggestions. I like the state of mind I reach through the process, somewhere very deep, honest and simple.
How Rosemary leads and where I reach seem to be quite mystery to me and I would love to know more about it.
After the experience, I try to break down the journey in the classes so that the idea may be crystallised.
1) Starting point
We start from any comfortable positions, often lying on the floor. Rosemary gives some simple focuses on the body eg.) shoulder joints and hip joints, all the surface on the body, which part on the floor and which not, vertical line and horizontal line etc.
I would just do whatever the body wants to do following the instruction. The movement gradually gets more dynamic, and I start to see some kind of pattern of movement or the idea behind of some movement.
2) Defining vocabulary
Then I can consciously be aware of my vocabulary in this session. I will keep this in my mind and will come back to the vocabulary when I feel lost. On the other hand, the door is half open for anything new to come in. The vocabulary map keeps slightly changing according to the new comers.
3) Change of energy
This is the most challenging part. Rosemary suggests to change the focuses of what we are experimenting in very abstract way. The interpretation of her words is up to the individual, and I always a bit of struggle in myself asking 'is this what she is asking for?'. I can do only what I have understood. It is quite easy to give up here and stop moving. But the most important things would be not to loose trust in myself. After the struggle, the cloud gets clearer in myself and start seeing different games and qualities emerging. If lucky, I can have some imagination and some kind of narratives, which would probably make very strong performance if you see from the audience point of view.
4) Letting outside come in
Up till here, the journey is pretty much personal. There are no connection to other people around. After working personally for a while, there is a point where I can keep the personal connection inside me without caring too much and can open my eyes to people and space around me. This gives me other possibilities of movement that does not belong to my vocabulary map, and it will trigger the map to be broaden whether the movement stays in the map or not. I have a danger to loose my own internal journey and go with the new stimuli from outside so I will remember to anchor myself down.
5) Abandon the memory, and start again
This is optional. Rosemary once told us to stop and leave the memory of the journey behind. Start from the blank campus. But can it be completely blank? What is remained?
6) Reflection
At the end, just remembering and digesting the experience. We can do whatever- move, write, watch... I try to retrace the journey.
I was fortunate to have her as my choreography teacher when I was studying at Laban, then I did her workshop at Independent Dance in winter 2008. First two weeks in January, she led professional morning classes at ID. This is quite unusual because she normally does not 'teach' a dance technique class like other teacher would do. She 'leads' a class where each participant explores their own identity in movement. Her class is very much based on her idea of dance, which is further beyond what most people would think. But it is like searching for the golden rule for human, not only dance. The truth is applicable to many other things and communicative to many other people.
The classes were very satisfying experience for me to explore movement, the body and the mind in the improvisation (if I may call it) clearly led by Rosemary's vision. It was challenging as usual to understand or interpret her abstract directions and suggestions. I like the state of mind I reach through the process, somewhere very deep, honest and simple.
How Rosemary leads and where I reach seem to be quite mystery to me and I would love to know more about it.
After the experience, I try to break down the journey in the classes so that the idea may be crystallised.
1) Starting point
We start from any comfortable positions, often lying on the floor. Rosemary gives some simple focuses on the body eg.) shoulder joints and hip joints, all the surface on the body, which part on the floor and which not, vertical line and horizontal line etc.
I would just do whatever the body wants to do following the instruction. The movement gradually gets more dynamic, and I start to see some kind of pattern of movement or the idea behind of some movement.
2) Defining vocabulary
Then I can consciously be aware of my vocabulary in this session. I will keep this in my mind and will come back to the vocabulary when I feel lost. On the other hand, the door is half open for anything new to come in. The vocabulary map keeps slightly changing according to the new comers.
3) Change of energy
This is the most challenging part. Rosemary suggests to change the focuses of what we are experimenting in very abstract way. The interpretation of her words is up to the individual, and I always a bit of struggle in myself asking 'is this what she is asking for?'. I can do only what I have understood. It is quite easy to give up here and stop moving. But the most important things would be not to loose trust in myself. After the struggle, the cloud gets clearer in myself and start seeing different games and qualities emerging. If lucky, I can have some imagination and some kind of narratives, which would probably make very strong performance if you see from the audience point of view.
4) Letting outside come in
Up till here, the journey is pretty much personal. There are no connection to other people around. After working personally for a while, there is a point where I can keep the personal connection inside me without caring too much and can open my eyes to people and space around me. This gives me other possibilities of movement that does not belong to my vocabulary map, and it will trigger the map to be broaden whether the movement stays in the map or not. I have a danger to loose my own internal journey and go with the new stimuli from outside so I will remember to anchor myself down.
5) Abandon the memory, and start again
This is optional. Rosemary once told us to stop and leave the memory of the journey behind. Start from the blank campus. But can it be completely blank? What is remained?
6) Reflection
At the end, just remembering and digesting the experience. We can do whatever- move, write, watch... I try to retrace the journey.
Thursday, 29 October 2009
Documentaries on Dance
Dance Umbrella 2009 is on now and you can find two videos related.
Heroes, Michael Clark
Common Dance, Rosemary Lee
I have to buy a ticket for Common Dance.
Heroes, Michael Clark
Common Dance, Rosemary Lee
I have to buy a ticket for Common Dance.
Tuesday, 27 October 2009
Sunday, 25 October 2009
New blog, Floating Worlds
I have started a new blog, which focuses on the creative process of Ukiyo. This is a development of the idea I wrote on Documentation, score and creation. I am hoping other project members join and we can exchange and share our thoughts and imaginations. Let's see...
Floating Worlds
Floating Worlds
Pick n Mix @Woolworths, Laytonstone
This was my kind of performance.It was not the most glamourous event as you can imagine from Woolworths (yeah it is the big chain shops that had went burst. They used to sell cheap stationaries, school clothes etc.). But in terms of the unusual space and also the audience group that may include lots of local people (look like lots of Asian?), I have found interesting.
The work, Catch,we are performing has been touring for more than 3 years so you may have seen it before, but in this site, the abstract work started having completely different meaning, which I found from the rehearsal.
It had been a great fun to adapt the movement in order to fit into the different shape of the space with some pillars that the viewers naturally read the relationship to the dancers.
Despite the hard floor and other lacking facilities, I love performing in this kind of space and more cusual settings.
And people...
From the conversation of Fearghus talking to the audience as introduction.
Furghus: Have you been to a real theatre?
Kids: Noooo.
A kid: Popcorn!!
It is not bad feeling to have an idea that we are influencing people.
I would love to have more of this kind of opportunities.
Friday, 25 September 2009
Documentation, score and creation
Last evening, I went to a seminar at London Metropolitan University.
---
Recording the Performance
Investigating Performance and its Documentation
-Is it possible to effectively and truthfully document the live performance?
-Is this process different for performance based research than for other performance?
-Can the work, as documented, stand alone without further academic writing to support it?
-What does the process of documentation reveal about the work?
-What are the ethical and legal implications?
---
Last May, I was part of Weave research project, which is part of this whole series of researches into documentation. I know 'documentation' is a large issue among academics in performing arts, and I don't know too much about it.
How I am related to the issue is; when I was finishing MA in 2002, I had to show the documentation of the process and also the final performance. There was a question about how I can document- writings, journal, video footage, drawings etc. Then I had a big struggle of translating what I have gone through into what other people would understand. It was a headache.
While I was listening to the presentations and discussion in the seminar, I have realised that this blog is also a documentation. A documentation of events and thoughts I have gone through.
By the way, Documentation is not equal to presentation. There are two kinds of documentation: one is to present my idea to someone. The other is to digest my experience and to go further from there. I see more potential in the latter. The idea agrees with a focus on the process rather than the product, which has lots to do with dance creation.
Deborah Hay, an American choreographer, makes written score as part of her dance practice. Move-write the score- move again- write the score again... the activitiy goes on and goes up like a spiral.
A British choreographer, Rosemary Butcher also uses a kind of score, but for her it tends to be pictures or drawings to start with then once you had a departure, your memory makes a score. The moments you remember are the source for next move, then new things come in, then you have another moments you remember... and the activity goes on and the moements remained get compressed and crystallised.
The potential and importance of documentation are so huge. I have been trying to find my own way of blogging but it is actually means my own way of documenting. It reminds me my old day when some one taught me how to take notes in classroom. It is like that. How you document really matters.
---
Recording the Performance
Investigating Performance and its Documentation
-Is it possible to effectively and truthfully document the live performance?
-Is this process different for performance based research than for other performance?
-Can the work, as documented, stand alone without further academic writing to support it?
-What does the process of documentation reveal about the work?
-What are the ethical and legal implications?
---
Last May, I was part of Weave research project, which is part of this whole series of researches into documentation. I know 'documentation' is a large issue among academics in performing arts, and I don't know too much about it.
How I am related to the issue is; when I was finishing MA in 2002, I had to show the documentation of the process and also the final performance. There was a question about how I can document- writings, journal, video footage, drawings etc. Then I had a big struggle of translating what I have gone through into what other people would understand. It was a headache.
While I was listening to the presentations and discussion in the seminar, I have realised that this blog is also a documentation. A documentation of events and thoughts I have gone through.
By the way, Documentation is not equal to presentation. There are two kinds of documentation: one is to present my idea to someone. The other is to digest my experience and to go further from there. I see more potential in the latter. The idea agrees with a focus on the process rather than the product, which has lots to do with dance creation.
Deborah Hay, an American choreographer, makes written score as part of her dance practice. Move-write the score- move again- write the score again... the activitiy goes on and goes up like a spiral.
A British choreographer, Rosemary Butcher also uses a kind of score, but for her it tends to be pictures or drawings to start with then once you had a departure, your memory makes a score. The moments you remember are the source for next move, then new things come in, then you have another moments you remember... and the activity goes on and the moements remained get compressed and crystallised.
The potential and importance of documentation are so huge. I have been trying to find my own way of blogging but it is actually means my own way of documenting. It reminds me my old day when some one taught me how to take notes in classroom. It is like that. How you document really matters.
Monday, 17 August 2009
Dance improvisation blogs
I have been looking for a way,
- a way to explore my improvisation practice further
- a way to feel happy with my dance practice and myself
- a way to keep my interests in dance, movement, space and the body
After some internet-surfing, I have found these blogs:
dance improvisation practices
http://slightly.net/improv/
Daily Practice
http://dailypractice.wordpress.com/
It is fresh for me to see a couple of practitioners having conversations and deepening their thoughts through a blog. They are extremely open to let other people read and join in their thinking process. It is a real exploration into a matter without competitions of power, money or career.
My internet-surfing started in the confused state when I started looking at some pictures and video footage from Fragments. My own experience was profound during the creation and the performances. I have had so many discoveries on the construction of the narrative of the performance in relation to the original novel by Gogol, the architectural space in the family room at Clarence Mews, the installation by Jairo and Nicola and my own moving body. The process was like unfolding a secret that has been hiding under all the clutters of these objects. As repeating the improvisation performance, I started seeing "the truth" of this performance.
What I saw in still and moving images three weeks after the actual performance was very different. I was rather disappointed since I did not feel the images reflected my subjective narrative that I was so engaged to unfold.
I was also thinking the practicality of development and continuation of this project; looking for opportunities for funding and performance.
These two experiences of looking at a work from outside did not please me very much. I felt my mood getting low and low.
Then I ask myself "Why do I dance?"
When I started dancing, I enjoyed every single class I took. A class for 1.5 hour contained full of discoveries. I did not think where those classes would take me. I just enjoyed myself in the moment.
After 20 years (oh my god!), now I think a lot where my practices will take me and how my project can go further. And this is no fun.
I think my attitude now is no right. It does no good either.
Two blogs I mentioned at the beginning give some excitement to me. Yes I do enjoy the process of dance practice, rather than dance as product. And that's why I have been interested in improvisation these years. There are so much I can explore.
It is about the journey, not where I reach.
- a way to explore my improvisation practice further
- a way to feel happy with my dance practice and myself
- a way to keep my interests in dance, movement, space and the body
After some internet-surfing, I have found these blogs:
dance improvisation practices
http://slightly.net/improv/
Daily Practice
http://dailypractice.wordpress.com/
It is fresh for me to see a couple of practitioners having conversations and deepening their thoughts through a blog. They are extremely open to let other people read and join in their thinking process. It is a real exploration into a matter without competitions of power, money or career.
My internet-surfing started in the confused state when I started looking at some pictures and video footage from Fragments. My own experience was profound during the creation and the performances. I have had so many discoveries on the construction of the narrative of the performance in relation to the original novel by Gogol, the architectural space in the family room at Clarence Mews, the installation by Jairo and Nicola and my own moving body. The process was like unfolding a secret that has been hiding under all the clutters of these objects. As repeating the improvisation performance, I started seeing "the truth" of this performance.
What I saw in still and moving images three weeks after the actual performance was very different. I was rather disappointed since I did not feel the images reflected my subjective narrative that I was so engaged to unfold.
I was also thinking the practicality of development and continuation of this project; looking for opportunities for funding and performance.
These two experiences of looking at a work from outside did not please me very much. I felt my mood getting low and low.
Then I ask myself "Why do I dance?"
When I started dancing, I enjoyed every single class I took. A class for 1.5 hour contained full of discoveries. I did not think where those classes would take me. I just enjoyed myself in the moment.
After 20 years (oh my god!), now I think a lot where my practices will take me and how my project can go further. And this is no fun.
I think my attitude now is no right. It does no good either.
Two blogs I mentioned at the beginning give some excitement to me. Yes I do enjoy the process of dance practice, rather than dance as product. And that's why I have been interested in improvisation these years. There are so much I can explore.
It is about the journey, not where I reach.
Tuesday, 28 July 2009
Merce Cunningham
Merce Cunningham, the revolutionary American choreographer, died 26th July at his home in Manhattan. He was 90.
I have been impressed and inspired by his thinking and his works now and then. Here are some words I have seen this time.
"For a dancer, dance is an adventure in time and space. A choreographer is an observer."
Mr. Cunningham often spoke and wrote movingly about the nature of dance and would laugh about its maddening impermanence. “You have to love dancing to stick to it,” he once wrote. “It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive.”
Original article
http://www.nytimes.com/2009/07/28/arts/dance/28cunningham.html?pagewanted=1&_r=2
What is dance?
Why do I dance?
These are the questions to be asked and to be explored, forever.
I went to The Place to take a class this morning and unexpectedly the teacher taught Cunningham technique. if I had known, I had not gone to the class but in fact it was nice to revisit Cunningham technique and think and feel what he has done.
What a coincidence.
Chance and Event.
Very important ideas that Cunningham introduced are relevant in everyday life beyond dance, and that's what fascinates me.
Probably, Merce Cunningham has influenced me more than I am aware of.
It is a huge loss for us.
I have been impressed and inspired by his thinking and his works now and then. Here are some words I have seen this time.
"For a dancer, dance is an adventure in time and space. A choreographer is an observer."
Mr. Cunningham often spoke and wrote movingly about the nature of dance and would laugh about its maddening impermanence. “You have to love dancing to stick to it,” he once wrote. “It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive.”
Original article
http://www.nytimes.com/2009/07/28/arts/dance/28cunningham.html?pagewanted=1&_r=2
What is dance?
Why do I dance?
These are the questions to be asked and to be explored, forever.
I went to The Place to take a class this morning and unexpectedly the teacher taught Cunningham technique. if I had known, I had not gone to the class but in fact it was nice to revisit Cunningham technique and think and feel what he has done.
What a coincidence.
Chance and Event.
Very important ideas that Cunningham introduced are relevant in everyday life beyond dance, and that's what fascinates me.
Probably, Merce Cunningham has influenced me more than I am aware of.
It is a huge loss for us.
Thursday, 9 April 2009
Experimenting with two -with Lena
Experimenting with two. from Lena Optic on Vimeo.
One morning, Lena and I had some playful time together, using her unique sound feedback system. An experiment in sound and movement.
Lena has editted the video from the rehearsal and written some thoughts on her blog.
Lena flied back to US a week later.
Thank you, Lena. Our paths will cross again in the future!
One morning, Lena and I had some playful time together, using her unique sound feedback system. An experiment in sound and movement.
Lena has editted the video from the rehearsal and written some thoughts on her blog.
Lena flied back to US a week later.
Thank you, Lena. Our paths will cross again in the future!
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