tag:blogger.com,1999:blog-10411367599987061822024-03-12T22:42:42.436-03:00Noted and Contemplated- * - ideas from body and space - * -Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.comBlogger40125tag:blogger.com,1999:blog-1041136759998706182.post-5208392528344506882016-02-01T18:46:00.003-04:002016-02-01T20:12:43.289-04:00Adventure Roulette - a collectively written story<span style="color: #e69138;"><b><span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">Jan 30/31, 2016 </span></span></b></span><br />
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<span style="color: #e69138;"><b><span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">Destination: Warden’s Cabin, Three Mile
Lake</span></span></b></span></h2>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA"><span style="font-family: "georgia" , "times new roman" , serif;">Winter Camping </span>Party: Tristan, Avalon, Sara, Erica,
Morgan, Angharad</span></span><br />
<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">Trip <span style="font-family: "georgia" , "times new roman" , serif;">detai<span style="font-family: "georgia" , "times new roman" , serif;">l<span style="font-family: "georgia" , "times new roman" , serif;">s</span></span></span> left behind in the Cabin Log Book. </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">The storm from the night before had just
settled and we decided to make way for the cabin deep in the woods. We decided
to play adventure roulette, completely unsure whether the lakes would be frozen
or not. <i style="mso-bidi-font-style: normal;">[dangerous music plays ominously]</i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA"><i style="mso-bidi-font-style: normal;"><span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA"><a href="http://1.bp.blogspot.com/-nJXJyKxv3LM/Vq_eq2scW4I/AAAAAAAAANY/4INm2cAb5p0/s1600/IMG_2904.JPG"><img border="0" height="240" src="http://1.bp.blogspot.com/-nJXJyKxv3LM/Vq_eq2scW4I/AAAAAAAAANY/4INm2cAb5p0/s320/IMG_2904.JPG" width="320" /></a></span></span> </i></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">The first emergency put upon us required us
to put the Aussie’s feet in plastic bags after he stepped in water testing the
integrity of the edge of the lake, (it would be the first of many wet feet).<span style="mso-spacerun: yes;"> </span>It was a unanimous vote that would ultimately
save the integrity group for the duration of the trip. The Lady wolf pack was determined
the Aussie’s toes would not freeze on his first Canadian winter adventure.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">The first leg of the trip was too bushwhack
from Aerotech to the first lake, battling through brush with skis and tangling
ourselves in the low hanging branches holding us back.<span style="mso-spacerun: yes;"> </span>Having made it to the lake, we made the risky
decision to transverse the lake on the half-slush half-ice rather than hacking
through the dense undergrowth following the edge of the lake to stay on safe and
solid ground. We took the risk. Here the skis help distribute our weight<span style="font-family: "georgia" , "times new roman" , serif;">, </span>but those on pokey feet
had to keep moving constantly so that they didn’t slowly sink through
the soft slush<span style="font-family: "georgia" , "times new roman" , serif;">;</span><span style="font-family: "georgia" , "times new roman" , serif;"> </span>all that was keeping them from the icy depths below.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA"><span style="font-family: "georgia" , "times new roman" , serif;">We finally </span>made it to the end of the first
lake to begin our fruitless search for the portage trail. Determining that it
was an unmarked trail we abandoned our skis and followed a compass bearing
through the brush towards the next Lake. </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">After surviving the first crossing our
confidence grew too much and we set forth on the lake #2, ignoring the soft ice
slush cover once again. <span style="font-family: "georgia" , "times new roman" , serif;">Thirt<span style="font-family: "georgia" , "times new roman" , serif;">y </span></span>steps in and unaware of our very dense traveling
pack the unimaginable happened, even though we spent the first leg of our trip
imagining this very scenario. A foot in the orange jumpsuit went through the
ice up to the knee. The howls and panic that were released shook the forest. We
froze figuratively<span style="font-family: "georgia" , "times new roman" , serif;">, and ant<span style="font-family: "georgia" , "times new roman" , serif;">icipated the physical <span style="font-family: "georgia" , "times new roman" , serif;">freeze doomed for our f<span style="font-family: "georgia" , "times new roman" , serif;">riend<span style="font-family: "georgia" , "times new roman" , serif;">'s toes<span style="font-family: "georgia" , "times new roman" , serif;">,</span></span></span> </span></span></span><i style="mso-bidi-font-style: normal;">[ominous danger music volume increases].</i> </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">Surprisingly
the magic orange jumpsuit was a good water shield<span style="font-family: "georgia" , "times new roman" , serif;"> and </span>the foot d<span style="font-family: "georgia" , "times new roman" , serif;">id</span> not freeze <span style="font-family: "georgia" , "times new roman" , serif;">- </span>no garbage bag first-aid vote was needed and the integrity of the f<span style="font-family: "georgia" , "times new roman" , serif;">ro<span style="font-family: "georgia" , "times new roman" , serif;">zen </span></span>l<span style="font-family: "georgia" , "times new roman" , serif;">ake held</span>.<span style="mso-spacerun: yes;">
</span>The pack decided to push forward doubling our roulette adventure on the
stupidity of crossing the slushy pit of death/danger, AKA the technically
unfrozen lake.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">Safely reaching the other side with only
one wet shin, we made it to the second portage trail. Thankfully this time the
clearing was marked. Trudging through this trail was a slush hopscotch competition,
which resorted to a full speed harsh-bardge <span style="font-family: "georgia" , "times new roman" , serif;">tactic and </span>we made like the gods and
floated across the marsh with will and speed (while screaming like barbarians).</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">Making it to lake #3 we checked <span style="font-family: "georgia" , "times new roman" , serif;">the</span> map and
voted if we should make a deviation in <span style="font-family: "georgia" , "times new roman" , serif;">our </span>route plan (headed by Tristan). Mid-lake, now crossing
with a tentative confidence, we veered left and bushwhacked uphill.<span style="mso-spacerun: yes;"> </span>This effort outweighed possible death as we
eyed open water at the end of the lake.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA">After clawing our way through the near
vertical wilderness, we spotted the pond far below us. We made a descent like
giant awkward winter otters, skirted around it to the left, and to our dismay found
ourselves faced with another snowy ascent.<span style="mso-spacerun: yes;">
</span>As the dusk began to <span style="font-family: "georgia" , "times new roman" , serif;">close in on us</span>, we half crawled half-staggered up the ridge
over boulders and bent branches.<span style="mso-spacerun: yes;"> </span>Again we
crested and slid down the snow covered nature slide on our bums<span style="font-family: "georgia" , "times new roman" , serif;">, </span>channe<span style="font-family: "georgia" , "times new roman" , serif;">lin<span style="font-family: "georgia" , "times new roman" , serif;">g</span></span> our inner winter otter once again. <span style="mso-spacerun: yes;"> </span>Then to our delight, up ah<span style="font-family: "georgia" , "times new roman" , serif;">ead<span style="font-family: "georgia" , "times new roman" , serif;"> </span></span>Tristan let out a triumphant
yell.<span style="mso-spacerun: yes;"> </span>We found the
cabin and would not be sleeping in the snow<span style="font-family: "georgia" , "times new roman" , serif;">!</span> </span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span lang="EN-CA" style="font-size: 12pt;">Thank
you so much nature loving community for maintaining this beautiful little cabin, we are thrilled for
the shelter and adventurous trek.<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"> </span>H</span>owev<span style="font-family: "georgia" , "times new roman" , serif;">er,<span style="font-family: "georgia" , "times new roman" , serif;"> <span style="font-family: "georgia" , "times new roman" , serif;">we </span></span></span>honestly do not know how one would get
through those portage trails with a canoe <span style="font-family: "georgia" , "times new roman" , serif;">over</span>head; </span>
<span lang="EN-CA" style="font-size: 12pt;">perhaps
summer travel is much more easier.</span></span></div>
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Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-60623465753714879702015-12-30T18:05:00.002-04:002015-12-31T00:25:16.516-04:00Facing Courage like a Goat<div style="text-align: center;">
<a href="http://2.bp.blogspot.com/-k_jCe4MoH0o/VoRUwGxuKYI/AAAAAAAAAMM/Cvryy67Ve-A/s1600/20141115_0301b2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://2.bp.blogspot.com/-k_jCe4MoH0o/VoRUwGxuKYI/AAAAAAAAAMM/Cvryy67Ve-A/s320/20141115_0301b2.jpg" width="320" /></a><a href="http://4.bp.blogspot.com/-bA-fI--vmt0/VoRUNlJfF0I/AAAAAAAAAL4/YLlpWHmp2ao/s1600/_MG_1609.JPG" style="margin-left: 1em; margin-right: 1em;"></a> </div>
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<b>I wish I was a goat</b><b> </b></h3>
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<span style="font-weight: normal;">text from</span><i> 'the moment before the moment your heart stops</i><b>'</b></h4>
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<b> </b></h4>
We’ve just climbed above the treeline.<br />
There are mountains all around, an expansive vista.<br />
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I am confounded by the amount of unknowns held within this landscape.
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I see your face staring back at me. I see you seeing me.
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I just want to curl into a ball and melt into the snow… (with you).
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This is going to take awhile,<br />
I am stuck on whimper ridge.<br />
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**** <br />
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I see your face staring back at me. <br />
I see my reflection in the wet glass of your cornea.
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<br />
They say falling in love takes 4 minuets of stillness.
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<br />
I go to take another step and my foot starts to slide backwards.
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I can’t breathe or I am breathing to quickly. <br />
I know this fear is not rational; there is no chance I’d actually fall the whole way down the mountain. <br />
Starting over isn’t an option.<br />
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**** <br />
<br />
18, 921, 600 minutes have passed, as I stand on the edge.<br />
I have only felt that glorious 4 minuets once. <br />
I wonder if I will ever get off this mountain. <br />
<br />
I see you see me,<br />
I stare back at you.<br />
My eyes are full of the sun as I stand exposed above the treeline. My foot slips, my heart stops.<br />
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<a href="http://1.bp.blogspot.com/-jDQP4VW0HjQ/VoRU1hPei8I/AAAAAAAAAMU/dEuDYibeajs/s1600/20141115_0339b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-jDQP4VW0HjQ/VoRU1hPei8I/AAAAAAAAAMU/dEuDYibeajs/s320/20141115_0339b.jpg" width="320" /></a> </div>
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****<br />
<br />
I am stuck here on whimper ridge.<br />
I feel the porousness of my capillaries, the blood slips through picking up the oxygen as the heart prepares for the next moment. A supportive reflex in these cliffs and valleys.<br />
<br />
<b>I wish I was a goat.</b><br />
<br />
So that way, when I feel pinned up against a cliff, it would be in my genetic make-up not to be afraid to make that leap.
<br />
<br />
I could release my foothold and let the unknown catch me.<br />
Slowly narrowing the gap that’s just beyond my reach.<br />
<br />
I’ve just climbed above the tree line, there are mountains all around – an expansive vista of unknowns.<br />
<br />
<b>I wish I was a goat.</b><br />
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Performed at the Osprey Arts Centre (Shelburne, November 2014) and Kinetic Studio (Halifax, February 2015. ) Originally created at Smith College, Fall 2013. Photos by Lisa Bauchanan and Petra O'Toole.Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com3tag:blogger.com,1999:blog-1041136759998706182.post-8270943407828618532015-12-14T18:58:00.000-04:002016-02-01T18:59:08.346-04:00Winning over the tough crowd<div class="MsoNormal">
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I invited a tough crowd into the studio today to witness the creative process of making a dance piece. </div>
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Students from Dartmouth High School's (DHS) Dance 11 program got to take a field trip across the bridge and join Gillan, Brian and I in the studio today to witness us work and watch a run of the piece.</div>
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Throughout this fall, I have been working with the DHS Dance 11 students teaching movement and composition classes at their school, and I also had the pleasure of sharing some partnering skills to the school's improv team. Getting to know the group over time has been rewarding and it has been lovely to witness the group try new things and begin to believe in their creative potential.</div>
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Today the tables turned, and I put myself (and my collaborator Gillian Seaward-Boone) to the test by trying a completely new section, "testing the waters so to speak" in front of a room full of (sometimes unenthusiastic) viewing eyes. Gillian and I had the job of remaining present to the work and trying completely new things, while trying not to get distracted by the set of twenty eyes on us. We juggled the job of remaining welcoming so that we could share our strange and wonderful world called "the unknowns in creative process" yet remain efficient and plough through our day's to do list despite the full house. </div>
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After witnessing us work for an hour, we did a run of the piece for the students. Although there are still a lot of gaps in the work and many details to work out, the skeleton of the piece is getting stronger with each run. </div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><span style="font-weight: normal;">Below is the commentary and thoughts from my toughest critics yet:</span></span></b><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA">Dartmouth
High Studio Visit Day with Mocean Dance </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA">What
skill sets / personality qualities, and communication tools do you see at work
in the studio? </span></b></div>
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<li><span lang="EN-CA">Lots of enthusiasm, you could tell the
dancers love what they do. </span></li>
<li><span lang="EN-CA">It wasn’t as serious as I thought it would
be, but more fun and energetic. They laughed but were very professional. </span></li>
<li><span lang="EN-CA">A lot of communication and they are very
creative. </span></li>
<li><span lang="EN-CA">They worked together as a team and while
they were brainstorming one is listening to someone who’s talking. Each gave
their ideas and did their part. </span></li>
<li><span lang="EN-CA">A lot of effort.</span></li>
<li><span lang="EN-CA">Agreeing upon things. Open to new things,
learn to do things you don’t like a whole lot.</span></li>
<li><span lang="EN-CA">You guys like figuring things out together,
instead of one person figuring it out and teaching the other person. </span></li>
<li><span lang="EN-CA">Laptops, mirrors, microphones and a lot of
physics.</span></li>
<li><span lang="EN-CA">The fact that they are positive and
straightforward to the point and they’re very focused. </span></li>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA">What
images, themes, and associations do you see in the piece or does it remind you
of? </span></b></div>
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<li><span lang="EN-CA">Makes me think of <span style="mso-spacerun: yes;"> </span>a battle within their own head that is being
played out so that an audience can see what one deals with in their minds.
Trying to trust one another.</span></li>
<li><span lang="EN-CA">I see someone wanting to love someone but
the other person does not want to love them. </span></li>
<li><span lang="EN-CA">I see a lot of mirror and push.</span></li>
<li><span lang="EN-CA">Helping someone when they need it.</span></li>
<li><span lang="EN-CA">People telling you what to do and it
getting stuck in your head. </span></li>
<li><span lang="EN-CA">Human growth, inner voice, survival,
growing up, circle of life, sadness, inner demons, restarting.</span></li>
<li><span lang="EN-CA">It reminds me of sadness, nature, your inner
self. </span></li>
<li><span lang="EN-CA">This piece reminds me of the struggles in
life with all the people in the world that try to bring you down. </span></li>
</ul>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA"><a href="http://1.bp.blogspot.com/-G-1n7DBQrZ8/Vm9w8sd8pfI/AAAAAAAABQo/mUfsujtmyj8/s1600/IMG_0036.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="174" src="http://1.bp.blogspot.com/-G-1n7DBQrZ8/Vm9w8sd8pfI/AAAAAAAABQo/mUfsujtmyj8/s320/IMG_0036.jpeg" width="320" /></a></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-CA">What
section is the most interesting to you and why? </span></b></div>
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<li><span lang="EN-CA">While one was talking and the other was
continually doing the routine.</span></li>
<li><span lang="EN-CA">The whole thing is very interesting.</span></li>
<li><span lang="EN-CA">The final part was very intense.</span></li>
<li><span lang="EN-CA">When you guys said “this section is going
to hurt.”</span></li>
<li><span lang="EN-CA">All of it.</span></li>
<li><span lang="EN-CA">When the girl was climbing on the other
person’s back, cause it was not normal but interesting. </span></li>
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<span lang="EN-CA"><i><span style="font-size: x-small;">This education mentorship partnership with Dartmouth High is supported by the generous funding received from:</span></i></span></div>
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Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-72431130894174192572015-12-02T21:51:00.000-04:002015-12-13T21:51:30.227-04:00Cultivating Compassion and Community at the Library<span style="font-family: "arial" , "helvetica" , sans-serif;">Mocean Dance has recently initiated a partnership with the <b>Halifax Central Library </b>to offer free movement classes for adults in the Paul O’Regan Performance Hall.
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><b>Moving with Mocean </b></i>is an open inclusive class designed to support all levels of movement comfort and ability. The class offers the chance for adults to engage creatively and actively in the beautiful setting of our new library; a space where the light cascading through the large windows will lift your spirits and the open skeleton of the room encourages deeper breathing. So far, we have offered the class three times this season, September 25, November 25 and December 2, and we are thrilled to see the benefits of supporting such an opportunity for mindful community connections, while engaging in an active and creative form that is both safe and extremely playful. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">When teaching the class the feedback of smiles that I receive is infectious and I can’t help but smile back and send my heart-centre to the whole room. I know that such an act is my job as the facilitator for this class, but the interweaving of our group energy supported by the live music provided by local musician Andrew Dahms certainly makes it easy for me. I can’t tell who enjoys the class more the participants or me!
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Reflecting on what is happening at a deeper and physiological level and why such exchange of energy through movement as a community is so important I share my layman’s version of the <b><a href="https://www.youtube.com/watch?v=MYXa_BX2cE8" target="_blank">Polyvagal theory</a>.</b></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://3.bp.blogspot.com/-5a6TM_6keho/VmRIoH11GgI/AAAAAAAABN8/EQl6tGeFfJA/s1600/IMG_20151125_100647.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="http://3.bp.blogspot.com/-5a6TM_6keho/VmRIoH11GgI/AAAAAAAABN8/EQl6tGeFfJA/s200/IMG_20151125_100647.jpg" width="200" /></a> </span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">In moving, breath can access and regulate the vagus nerve, a nerve that runs along the face-heart connection on the side of the neck. This is why in so many mindful practices slow deep breathing is encouraged; as naturally we calm down and our stress reflexes begin to turn off. Through breath and the mirror neurons of sharing an energetic (and playful) experience together w<span style="font-family: "arial" , "helvetica" , sans-serif;">ill </span>activate the vagas nerve in such a way that helps us respond to other people with empathetic compassion and impacts our viscera at the neuroceptive level. Creating a supportive viscera homeostasis essentially means we are using a physiological (physical) state in which we can use another person in a dyadic interactive situation to help regulate your emotional state. </span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://2.bp.blogspot.com/-UwcMFdKXzo8/VmRIhRnYfXI/AAAAAAAABNg/OxrO4rrgX04/s1600/IMG_20151202_104417.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="http://2.bp.blogspot.com/-UwcMFdKXzo8/VmRIhRnYfXI/AAAAAAAABNg/OxrO4rrgX04/s200/IMG_20151202_104417.jpg" width="200" /></a> </span></span><a href="http://3.bp.blogspot.com/-Hb72CmqTKEM/VmRIiLh3y-I/AAAAAAAABNw/yz-RYtzDzzM/s1600/IMG_20151202_105425.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="http://3.bp.blogspot.com/-Hb72CmqTKEM/VmRIiLh3y-I/AAAAAAAABNw/yz-RYtzDzzM/s200/IMG_20151202_105425.jpg" width="200" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">By down regulating the nervous system, or calming the nervous system in a pleasing physiological method our body can find a safe state of being that leads to more empathetic socially engaging responses, creativity, and the desire for developing bold and new ideas…. Like acknowledging skipping in public as an adult leads to at the very least positivity but potentially can later shape bold new ideas post public skipping!
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The science in the simplistic act of breath, creativity, community, and physical interaction is profound and very rewarding beyond the few calories that we also burn!
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://2.bp.blogspot.com/-_0VO-3v3TYI/VmRIhJjLG3I/AAAAAAAABNc/OCrCJoMvprE/s1600/IMG_20151202_103659.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="http://2.bp.blogspot.com/-_0VO-3v3TYI/VmRIhJjLG3I/AAAAAAAABNc/OCrCJoMvprE/s200/IMG_20151202_103659.jpg" width="200" /></a> </span></span><a href="http://1.bp.blogspot.com/-OKDrb-sr__8/VmRIhOdWCQI/AAAAAAAABNY/uhDZAdfrBFc/s1600/IMG_20151202_105034.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="http://1.bp.blogspot.com/-OKDrb-sr__8/VmRIhOdWCQI/AAAAAAAABNY/uhDZAdfrBFc/s200/IMG_20151202_105034.jpg" width="200" /> </a></div>
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<span style="font-family: "verdana" , sans-serif;"><b><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Keep an eye out for more classes to come so you can share in the science of compassion and reap the benefits as well. </span></span></b><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Class info is posted on our <a href="https://www.facebook.com/Mocean-Dance" target="_blank">face book page</a> and on our website. </span></span></span></div>
Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-11592802185461884012015-10-03T11:43:00.001-03:002022-11-14T09:34:21.709-04:00Freedom in Constraints <span style="font-family: Georgia,"Times New Roman",serif;"><b><i>Eunoia</i> </b>is a masterful layering of interconnected and uniquely individual elements. The intertwining of text, movement, video, and sound create a surreal absurdist playground full of lightness and delight. The dance of the layered production elements is almost as complicated and simple as the movement choreography in itself. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Fujiwara takes her inspiration and challenge of working within constraints from Christian Bök’s book <i>Eunoia</i>. Published in 2001, Bök’s book of poetry is written as a univocal lipogram, where each of the five chapters isolates a vowel and in doing so exhibits the vowel’s distinct personality. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The word Eunoia is the shortest word in English to contain all five vowels ¬– meaning ‘beautiful thinking.’ Viewing Live Art Dance’s presentation of <i>Eunoia</i> on Thursday evening, I was struck by the craft and masterful thinking of Fujiwara and her collaborative team. Rendering the stage version of Eunoia as a beautiful embodiment of beautiful thinking. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Entering the theatre we are welcomed by the performers and are invited to join in on a game of Hangman. Lightness and humour is introduced and the permission for active engagement is set. The stage is littered with various childhood games such as playing cards, Jacks, and pick up sticks; perhaps positioned as a foreshadow to the audience preparing us for the linguistic guess gaming we were about to experience. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">In her program notes, and during a pre-show chat that I was lucky enough to sit in on, Fujiwara explains her movement invention is restricted to univocal body parts corresponding to each chapter. For example in chapter A, the palm, the back, the jaw, etc. initiate movement. The composer, Phil Strong was also restricted to composing with univocal instruments; where in Chapter O we heard the sounds of spoons, Bongo, pots.
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<span style="font-family: Georgia,"Times New Roman",serif;">The seemingly nonsensical or unrelated but layered production elements of text, video projection, colourful costume changes, and task directed choreography, unfold into an engaging surrealist play and bricolage of events. However, equally as fun as guessing what each element was restricted by, I thoroughly enjoyed watching the piece expand and contract – breathing within its own beautiful thinking. Where moments of chaos are swept away by moments of calming space or a visual display of snowing letters. I shared in the game of categorizing and labelling the code of conduct but I never tired in the cognitive task of guessing the rules. I am enchanted by the unique pairings and immediately set at ease within the mystery of Furjiwara’s craftsmanship. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">In Chapter <i>O</i> the poetic resonances of all the combined elements came together for me in a touching moment when one performer reciting text based on gluttonous food, is engulfed by four performers mouthing (initiated by the pons – a part of the brainstem associated with facial movement) to the sounds of pots. The mouthing, the bodies sinking, the sounds of pots clanging, and hearing text of over abundance and disproportion move me.
Throughout Eunoia the performers operate within the constraints of the work with a generous presence and they utilize the need to stick with a task to their full advantage keeping me engaged and with them in every moment. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">I caught 52 items of constraint, yet experienced 70 minutes of theatrical freedom. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">An example of Christian Bök’s Eunoia can be read through this <a href="http://archives.chbooks.com/online_books/eunoia/index.html">online link</a>, but you can only experience the mastery and delight of Denise Fujiwara’s <i><b>Eunoia</b></i> live thanks to our local dance presenter <a href="http://www.liveartdance.ca/event/fujiwara-dance-inventions/">Live Art Dance Production</a>. </span><br />
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<a href="http://archives.chbooks.com/online_books/eunoia/index.html"><span style="font-family: Georgia,"Times New Roman",serif;">http://archives.chbooks.com/online_books/eunoia/index.html </span></a><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">If you are curious, here is my list: </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Jazz, Palm, Back, Rap, Harp, Jaw, fatal, Dress, Wrestle, Referee, Heel, Knee, Bells, Temple, Whistling, Sing, String, Signing, Fish, Wig, Iris, Hip, Kiss, Shoot, photo, Fog Horn, Golf, Broom, Yoyo, Popcorn, Boots, Loop, Homologous, Mouthing (pons), Spoons, Bongo, Blow, Pots, Roll, Rock, Slow, Stop, Snow, Snowing Letters, Club, Cup, Upside down, Push-ups, Surf.
</span><br />
<br />
<br />
<br />
<br />
<br />Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-22307123364847308372015-09-27T20:33:00.001-03:002015-09-27T20:33:16.252-03:00my most awake selfThe practice of dealing with the unknown is deliciously delightful; especially in the case when the unknown is simply feeling the direction of down, knowing how far from the ground you are, and trusting you can survive the fall. <br />
<br />
I feel the most awake and present listening to the now in the dance of CI. <br /><br />In tonight's class I felt the power of the super moon, everything fell into place, a perfect flow of research, questions and play. I am savoring this moment, as there is no way this class and the flow of the evening will ever be reproducible. I am grateful for the dance, this dance, the dance that continues.<br />
<br />
Acknowledging the curve of the lumbar, the thoracic, and the cervical spine. We play with this ribbonous landscape, the rise and fall and slippery nature of the spine. We explored the fold of the legs into the curve of the lumbar spine and the fold of the arms into the thoracic spine.<br />
<br />
We practice not erasing ourselves, we blank out in the gap of flipping upside down and falling into the backspace. We do it again, this time time staying aware and following the moment. I see learning taking place. The practice of knowing (or not knowing) the moment and being brave enough to deal with the parameters we find ourselves within.<br />
<br />
Meet, redirect, go through, retreat. Our vectors of truth and playful possibility.<br />
<br />
I meet the room, I quickly prepare for an evening of trios - organizing my list of scores. One more arrives... my second moment of resiliency and draw on my resourcefulness again. My dexterity is heightened.<br />
<br />
I improvise, as one does in this form. I let my cells speak, I follow the dance of taking my cellular and perceptual knowledge and transfer it into words, so that it can be re-adapted for your dance. Food for thought to nourish the possibilities. How do you pick up and follow momentum, how do you augment or extend the trajectory, how do you direct the felt flow without taking over, is going through simply shortening the time to the plum line? The students become my teacher as I transfer what I know, rich questions, I feed off the delight in the depth of our research, you push me to give you more. I do a silent happy dance with everyone in the room. <br />
<br />
I feel the floor through the structural integrity of someone else's bones. Your legs become my legs.<br />
This is why I dance. Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-85085452721912049862015-09-08T21:55:00.001-03:002015-09-08T21:55:54.106-03:00The individual body (a day of personal reflection)My Physical body is: Fluid Mass Elastic Here<br />
<br />
My Emotional body is: Untitled Lost Potential<br />
<br />
My Mental body is: Attention/IntentionSara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-25270663489026975492015-09-07T13:25:00.001-03:002015-09-07T13:25:25.916-03:00expressions from the heart <div style="text-align: center;">
******</div>
<br />
Walking the edge of potential, but never breaking through<br />
When really all I ever wanted was to snuggle and laugh with you.<br />
<br />
Eyes of desire, a sweet kiss, and a soft touch,<br />
I long to hear someone whisper to my cells<br />
to tell me its already alright.<br />
<br />
My cells porous and full of potential to love<br />
Longing to yield to the warmth of a soft touch<br />
Ready to fall into the sweet seduction of desirability<br />
<br />
I want to lay next to the cells that make up your entity<br />
Feel your breath and learn your knowledge through osmosis<br />
I long to sit and drink coffee in the morning sun with you,<br />
Or talk all night philosophizing about life past the stars and our small but perfect being of two. Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-10136070857858462362015-08-17T13:15:00.000-03:002015-09-08T21:58:19.140-03:00a birth day reflectionOn the eve of turning a new page...<br />
I imagined running bare feet in a field, tending chickens, drinking home brew and laughing with you.<br />
<br />
Instead I am blazing a trail to nowhere.<br />
Hoping the next bend will bring Joy and a smile that will melt my bones.<br />
<br />
I have chased the dream around the world and back,<br />
To sit alone in my room with my cats.<br />
Weighted by debt and a heavy heart, <br />
Wondering if this is just another false start.<br />
<br />Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-71151227860924203112015-07-13T13:27:00.000-03:002015-09-27T20:08:01.362-03:00Life Lessons from Petey B<div style="text-align: center;">
<i><span style="font-size: large;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"give your attention to the preparation not the execution"</span></span></i></div>
<div style="text-align: center;">
<i><span style="font-size: large;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></i></div>
<div style="text-align: center;">
<i><span style="font-size: large;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">"why rush through the problem </span></span></i></div>
<div style="text-align: center;">
<i><span style="font-size: large;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">and bypass the opportunity to learn"</span></span></i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i><span style="font-size: large;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">Peter Bingham, Contact Improvisation Class at EDAM, July 2015</span> </span></span></i></div>
Sara Coffinhttp://www.blogger.com/profile/08869263329667280937noreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-62321772951627651322015-01-25T18:23:00.000-04:002015-01-27T18:29:53.392-04:00A Harvest of my CI journey in Halifax <div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
<span lang="EN-CA">Fold, accumulate weight</span></div>
<div class="MsoNormal">
<span lang="EN-CA">Pivot, fly, spring load</span></div>
<div class="MsoNormal">
<span lang="EN-CA">Deaccumulate</span></div>
<div class="MsoNormal">
<span lang="EN-CA">slide, slide, slide into the centre of the
earth</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA">A supple form, absorb and redirect</span></div>
<div class="MsoNormal">
<span lang="EN-CA">Stack, </span></div>
<div class="MsoNormal">
<span lang="EN-CA">puzzle pieces that fit like glue or don’t
fit at all.</span></div>
<div class="MsoNormal">
<span lang="EN-CA">Fall</span></div>
<div class="MsoNormal">
<span lang="EN-CA">Where did you go?</span></div>
<div class="MsoNormal">
<span lang="EN-CA">Spiral, Whirling Dervish</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA">A breeze, my breath, your fascia, my skin</span></div>
<div class="MsoNormal">
<span lang="EN-CA">A combined power</span></div>
<div class="MsoNormal">
<span lang="EN-CA">Syntax of float, fold, slip</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA">The form of space slips around you</span></div>
<div class="MsoNormal">
<span lang="EN-CA">You root and fly</span></div>
<div class="MsoNormal">
<span lang="EN-CA">I try…… falling is Fun</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA">Feeling the fold of the skin</span></div>
<div class="MsoNormal">
<span lang="EN-CA">The grounding of feet and the fulcrum </span></div>
<div class="MsoNormal">
<span lang="EN-CA">Setting potential to fly</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-CA">We are here</span></div>
<div class="MsoNormal">
<span lang="EN-CA">The dance is happening</span></div>
<div class="MsoNormal">
<span lang="EN-CA">Lets fall again. </span></div>
<div class="MsoNormal">
<br />
~Sara</div>
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<br /></div>
<div style="text-align: center;">
CI Jam, Sunday Jan 25 @ the Citadel Recreation Centre Dance Studio</div>
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<br />Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-54644289528310708572014-08-01T13:03:00.000-03:002015-09-08T21:57:42.971-03:00Haikus from the HeartA leaf's turn reveals<br />
hidden notes grow in the field<br />
Whispers from the heart<br />
<br />
Working digging dance<br />
Paths far apart but hearts close <br />
A season's cycle<br />
<br />
-Heart shaped fruit-<br />
Cucalemon glow <br />
Smiles, desires, warm heart<br />
thinking of you now<br />
<br />
Flying high above<br />
Two hearts intent to return<br />
someday soon as one<br />
<br />
Eyes close, breath softens <br />
Dreams slip- memories appear <br />
Longing to be close<br />
<br />
Warm bread on the stove<br />
A kitchen that is ours<br />
We can make it true <br />
<br />
Diligent work flow<br />
Wonder with isolation<br />
I miss you always <br />
<br />
Shit in your head sucks<br />
Together we are better<br />
share your hopes and fears<br />
<br />
Random thoughts of love<br />
Even in the far distance <br />
longing to hear you<br />
<br />
Unsolicited <br />
Reassurance is needed<br />
Sub-thoughts will quiet <br />
<br />
Is my love for you<br />
Do I mourn the loss of dreams?<br />
Who should I follow? <br />
<br />
When your path crumbles <br />
You can tumble with the stones <br />
Or.....leap like a goat <br />
<br />
Distance with distance<br />
I feel a void without you<br />
My heart hangs so low<br />
<br />
Alone and not strong<br />
Naïve faith testing limits<br />
Broken and empty<br />
<br />
Turn your heart to me<br />
Once courageous you chased me<br />
I will not let go<br />
<br />
Fear clouds your sight now<br />
Your heart isn’t as porous<br />
Should we just part ways?<br />
<br />
Is it time to go?<br />
Expectations have fallen<br />
Protecting myself<br />
<br />
Both feeling so blue<br />
Laughter and hope has left us<br />
A sign to rejoin?<br />
<br />
Once Afraid to love – <br />
To admit we were perfect<br />
Now apart too long<br />
<br />
So busy it burns<br />
I sacrificed you and I <br />
Forever sorry<br />
<br />
I will drop it all <br />
Just to be held in your arms<br />
With you is my place<br />
<br />
My heart remains raw<br />
your smile and glow pull me<br />
still waiting for love<br />
<br />Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-57772190462485550802014-03-20T13:40:00.002-03:002014-03-20T13:40:58.920-03:00Reflections from Northampton<i>This post is a little late for publication, but as you read you can see where I may have gotten held up...</i>
<br />
<br />
We did it!
<br />
A fantastic piece in full fruition on stage, a cycle of
questions and reflections embodied in full form, presentation with many
congratulations…it all happened here with the wonderful and…. yes I’m gonna say
it…. the beautiful Mocean Dance team. <i>(We
discovered during our travels that Northampton loves the adjective: beautiful).</i><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/--Aa7un--A0s/UysXfLMc80I/AAAAAAAAA5I/sCZCO84CyWc/s3200/BA-Mocean1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/--Aa7un--A0s/UysXfLMc80I/AAAAAAAAA5I/sCZCO84CyWc/s3200/BA-Mocean1.jpg" height="320" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Derek Fowles</td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
<i> </i>
<br />
I am extremely proud and grateful for the inquisitive
generosity, vulnerability and permeability that was tested and exhibited by all
involved. Thank you to Jacinte Armstrong,
Rhonda Baker, Sarah Rozee, Susanne Chui, to my collaborators Andrew
Hawryshkewichand Phil Thomson and to my mentor/thesis adviser Chris Aiken.<br />
<div style="text-align: center;">
<br />
<div style="text-align: right; width: 400px;">
<embed flashvars="rssFeed=http%3A%2F%2Ffeed275.photobucket.com%2Falbums%2Fjj317%2Fmoceandance%2FBody%2520Abandoned%2Ffeed.rss" height="280" src="http://pic2.pbsrc.com/flash/rss_slideshow.swf" type="application/x-shockwave-flash" width="400" wmode="transparent"></embed><a href="javascript:void(0);" target="_blank">
<br /><br />
Photos by Jessica Goudreault<br />
</a></div>
</div>
<br />
I was proud to witness all the hard work and vulnerability
that was exhibited on the Smith College stage:<br />
<br />
From my cohorts: Shaina Cantino,
Safi Harriott and Mat Elder – <i>we each in
our own way took our weight off-balance and tested our tilt in unfamiliar axes to
seek disorientation and in this place we were able to find a new sense of clarity from our bewilderment. </i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-3qDgJfNksmM/UysQkUh5bsI/AAAAAAAAA4o/JlN9R2onZDU/s3200/IMG_5674.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-3qDgJfNksmM/UysQkUh5bsI/AAAAAAAAA4o/JlN9R2onZDU/s3200/IMG_5674.JPG" height="149" width="200" /> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-DPcHeLcwOb4/UysQ0QmsDPI/AAAAAAAAA4w/L2HQIMf4Bvg/s3200/IMG_5672.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-DPcHeLcwOb4/UysQ0QmsDPI/AAAAAAAAA4w/L2HQIMf4Bvg/s3200/IMG_5672.JPG" height="200" width="149" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My loving cohorts and I celebrate!</td></tr>
</tbody></table>
</a></div>
To all the range and perspectives in performativity on stage; the enthusiastically green by talented undergraduate dancers, the local professionals from the community, past and
present graduate students, and the professional dancers hailing from Canada
(that’s us!).<br />
<br />
<div style="text-align: center;">
***</div>
As I digest, I realize that the first 15 days of February
had been the most impactful and revealing days I have ever experienced in my artistic
career.<br />
<br />
During the first 15 days of February my schedule included the following:
<br />
<ul>
<li>My MFA Thesis dance project
with Mocean Dance was presented for all to see, </li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-dLTxFs2UFsc/UysLOQYK9CI/AAAAAAAAA3k/df-GBeAjM6k/s3200/_DSC0733-web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-dLTxFs2UFsc/UysLOQYK9CI/AAAAAAAAA3k/df-GBeAjM6k/s3200/_DSC0733-web.jpg" height="307" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Body Abandoned in performance, Photo by Derek Fowles</td></tr>
</tbody></table>
<ul>
<li>I organized an outreach
workshop (taught by Susanne!) and discussion with the Southern Vermont IBIT Dance Company
Pre-professional Training Division, </li>
</ul>
<div style="text-align: center;">
<br /></div>
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<a href="http://2.bp.blogspot.com/-VHgy7F5vdAA/UysMS44NNvI/AAAAAAAAA3s/CpIJ9h8--tk/s3200/IMG_5653.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-VHgy7F5vdAA/UysMS44NNvI/AAAAAAAAA3s/CpIJ9h8--tk/s3200/IMG_5653.jpg" height="114" width="200" /></a></div>
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<a href="http://4.bp.blogspot.com/--GxNsEZdfy4/UysMYk60AsI/AAAAAAAAA38/owNfOTBlKvw/s3200/IMG_5662.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/--GxNsEZdfy4/UysMYk60AsI/AAAAAAAAA38/owNfOTBlKvw/s3200/IMG_5662.jpg" height="178" width="200" /></a>
<a href="http://3.bp.blogspot.com/-wqZY0SYP-ac/UysMXV4zPHI/AAAAAAAAA30/sjUYhnA27vI/s3200/IMG_5656.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-wqZY0SYP-ac/UysMXV4zPHI/AAAAAAAAA30/sjUYhnA27vI/s3200/IMG_5656.JPG" height="149" width="200" /></a></div>
<br />
<ul>
<li>I contributed my lighting and artistic improvising
sensibilities for a performance of
master improvisers that I deeply respect: Chris Aiken, Angie Hauser and Mike
Vargas in <a href="http://www.smith.edu/artmuseum/Events/Exhibition-Related"><i>Threshold</i></a>, </li>
</ul>
<div style="text-align: center;">
<a href="http://2.bp.blogspot.com/-wdNhsnvqIAk/UysNsehbjVI/AAAAAAAAA4U/qT-wT4v1KIg/s3200/IMG_5679.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-wdNhsnvqIAk/UysNsehbjVI/AAAAAAAAA4U/qT-wT4v1KIg/s3200/IMG_5679.jpg" height="200" width="149" /></a></div>
<ul>
<li>and I taught and
performed at the prestige conference loved by all at the American College Dance
Festival Association. </li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-N7PgQzYRkYo/UysNNhdx-XI/AAAAAAAAA4M/LDXsersolhE/s3200/IMG_4957.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-N7PgQzYRkYo/UysNNhdx-XI/AAAAAAAAA4M/LDXsersolhE/s3200/IMG_4957.jpg" height="133" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Teaching at ACDFA at Boston University</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-PXlv_5BuV6A/UysM3USoXcI/AAAAAAAAA4E/jfNr0nzX_cY/s3200/IMG_4906.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-PXlv_5BuV6A/UysM3USoXcI/AAAAAAAAA4E/jfNr0nzX_cY/s3200/IMG_4906.jpg" height="133" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photos (and below) by Troy David Mercier</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-c0RDRa7gpUY/UysT9UEvS1I/AAAAAAAAA48/tn5kFYCVd8M/s3200/1559517_10101858165233862_1917385504_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-c0RDRa7gpUY/UysT9UEvS1I/AAAAAAAAA48/tn5kFYCVd8M/s3200/1559517_10101858165233862_1917385504_o.jpg" height="133" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Performing in "How Did I Get Here?" by Chris Aiken at ACDFA</td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
Whirlwind doesn’t even begin to describe the intensity of
the artistic craft, decisions and emotions that I have experienced….. just to
survive each day. I am blessed, I feel set
afire and I am wiped at the same time. Pausing to do a rough calculation, from Feb 1-15 my
artistic efforts reached approximately 1100 people.<br />
<br />
The premiere came and went and now even March is coming to a
close. Yikes! The end of the road is nearing. I have pulled myself out of recovery mode and push through to reflective mode.<br />
<br />
It is now spring break at Smith and I am thick into my thesis
writing, the final yet maybe the most difficult portion in this journey. Give me ideological questions and an empty studio and I can figure out the message physically no problem…. words on the other hand, this medium is a much different process.<br />
<br />
<br />
I'm on page 22.... only 38 more to go....<br />
<br />
<div class="MsoNormal" style="text-align: center;">
<br />
<br />
<a href="http://3.bp.blogspot.com/-RTtj-fZ25C8/UysN4wwlAyI/AAAAAAAAA4c/8iFLKX1r6AA/s3200/IMG_9285.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-RTtj-fZ25C8/UysN4wwlAyI/AAAAAAAAA4c/8iFLKX1r6AA/s3200/IMG_9285.jpeg" height="200" width="149" /></a><br />
<br />
<div style="text-align: left;">
Yours Truly, Sara </div>
<div style="text-align: left;">
:) </div>
</div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-78818255845173097122014-01-19T11:07:00.001-04:002014-01-19T14:14:49.085-04:00Productive Instability: the art of fragmentation, coordination and creativity<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-SyeTmIuWYJU/UtssvA3bHPI/AAAAAAAAA2M/KmpBlmQKpW4/s1600/photo%25281%2529.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-SyeTmIuWYJU/UtssvA3bHPI/AAAAAAAAA2M/KmpBlmQKpW4/s1600/photo%25281%2529.JPG" height="320" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In rehearsal with Sara Coffin and Mocean Dancers: J. Armstrong, R. Baker, S.Rozee</td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
I am in the last leg of rehearsals with Mocean Dance as we
prepare for the USA premiere/MFA Thesis Concert presentation of my new work
entitled <i style="mso-bidi-font-style: normal;">Body Abandoned</i> at Smith
College in Northampton, MA. The new trio will premiere on the Theatre 14 stage
February 6-8, 2014 at the college. Then ten weeks later we will grace the
Halifax stage April 24-26 at the Dunn Theatre with <a href="http://www.liveartproductions.ca/shows/mocean-dance-the-woods-rhonda-baker/">Live Art Dance</a>’s closing
show for the 2013-14 season.
<br />
<div class="MsoNormal">
<br /></div>
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<a href="http://3.bp.blogspot.com/-Uy-64lUs_y8/Utssncn-JDI/AAAAAAAAA1A/eUakilPFeLc/s1600/1479174_10152099807270850_13718065_n.jpg" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-Uy-64lUs_y8/Utssncn-JDI/AAAAAAAAA1A/eUakilPFeLc/s1600/1479174_10152099807270850_13718065_n.jpg" height="200" width="150" /></a>
<a href="http://2.bp.blogspot.com/-2paDIz5EpTs/UtssnSnQBEI/AAAAAAAAA0w/4S5x7BqPiwY/s1600/1450229_10152106691960850_600590118_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-2paDIz5EpTs/UtssnSnQBEI/AAAAAAAAA0w/4S5x7BqPiwY/s1600/1450229_10152106691960850_600590118_n.jpg" height="200" width="183" /></a></div>
<br />
<br />
Two-weeks after that the whole project will come to close/full fruition for me, when I defend the written portion of my thesis and I will be able to walk away with the letters M. F. A. following my trail!
<br />
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<a href="http://4.bp.blogspot.com/-HWNfBnaInKk/UtssnzaW9BI/AAAAAAAAA04/K5BPgRd3nHo/s1600/1525058_10152183334625850_1739747681_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-HWNfBnaInKk/UtssnzaW9BI/AAAAAAAAA04/K5BPgRd3nHo/s1600/1525058_10152183334625850_1739747681_n.jpg" height="150" width="200" /></a>
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<div style="text-align: center;">
<br /></div>
…..I need to lay down …just by catching you the reader up on
the logistical flow of the piece makes my head spin….. and I haven’t even got
to sharing the content or the process yet.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-E6obxlhsXto/UtssssuYviI/AAAAAAAAA1g/xwI-8irr1P8/s1600/photo+2+copy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-E6obxlhsXto/UtssssuYviI/AAAAAAAAA1g/xwI-8irr1P8/s1600/photo+2+copy.JPG" height="320" width="285" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dancers Jacinte Armstrong and Rhonda Baker</td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
<br />
But the fruits of this work is a real marker for
all involved, this project encompasses a lot for both the company and for me
personally. I am grateful for the commitment and the support that the new work
and I have received from both sides of the border during its creation.
<br />
<br />
The content of the work is inspired by what I have been
coining as my “blue period” – Picasso stuck with his monochrome tones, me, I am
sticking with VGA cables and projectors! However, I think I have finally gotten
to the essence of my ideological question, one that focus on our existence and
the posthuman-machine connection. I may have come to my end point in the
interrogation of the body’s relationship to technology, but I am happy, really
happy with the product of my research.<br />
<br />
<div style="text-align: center;">
<a href="http://1.bp.blogspot.com/-HjU95ZnF39Q/UtssoHzKJgI/AAAAAAAAA1I/4qpE1X4AGhI/s1600/1551519_10152183334620850_480944523_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-HjU95ZnF39Q/UtssoHzKJgI/AAAAAAAAA1I/4qpE1X4AGhI/s1600/1551519_10152183334620850_480944523_n.jpg" height="150" width="200" /></a> </div>
<br />
The dancers: Jacinte Armstrong, Rhonda Baker and
Mocean-founder Sarah Rozee have been real star troopers during the creation. I
feel so blessed for the depth of research, commitment and literally the
distance they have traveled with me during my inquiry.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-Ik4NtLUjSeE/UtssstMz5mI/AAAAAAAAA1k/721eRO8Y2PE/s1600/photo+1+copy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-Ik4NtLUjSeE/UtssstMz5mI/AAAAAAAAA1k/721eRO8Y2PE/s1600/photo+1+copy.JPG" height="252" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dancer Sarah Rozee</td></tr>
</tbody></table>
<br />
Wearing the two hats of graduate student and commissioned
choreographer has been an interesting challenge in this beast of a production.
However, I feel that a part of my MFA research and study have filtered through
the process in an osmosis fashion and a bit of my experience has definitely
been shared by all. <br />
<br />
In our first working period, Mocean Dance was fortunate
enough to host Smith Faculty members Chris Aiken and Angie Hauser for four days
in June. During this time they offered master classes and workshops for the
community while mentoring me in the studio.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-BkV_TA3PZkM/UtswlDHiY1I/AAAAAAAAA2U/GbXDqteSmG0/s1600/swell+4+web.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-BkV_TA3PZkM/UtswlDHiY1I/AAAAAAAAA2U/GbXDqteSmG0/s1600/swell+4+web.jpg" height="130" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Swell Contact Improvisation Intensive and Eco-Poetic Approach to Performance workshop participants.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-WzvQu1S43Do/UtswlabA_hI/AAAAAAAAA2k/q_EzXIh_a2I/s1600/IMG_1972.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-WzvQu1S43Do/UtswlabA_hI/AAAAAAAAA2k/q_EzXIh_a2I/s1600/IMG_1972.jpg" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>June 2013</u></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-J23kIqlJPCc/Utswlb3fNZI/AAAAAAAAA2o/Md7EdYy5gpA/s1600/IMG_1978.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-J23kIqlJPCc/Utswlb3fNZI/AAAAAAAAA2o/Md7EdYy5gpA/s1600/IMG_1978.jpg" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">with Chris Aiken and Angie Hauser</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-WXIXylOa-pU/Utvfcs7QpQI/AAAAAAAAA28/6L8_g9yzkKk/s1600/IMG_1922.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-WXIXylOa-pU/Utvfcs7QpQI/AAAAAAAAA28/6L8_g9yzkKk/s1600/IMG_1922.jpg" height="200" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MFA Advisor Chris Aiken in session "working the work"</td></tr>
</tbody></table>
</div>
During the second phase of creation
Mocean Dance joined me in Northampton and we worked in an empty theatre all to
ourselves for a week! Meanwhile my American cohorts were off relaxing on the
American Thanksgiving break.<br />
<br />
In this phase of creation multimedia collaborator <a href="http://andrewh.ca/">Andrew Hawryshkewich</a> and I worked remotely, sharing files back and forth, and I stayed up late for technical coaching on skype from the west coast.<br />
<br />
The
dancers were able to test drive the performance space and the sense of
the bigger picture or the 'ness' of the piece started to sink in for
both me and the dancers. Like the regular star troopers that J, R and S
are, the dancers patiently waited and diligently kept working as I
tracked the five components: the action/movement, the mediated image,
the space, the music and the gestalt of it all. <a href="http://andrewh.ca/"><br /></a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-iAKoJMH6Gpk/UtssnaKzKHI/AAAAAAAAA0s/Nfk12-3_3Kg/s1600/1463022_10152102327800850_1434036868_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-iAKoJMH6Gpk/UtssnaKzKHI/AAAAAAAAA0s/Nfk12-3_3Kg/s1600/1463022_10152102327800850_1434036868_n.jpg" height="148" width="200" /></a>
<a href="http://3.bp.blogspot.com/-QYK_MKWEqGc/UtssoQvAsvI/AAAAAAAAA1E/YYSUT3xCMj0/s1600/564498_10152099807965850_67697646_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-QYK_MKWEqGc/UtssoQvAsvI/AAAAAAAAA1E/YYSUT3xCMj0/s1600/564498_10152099807965850_67697646_n.jpg" height="200" width="150" /></a></div>
<div style="text-align: center;">
<br /></div>
<br />
Now - here in the third leg of creation, back in Halifax, all
the hard work is really resonating and vibrating in the studio. We ran part of
the piece on Friday and I was in awe and touched by the how far the dancers
continue to stretch themselves. <br />
<br />
<div style="text-align: center;">
<a href="http://3.bp.blogspot.com/-ahHKIYsNr-c/Utsst3QzeyI/AAAAAAAAA18/4zjsyk1NIOU/s1600/photo+4.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-ahHKIYsNr-c/Utsst3QzeyI/AAAAAAAAA18/4zjsyk1NIOU/s1600/photo+4.JPG" height="252" width="320" /></a></div>
<br />
In preparation for the Smith MFA Thesis concert my fellow
grads and I have selected a quote from the book: <a href="https://www.facebook.com/SusanRethorstBook">A Choreographic Mind by SusanRehorst</a>, one that really highlights our state of research: <br />
<br />
<blockquote class="tr_bq">
“One has to know and not know, prefer and not prefer, empty oneself and acknowledge
one’s fullness, be passive and charged. It has to happen to you and from
you. It has to be too fast for you to take in, and done in baby steps,
one leaking into the other.”</blockquote>
<br />
In the process of this work, I have interrogated my tendencies, embraced my strengths, questioned my doubts, sought
new perspectives, and now my skin is raw but my heart is strong. Within the
disorientation and bewilderment of my growing pains a new clarity has surfaced,
one that I can feel resonating straight from the core of my bones.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-SU71vxVDSS0/UtssjgCx9JI/AAAAAAAAA0c/lezWFm1aZnc/s1600/Mocean.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-SU71vxVDSS0/UtssjgCx9JI/AAAAAAAAA0c/lezWFm1aZnc/s1600/Mocean.jpg" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Theatre 14 Technical Residency at Smith College</td></tr>
</tbody></table>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
In the last 100 meter dash before the curtain rises and the dancers take the stage I am filled with much anticipation and a giant check list.<br />
<br />
I coordinate stop watches and emails as I finish the final music and multimedia adjustments (via online communication and file sharing) with my remote collaborators; <a href="http://philthomson.ca/">Phil Thomson</a> and <a href="http://andrewh.ca/">Andrew Hawryshkewich</a> respectively. <br />
<br />
I keep an watchful eye on the post, as the costumes are arriving by mail from Smith College... and I am watching the snow report praying for clear driving days. </div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-65679092260227300652014-01-18T11:05:00.000-04:002014-01-19T11:32:36.381-04:00Choreographer's Musings: My point of depatureI feel fragmented, sped-up and simultaneously a float. I feel decentralized, in which I exist in a disheveled hyper-dream state, continually pulled from my once grounded corporeal self I am positioned in a parallel existence of me and my other.<br />
<br />
My sense of otherness is growing as the digital traces of my life, my virtual in-between self, follows me around.<br />
<br />
I increasingly notice the separation of my inwardness of experience from the outwardness of my action. The two are constantly separated from what is felt and what is (re)represented in our mediated culture. <a class="GHUY-LPIAC" href="javascript:void(0);" kind="click"> </a><br />
<br />
I am caught in questioning of the affects of not actually ‘thinking about the body’ when positioning the body amidst the digitized, a culture that exists in temporalized space and spatialized time. A place that fosters the new modality of the “always on” existing in the in-between spaces of neither here nor there, instead encouraging the product of “both-and.”<br />
<br />
<b>As I reflect upon this sate of being, I ask what would the vanishing “thinking body” lead to, and more so, what does the vanishing edges of the corporeal self mixed with the digital self create?</b><br />
<br />
I start from this sense of the forthcoming posthuman, in which the extreme perception of self is stretched so thin the very edges of corporeality start to dissolve. Reflecting on the changing ecological field of relationships between flesh and virtual, and self and other, I aim to create a dance reflecting the sensation and consequences of our in-between and multimodal existence.<br />
<br />
To do so, I begin with what I know, my own phenomenological experiences and interrogate my own personal modes of experience. I begin with the body. My research serves as both a reflection of this new bodiless state and a source of inspiration to construct from.<br />
<br />
I venture into the spaces of formlessness and the unknown. My corporeal edges are thinning and I prepare for what the <i>Body Abandoned</i> might look like. Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-91847478030194466712013-12-02T11:12:00.000-04:002014-01-19T11:20:30.036-04:00Process Log #4: Peer Reviewing and Feeling Too CloseIn a sense I feel I am returning to the my initial idea of the "micro" as I work to refine and make my small (but hopefully legible) adjustments. I also mourn the loss of my initial idea and wonder if I really fulfilled the question of "What is micro?"<br /><br />-The cliffs edges and facings are more defined.<br />-I experiment with different type of ambient sound and try to discern which little tune could lighten my serious abstract dance.<br />-I try to tighten my timing to fit the piece into one track. However, I give up and let my breath dictate the pacing and come up with a fall back sound plan.<br />-I lay on the floor for hours finding the perfect balance of facts within poetics as I refine my text.<br /><br />But mostly I struggle because my universality and goat metaphor are now way to close to home. Rehearsal has become more therapeutic, with less focus on crafting. This is problematic, but I also throw my hands to what I can control at the moment.<br /><br />Experimenting with revealing my state of mind has now backfired in full force due to my personal circumstances.<br /><br />Yet I am reassured by my peers that the piece is still legible and valid in its own right, even with my derailment.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-85528023928438252262013-11-09T15:40:00.002-04:002013-11-09T15:56:02.839-04:00Narrowing to expand, Expansion to Narrow: Process Log #3Smith Graduate Seminar: Creative Process<br />
<br />
Narrowing to the body, Narrowing to the space.
In this narrowing to expand and expansion to narrow much
information is revealed.<br />
<br />
On my pursuit to localize and map the space more
specifically a specific “new” world opened up to me. I immediately fall into a
narrative of sorts, one that is slightly odd and slightly obvious. But the
foothold involving fear, furthering and the goat offers much potential and
provides an anchor for me to hang onto that is worth developing.<br />
<br />
Pairing the detailed local choreography with the
localization of the space offers a new layer and brings my abstract formalness
to a place of porousness and permeability that I wasn’t expecting but gladly
welcome!<br />
<br />
There are still some sticky moments in my use of space where
the map needs to be more clearly defined. I want to interrogate the centre and
really consider how and when I cross this valley. I also noticed in my
performance that now considering the space and falling into the easefulness of
the narrative some of the local choreography felt blurry.<span style="mso-spacerun: yes;"> </span>This is a habit or an edge I want to avoid.<br />
<br />
I am also thrilled that in my placeness of space and adding
moments of breaking the tension that I have to go back to the localization of
me and really observe the moments before and after: the scream, the hello, and the
goat text. What is my permeability in these places? How does the space
collapse, how do I collapse in these moments?<br />
<br />
In observing my rise and fall and in and out of the floor
motif, this repetition/action now has more meaning for me and it is not just a
change of level. I would like to consider each of these moments more.<br />
<br />
My new sound choices are helping to broaden my understanding
of a previous comment – how can I help the audience to know what to feel when and
how do I shade the choreography in the peaks and valleys of the movement?<span style="mso-spacerun: yes;"> </span>The unintended ambient sound could also become
intentional and I am excited about crafting more distance and localization
through such use of sound. <br />
<br />
I would have never imagined the telescoping effect that is occurring in
my attention during this process. Although it now seems obvious that
such an effect could take place, especially since my leaping point was
scale. I think I am just enjoying the fact that the telescoping is
bubbling from the bottom up and I am observing that I don't have to
exert so much control on the macro from the top down. My attention is
going to where it is needed, when it is needed and the legibility of my
colours are slowly being revealed.<br />
<br />
Thank God!Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-66006856448359984062013-10-21T11:10:00.000-03:002014-01-19T11:19:31.243-04:00Process Log #2Getting it into the body is the hardest task especially in this disjointed, distracted…. yet highly focused situation that I have place myself in. I am exhausted just writing this sentence.<br />
<br />
The deadline of a showing is such a relief and a pain in the ass. I know what I must accomplish and I am reaffirmed where I lie in the trajectory of my choice making. But without such deadlines I am sure my field would remain happily open.<br />
<br />
It is has been an interesting process for me to draw from material that already exists, re-working material that is concept base and into something that may (or should) have a life of its own. I see the threads of the material’s origins are still present even in this most recent feedback.
<i> </i><br />
<br />
<i>Spreading horizontally, oscillating, offering negative space</i> – check, check and check!
It is comforting to hear such descriptions knowing this is my intention in the source material.<br />
<br />
However such feedback also restates a question for myself. Is this a sister piece and in the same family or do I continue to re-craft/re-create an entirely new sub-child/piece?<br />
<br />
……. In typical fashion I do both.<br />
<br />
In such a dual process (or my inability to detach from the original source) this recent feedback has offered new windows for attack to the very problems that I face in my thesis material.
<i> </i><br />
<br />
<i>Where is the tension missing? – It is in the lack of frontal gaze: cutting through the space with the focus is just as effective as the body that cuts through space.</i><br />
<br />
So now with this community feedback I am directed two fold. I am grateful for this question/positioning that will narrow the lens on the gaps and concerns that I am currently experiencing in my thesis project.<br />
<br />
Onward to the present project I will direct myself forward based on the comments of localization. Ironic that in my interest in localized choreography - concentrated predominately on the body, the audience notices my use of space is the lacking or less considered element. An element that has been left in a broader undefined field. A fitting comment perfectly inline with my personal trajectory of the piece’s development.<br />
<br />
A few other mappings can finally be considered or pulled out now that I know the movement initiations and the order of sequence. I am curious about the comments on shading the choreography: when am I super charged and when should I turn the lights down? I feel I have moments of this already but I haven't had time to really consider their compositional placement and how this colours the whole map. I am also a bit confounded but curious in the suggestion to map or direct the audience to feel and when. This seems a little heavy handed and not an aesthetic trigger that I gravitate too easily. I need to unpack this comment some more. I am reassured that being in as deep of abstraction that I am a little heavy handedness or obvious directing will come as a relief for the audience.<br />
<br />
<div style="text-align: center;">
<b>- <i>feedback comments </i><b><i>for digital archive and trace notes-</i></b>-</b></div>
<div style="text-align: center;">
<br /></div>
Shimmy is against DNA, a mutation = relief <i>(this is at the very end.. do I need some sooner) </i><br />
<br />
Shaping space as substance, Tracking thickness of space, audience wants to tune to this<br />
Reads as density of space<br />
<br />
Want to feel directed by hand gestures, are they set/conscious as much as your spine?<br />
Gestures lighten the space.<br />
<br />
Repetition reads as a motif, see images repeating not actual movement What is punctuation or is it all a waterfall effect?<br />
Going to the “x” spot on the floor is clear- otherwise field is open for a very long time<br />
<br />
Pouring, Holding curves, Dense -Invitation to go along with the ride is present Motif reoccurring, reads as a Journey for the audience, Letting us ride with you.<br />
<br />
Porous on reoccurring motif<br />
<br />
**Shading/choreography bright light or less bright? Bright light reads in the spine<br />
<br />
I felt as though there was a totally different task happening on the inside, I felt it but didn’t need to know what it was. There was a clear navigation of the internal to external and I could see this happening, without needing to know every detail.<br />
<b>I see labyrinth- going deeper into it, levels in the body</b><br />
<b> </b>
<br />
<div>
<b>Spreading horizontally, oscillating, Offering negative space</b><br />
</div>
<b>Where is tension missing? Frontal gaze, Cutting through space with focus, just as when body cuts through space</b><br />
<br />
Suggestion: Put material in a very small frame<br />
Map of whole world unclear, try localizing<br />
<br />
Do you go back to same spot in time, in space, in time-space?<br />
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I see measuring/scientific/calculated Proportions?<br />
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Place of change- when does something change, use change as nodes, rhythm of change<br />
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There is a motif of keep going into the floor- this seems important, an orientation, but why?<br />
The spin to floor 2<sup>nd</sup> time there is a change, you are stiff- resistant<br />
<br />
What is my attitude about the movement?, How is it occurring in the body? Tone, mechanisms, texture<br />
<br />
<div>
<b>Can you direct the audience how to feel? Map that, map how you turn the corner - be obvious I am already in thick abstraction</b></div>
Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-26277263579567690402013-10-02T01:42:00.002-03:002013-10-02T01:53:22.112-03:00A line is cast, a solo begins<b>Entry # 1: Oct 1, 2014</b><br />
<br />
To begin… usually this the biggest question and the biggest hurdle in any process.<br />
<br />
<table>
<tbody>
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<td>So I start by casting a few lines...</td>
<td></td>
<td></td>
</tr>
<tr>
<td></td>
<td>weighing my options</td>
<td></td>
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<td></td>
<td></td>
<td>and I am still waiting for the bite.</td>
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<div style="text-align: center;">
Waiting for my own intentions to bite and dig in that is.</div>
<div style="text-align: center;">
<br /></div>
In our community sharing, I quickly appreciate the sourcing of this initial feedback as it has helped me to frame my evaluation of the path to travel.<br />
<br />
In accordance to my (1<sup>st</sup> draft) proposal I source from material that is already available to me. I take the time to re-learn and reacquaint with the some-what familiar. This motivation serves me two-fold: partly to prepare for the intensive yet to come/improve my directorial articulation and partly to pull apart patterns, push my own edges and force myself into a refined intentionality (i.e.-go deeper).<br />
<br />
Through the powers of video I stare at bodies that are not my own. I am confounded by the what is. I had a heavy hand in the making this material. In fact it is my process, my material. I adapt- where does this material fit on my body?<br />
<br />
(I panic, have I picked an uninspiring task to pursue? I breathe - you have only watched two videos. Relax.)<br />
<br />
<br />
<div align="right">
… the line is still cast, I can still retreat quickly and find a new cove for entry.</div>
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<br />
I breathe..<br />
<br />
<br />
In my presentation of material I presented two sets. They are not connected, for referential purposes I will differentiate the two by labeling them 1<sup>st</sup> Set and 2<sup>nd</sup> Set.<br />
<br />
The 1<sup>st </sup>Set was as close to the origin as I could muster, including the initial creation source and the adaptations to present. (This information is beyond this posting, but if you are interested I would be happy to fill in the sub-text, just leave a comment indicating so).<br />
<br />
The 2<sup>nd</sup> Set was a re-approach, a listening. Cryptic I know. But I used my text of perception, listening, and sensing as my first filter in adapting the movement.
<i> </i><br />
<br />
<i>An evaluation:</i><br />
In the 1<sup>st</sup> set I am drawn to the process of specified initiation and carving/following the path of travel or phrasing through the body. Although I am disenchanted with something slightly familiar to this performitivty or approach to moving. Can I challenge myself to stick to the local specificity of initiation and follow-through and not throw it away to the general sense like I always do?<br />
<br />
The tone of the 2<sup>nd</sup> Set is more unfamiliar to me and less defined. The wavering of time (matter of factness to physical surge) and the scale of performativity could be played, pulled apart, and structured in a way to develop and understand this more seemingly unknown place to me. Through the use of text and addressing the public the line between inviting and intimidating the audience is one not yet- but should be considered. I like this point and now personal challenge.<br />
<br />
The question I posed at the end of the community sharing was to solicit verbalization in how to compare the differentiation or legibility of the two… if one was even present that is. <b> </b><br />
<b>If you, my community had your choice: which of the two sets should I pursue? Or what qualities from each set read as new challenges for me to pursue? </b><br />
<b> </b>
<br />
<div style="text-align: center;">
<b><i>-for digital archive and trace notes-
</i></b></div>
<b><i></i>Feedback Notes:</b>
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<table>
<tbody>
<tr>
<td><b>1<sup>st</sup> Set:</b><br />
-Searching<br />
-Shape/Face<br />
-Long-stretched time<br />
-Syncopated<br />
-Intentionality in an interesting way<br />
-Initiations<br />
-Recognized may be hard to sustain</td>
<td><b>2<sup>nd</sup> Set:</b><br />
-Experiencing<br />
-Matter of fact in experience of<br />
-Bounce<br />
-Long<br />
-Not as complex in shape of body<br />
-Surging<br />
-Acceleration that was interesting but didn’t last<br />
- peaked interest than kicked the audience to the side of the road.
-</td>
</tr>
</tbody>
</table>
<br />
<b>Comments/Observations: </b><br />
<br />
Crossing the mid-line<br />
Beginning had an intentional use of time - sustained<br />
(This was) Lost in the rotations (floor)- I need/use time of physics for thrust to resolve<br />
Initiation of body parts- sometimes overlapping which read as a differentiation from the base line (4<sup>th</sup> position pivot)<br />
Vertical rotation with looking a thematic repetition<br />
Unexpected weird chicken walk- strange but engaging (Jacinte’s pelvis articulation)<br />
Talking style is reporting, which took place in the talking corner (DSR)<br />
Movement coordinated with text<br />
Shortly after reporting of facts turned into…. Oh this is about dancing (O2 reference)<br />
Viewers gaped out in between surges (Crawl walk on floor to run in circle –was gap)<br />
<br />
Pelvis play<br />
Expansion- reach<br />
Back Space was very noticeable- this drew the viewer in<br />
Articulation<br />
Speed noticeable- slow down/rev up<br />
The use of gaze created a knowing/unknowing spectrum.<br />
<br />
Retreating sense of space- using the vertical up and down<br />
Clear directions of focus but were many spots- didn’t know where audience was suppose to be lead, they got lost.<br />
Describing and experiencing<br />
Talking was simultaneously inviting and intimidating – it was a fine line and the audience was confused which side to live on.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-82255876497472966082013-09-23T11:22:00.000-03:002014-01-19T11:23:07.240-04:00A Project Proposal: Interior DetailsI am interested in articulating subtle interior details so that I may<br /> broaden my exterior’s edge. This question and subsequent inquiry will <br />challenge me both as a choreographer and a performer.<br /><br />I am approaching subtlety through the inquiry of the mirco scale. By <br />investigating the question “what is the micro scale?” I hope to make <br />apparent the intention within specific movement locale. Through the use <br />of such specified intention(s) I am interested in focusing on crafting <br />the local choreography, the choreography of the body itself. Can the <br />play of plasticity and breath within the body become a sub-dance to <br />support the exterior frame?<br />
<br />By paying attention to subtlety and differentiation I hope to access a<br /> new range of compositional choices. I am excited by the possibility of <br />expanding my path of travel within the body (and in turn through the <br />space) by constructing a detailed map of movement initiations and to <br />re-consider the use of phrasing from a more minute perspective.<br /><br />I will also challenge my choreographic mind and performative self by <br />devising multiple micro scores that are performed in density or with <br />simplistic sparsity positioned intentionally within the work.&nbsp; Through <br />this research, I ultimately want to challenge my permeability as a <br />performer and find new uncharted ground in my use of tone and control.<br /><br />As a choreographer I gravitate to the macro structure and large <br />compositional strokes of my creative work. Through the scope of the <br />performance project I aim to address this edge and will strive to work <br />in a more simplistic manner. I want to pare back on my go to <br />compositional seductions, such as the use of concept as main <br />choreographic driver, or the use of thrust and power in my movement <br />invention. By avoiding such former tendencies I hope to find greater <br />nuance within clear intentions that will affect the micro scale of my <br />compositional choices, this in turn will feed and create the yet to be <br />determined macro structure of this new solo work.Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-40908102880544965452013-09-17T23:47:00.000-03:002013-09-18T00:01:21.652-03:00Failing Resliency <div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"> </span><br />
<span style="font-size: small;">2nd Year! I continue to dig, reflect and interrogate... and as I do so I am failing at my own assignments. Luckily some of my work has paid off and I can more easily track and identify my creative habits now. Moving forward my challenge is to be in relationship with such familiar paths and try to veer from my typical approach. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">I easily gravitate to the macro structure and I am easily distracted by the thrust of my power. I search for resiliency and have managed to keep my pelvis in a perfectly horizontal plane. I lost my swing, buoyancy and hang on to the levity of my upper body as a disguise. </span><br />
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<span style="font-size: small;">I need to go back into the lab and hit re-set. How can I twist my habits on their edge to access a new road? Further research is needed.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">ps- Thanks to Cory Bowles for his supportive tunes, playing in the video is a piece original composed for SiNS dance in the work "Hungry Like the Wolf" </span><br />
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<span style="font-size: small;"><span style="font-family: "Helvetica Neue";"></span></span>Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-10653442208848984052013-02-07T21:02:00.000-04:002013-02-10T10:20:59.640-04:00Tenderness, Nobility and ToolsHere I am embarking on my usual procrastination strategy.... fill the blog!<br />
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<br />
Although lucky for me I am not procrastinating on anything academic, in fact I wish I could bend time for a momentarily pause in all this research of duration, so that in fact I could sort out and digest the many concepts in my presence. I dodge the big G word, G.R.A.N.T -wishing that I can hold my time for reflection more closely and telescoped in and out to many forms, not crammed into this one posting. <br />
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My workshop door is open and I see a million tools I could pick up and sharpen, hold, discover, re-order/organize, craft to make something new. This thought is invigorating and overwhelming.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-NSX-FQaPbYo/URRMpnkE53I/AAAAAAAAAB8/ktRNinBFCaM/s1600/IMG_3629.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://2.bp.blogspot.com/-NSX-FQaPbYo/URRMpnkE53I/AAAAAAAAAB8/ktRNinBFCaM/s200/IMG_3629.jpg" width="149" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A sun dial aligned with Halifax time and not daylight savings adjustments. </td></tr>
</tbody></table>
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The moment of attention is by far the most important tool. This is the one I am currently picking up, dropping, hanging on to, and noting to come back to. It is not repetition but a stretch of time, time expanded (although extremely dense) in order to begin to gain the capacity to simply notice.<br />
<br />
The delicate task of looking and not overdoing is a difficult one and I am reminded of the tenderness concept. I have the utmost reverence for all the gifts of research around me, I am floored every day with the questions that are presented and that I get to ask. I feel simultaneously noble and a hot mess in my quest to learn, to face, to interrogate. <br />
<br />
duration, non-eraser, risky weight, finishing, dominant/sub-dominate, hot mess, muscle/bone/fascia, go to the place you want to dance, subordinate, merge and separate in a parallel universe. These are my tools to discover.....<br />
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<tr><td class="tr-caption" style="text-align: center;">A hot mess of ideas in the studio and two very willing bodies on the quest.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Arranging things in Choreography and Design with my colleagues and Chris Aiken!</td></tr>
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<br />Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-8560843589923020172013-02-04T21:58:00.000-04:002013-02-10T10:14:26.496-04:00Research in the Studioan idea in research: Parallel Universe/Merge and Separate<br />
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Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-81578674794839554202013-02-03T12:14:00.001-04:002013-02-03T12:15:10.530-04:00A new publication in the makingHmmm... it seems a new cross border publication is waiting to be made:<br />
<b> t</b><i><b>he improvisor's gossip gazette for conceptual wars.</b> </i><br />
<i><br /></i>
Looks like I have a new project in my hands connecting east, west and south. Hope I don't split myself apart on this one!! :)Anonymousnoreply@blogger.com0tag:blogger.com,1999:blog-1041136759998706182.post-53351965147995382852012-11-04T00:00:00.001-03:002012-11-04T00:00:25.320-03:00Mid-Semester SqueezeI am at the mid-semester squeeze, exhausted and the deadlines just keep accumulating. The light at the end of semester tunnel will hopeful show itself soon. In the meantime to keep our spirits high we have taken up singing. Inspired by a song written by second year Kelly Silliman. This definitely was a treat at the end of another intense week.<br />
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