I am reading
Vilém Flusser Vampyroteuthis infernalis: His Art1
The pernicious rise of Poptimism
THE NEW YORK TIMES DOESN'T KNOW SHIT ABOUT "POPTIMISM"
SPANGBERGIANISM Nice Girlfriend Choreography
Normcore: the report that started it all…
Dissolving the notion we have answers
-Creating something in the here and now
-Something that is porous and fluid
-Something unconcerned with an outcome
-Something that is turning its back on the future.
-I am putting the means before the ends.
-NO to“end gaining” (one of my favorites from Alexander technique.)
'The more obstinately you try to learn how to shoot the arrow for the sake of hitting the goal, the less you will succeed.' Eugen Herrigal ~ Zen in the Art of Archery
I am trying to undermine what I see as fixed, binary and rigid in relation to my body and making choreography.
I am not sure how to measure something I don’t understand nor experience something I am unfamiliar with.
The way I measure my progress is something I have learned.
Rejecting purity and perfection
-I am trying to reorganize my brain/body.
-Everything is a contradiction
-I am repurposing objects
-I am embracing my physicality
-Embracing what feels innate and biological
-I am allowing imprints to surface
-I acknowledge how people, memories and experiences have colonized my body rather than tricking myself into thinking I am discovering something new, I am accepting what’s unfolding as it happens.
I read there are two basic categories of memory, implicit and explicit. Explicit is conscious memory requiring language, concepts, facts and thoughts. Implicit memory is unconscious, created from emotions, sensations, movements and automatic procedures. “Body memory” or “somatic memory” is intercommunication between the brain and the body’s nervous systems: automatic, sensory and somatic. Our brain stores these patterns forever.
As humans, we often entrust our memory to objects, carving them into stone, writing them into books to create some kind of permanence. We have left a trace so thorough that any alien could descend on earth, wipe us out and then recreate an approximate but reasonably accurate version of human civilization.
Philosopher Vilem Flusser speaks about the Vampire Squid from Hell “Vampyroteuthis Infernalis.In this book – part post human philosophical text, part sendup, part scientific essay, he writes about the Vampire Squid in relation to human beings with a science fiction spin. The Vampire Squid from hell stores memories and information in its cellular makeup. Flusser uses the squid as an example of a post-Fordist thinking model. He speaks of the “Artist” in a traditional sense (the painter, the sculpture etc) as a fool for assigning their memories to objects. The vampire squid on the other hand “rapes the minds” of its victims, which are also its lovers. Info goes from cell to cell without a conduit. This transmission of information is not dissimilar to the mysterious and slippery ambiguity of dance.
Australian choreographer, peer and collaborator Jo Lloyd speaks about “white bread,” the dance that happens in between the good stuff, the stuff we tend to cut out. Maybe this “boring” dance is necessary, what if it was the good stuff?
A slightly different idea but perhaps relevant, Swedish choreographer Marten Spangberg speaks of “Nice Girlfriend choreography” as choreography that fits like a hand in glove, easy to digest, a perfect match. Both choreographers use these analogies as negatives – something to run away from screaming. But maybe there is something more to look at here. Maybe it’s through these predictable and banal dances we can undo what we know.
-I think about becoming “Normcore,”
-I think about becoming “Poptimistic.”
-I think about being in the margin, not an outlier.
-I think about being a dance spy
-Warming up for the dance is part of the dance
-Do anything you want
-Don’t try to be creative
-Don’t try to be meaningful
-Dance to the music, dance against the music
-Get lost in it, don’t think to hard, go there
-Pleasure seeking is allowed/ encouraged
-Don’t over analyse
-Take up space
-Dance like no one is watching
I discovered you can do green screen effects on IPhoto. So easy, like wow! Magic.
Deep Sea Dances
Studio Day 1 and 2
My research for Deep Sea Dances is looking to the bottom of the ocean for influence, only two per cent of which has been explored by humans and is home to the strangest, most elusive creatures on earth. Our common ancestors dominated the beach for millions of years and it is until relatively recently that our paths diverged, advancing away from the beach toward the mainland and in the opposite direction.
These species are perhaps not as alien to us as we think. Maybe we learn about ourselves from the other end of evolution?
This work will not be a representation of the Deep Sea. Perhaps it is more of a response to reductive systems that do not serve everyone in society, in dire need of reconfiguration. I want to reimagine ways of operating within seemingly fixed structures by attempting to undo what we think we know, in order to learn something new.
This week I start with a “Whale Fall.”
This when the carcass of a whale has fallen into the Bathyal or Abyssal zone on the ocean floor, providing sustenance to deep sea organisms for decades. This metaphor is interpreted as a group unison dance that gradually deconstructs over time. I am using this as an analogy for my research. I have opened out from my departure point like a web. These first few days have been open to tangents allowing my ideas to have new lives, new configurations and new combinations
What I am looking at:
-Forms of protest
-PLUR rave/club culture. The ideology of Peace Love Unity respect. I am looking at raves and clubs representing a modern ritualistic experience promoting togetherness (DJ Sprinkles: ‘Music is the least interesting thing about clubs) no matter who you are and where you’re from. Clubs were places for activism and social change. This movement has shifted into the mainstream, become increasingly heteronormative and exclusive.
-The Rite Of Spring. A ballet and orchestral work by Stavrinsky and Nijinsky. This work was not received well and caused a near riot in the audience. I am compelled by the dissonance of the music, movement and the history of this work as well as the impact it has made on performance.
-Diving into the unknown
-The Deep Sea/ the giant Abyss
What I am doing:
-Feldenkrais technique with Jodie Krantz. This feels like a relevant way to warm up and tune into my body, noticing my habits and the discrepancies from left side to right side, finding ways to reprogram my pathways at a deep internal level.
-Dancing the history in my body
-Dancing the bits “in between” - I am trying o figure out what this means or how to do this, as I realize nothing is really in between anything.
-Choreographing 2Dimensional mime dances from Google image searches of deep Sea creatures
-Treating every movement with equal value, trying to create a dance free from hierarchies. Being strict with myself to not prioritize what feels familiar and trusting that the stuff that feels strange and maybe even boring is where it’s.
-Reading Rebecca Solnits, Hope in the Dark. I am struck by her selection of radical but often forgotten moments in history, as she draws on decades of activism. Highlight moments we didn’t perceive as victories when in fact they were vital happenings, seeds planted. This book makes me want to cry in its wholehearted embracing of uncertainty, remembering the consequences of our acts are not always immediately measureable.
-Listening to Frankie Bones and creating synth bass lines
-Repurposing everyday objects to create impromptu percussion instruments and extend my body into something less familiar
-Listening to and trying to write a protest song. Finding inspiration from progressive thinkers, leaders, activists and song writers.
“Utopia is on the horizon…When I walk two steps it takes two steps back. I walk ten steps and it is ten steps further away. What is Utopia for? It is for this, for walking. “ Eduado Galeano
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