I am interested in articulating subtle interior details so that I may
broaden my exterior’s edge. This question and subsequent inquiry will
challenge me both as a choreographer and a performer.
I am approaching subtlety through the inquiry of the mirco scale. By
investigating the question “what is the micro scale?” I hope to make
apparent the intention within specific movement locale. Through the use
of such specified intention(s) I am interested in focusing on crafting
the local choreography, the choreography of the body itself. Can the
play of plasticity and breath within the body become a sub-dance to
support the exterior frame?
By paying attention to subtlety and differentiation I hope to access a
new range of compositional choices. I am excited by the possibility of
expanding my path of travel within the body (and in turn through the
space) by constructing a detailed map of movement initiations and to
re-consider the use of phrasing from a more minute perspective.
I will also challenge my choreographic mind and performative self by
devising multiple micro scores that are performed in density or with
simplistic sparsity positioned intentionally within the work. Through
this research, I ultimately want to challenge my permeability as a
performer and find new uncharted ground in my use of tone and control.
As a choreographer I gravitate to the macro structure and large
compositional strokes of my creative work. Through the scope of the
performance project I aim to address this edge and will strive to work
in a more simplistic manner. I want to pare back on my go to
compositional seductions, such as the use of concept as main
choreographic driver, or the use of thrust and power in my movement
invention. By avoiding such former tendencies I hope to find greater
nuance within clear intentions that will affect the micro scale of my
compositional choices, this in turn will feed and create the yet to be
determined macro structure of this new solo work.
Monday, September 23, 2013
Tuesday, September 17, 2013
Failing Resliency
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.
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.
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.
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"
Thursday, February 7, 2013
Tenderness, Nobility and Tools
Here I am embarking on my usual procrastination strategy.... fill the blog!
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.
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.
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.
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.
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.....
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.
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.
 |
| A sun dial aligned with Halifax time and not daylight savings adjustments. |
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.
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.
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.....
 |
| A hot mess of ideas in the studio and two very willing bodies on the quest. |
 |
| Arranging things in Choreography and Design with my colleagues and Chris Aiken! |
Monday, February 4, 2013
Sunday, February 3, 2013
A new publication in the making
Hmmm... it seems a new cross border publication is waiting to be made:
the improvisor's gossip gazette for conceptual wars.
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!! :)
the improvisor's gossip gazette for conceptual wars.
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!! :)
Sunday, November 4, 2012
Mid-Semester Squeeze
I 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.
Sunday, September 30, 2012
One Month Recap..... I can barely breath and full of breath!
One month in and I can't believe it! I still keep thinking that this is a creative retreat that will end soon, much like my previous recent patterns for professional development, but instead 15 more amazing months await me.
I am taking 26 credit hours this semester, that's 9 courses plus my teaching on top of that. I am visiting two campuses a day for a total of 4 campuses per week. I didn't realize how a la carte my course selection could be and I am really taking advantage of the Five Colleges Dance Department set-up.
Good thing I brought my car. There is a free bus service between all the campuses that range from 10-20 mins away from each other , but instead I have been using my car to get to my teaching load on time and for a chance to listen to my CBC podcasts!! Can't live without my daily CBC hit, I might lose my Canadian edge. My schedule is definitely full, but luckily even more inspiring.
My theory courses consist of two grad seminar classes:
In the studio, on my feet running, I am taking two technique classes and one creation/repertory class, dancing minimum three hours a day plus my teaching days.
I am taking technique from the lovely Angie Hauser, faculty member at Smith, who also dances for Bebe Miller. Angie is premiering a big piece with Bebe Miller called "Tracing History" this weekend at Ohio State University. Even in her busy schedule she took a few moments to skype into our class and introduce us to the production team!
On the Amherst campus I am taking technique with Paul Matteson and his repertory class on the Mount Hoyloke campus. Paul danced with Bill T Jones for many years and now holds a joint faculty position with Amherst and MHC. I am really enjoying his class, Paul has really soft, spongy and buoyant joints and way of moving. I am beginning to feel the effects on my plie and release in my ankle joints. The piece we are working on is investigating soft collisions and layering gestures and people. Some days I think I should be wearing a hockey helmet (in true Canadian fashion) for the amount of times someone is jumping over my head, but we magically bounce around and through each other like in bouncy castle or on the clouds.
My other courses are:
1st Year Performance, Crew Assignment, Creative Process (where I am making a solo).
More to come on these later..... :)
In the teaching department, I am teaching contact improvisation at Hampshire College and am the TA for Intermediate Composition with Angie Hauser on the Smith campus. I am really enjoying the teaching aspect and love the groups of students that I am working with. Contact has been particularly enriching and I have gained a lot from developing an arc for the class, quantifying my shared weight knowledge (in this formal manner but keeping creativity and process at the forefront,) and delivering interesting readings for the students to learn more about the CI form.
I could say more, and more, and more, and this has only been month one!
I am surrounded by so many inspiring improvisors (Chris Aiken, Angie and Mike Vargas, etc.) that my creative edge and the creative edge of the room is always being tested, tapped and tweaked. The many readings and amazing performing arts library complete with rich video and audio streaming resources, the landscape and the people. I am truly blessed to be here and looking forward to the months ahead!
I am taking 26 credit hours this semester, that's 9 courses plus my teaching on top of that. I am visiting two campuses a day for a total of 4 campuses per week. I didn't realize how a la carte my course selection could be and I am really taking advantage of the Five Colleges Dance Department set-up.
Good thing I brought my car. There is a free bus service between all the campuses that range from 10-20 mins away from each other , but instead I have been using my car to get to my teaching load on time and for a chance to listen to my CBC podcasts!! Can't live without my daily CBC hit, I might lose my Canadian edge. My schedule is definitely full, but luckily even more inspiring.
My theory courses consist of two grad seminar classes:
- Literature and History of Dance -a research methods and writing course in preparation for my summer paper and end thesis.
- Music and Dance- a theory and studio based course led by Mike Vargas. In this class we draw from the text Audio Culture- Readings in Modern Music. The text is full of inspiring readings about music trends, movements, and composition theory. We then take the base of each text and apply it too the body and dance composition. This Friday morning class is an excellent way to end my week, so far we've had pots and pants in the room, tied ourselves all together, and had guest artist Janet Feder who plays and composes for "prepared guitar."
In the studio, on my feet running, I am taking two technique classes and one creation/repertory class, dancing minimum three hours a day plus my teaching days.
 |
| Crew House Dance Studio |
 |
| Gardens at Smith |
I am taking technique from the lovely Angie Hauser, faculty member at Smith, who also dances for Bebe Miller. Angie is premiering a big piece with Bebe Miller called "Tracing History" this weekend at Ohio State University. Even in her busy schedule she took a few moments to skype into our class and introduce us to the production team!
On the Amherst campus I am taking technique with Paul Matteson and his repertory class on the Mount Hoyloke campus. Paul danced with Bill T Jones for many years and now holds a joint faculty position with Amherst and MHC. I am really enjoying his class, Paul has really soft, spongy and buoyant joints and way of moving. I am beginning to feel the effects on my plie and release in my ankle joints. The piece we are working on is investigating soft collisions and layering gestures and people. Some days I think I should be wearing a hockey helmet (in true Canadian fashion) for the amount of times someone is jumping over my head, but we magically bounce around and through each other like in bouncy castle or on the clouds.
 |
| Scott Dance Studio |
 |
| Scott Dance Studio Entrance |
Later on in the semester I am taking part in the creative residency with guest artist Colleen Thomas. Colleen is a New York based dancer/chroeographer and performing artist. She too also danced with Bebe Miller and Bill T Jones, along with Nina Wiener Dance, Donald Byrd and Kevin Wynn and now directs her own company Colleen Thomas Dance.
My other courses are:
1st Year Performance, Crew Assignment, Creative Process (where I am making a solo).
More to come on these later..... :)
 |
| Grad Office in the Green Box |
I could say more, and more, and more, and this has only been month one!
I am surrounded by so many inspiring improvisors (Chris Aiken, Angie and Mike Vargas, etc.) that my creative edge and the creative edge of the room is always being tested, tapped and tweaked. The many readings and amazing performing arts library complete with rich video and audio streaming resources, the landscape and the people. I am truly blessed to be here and looking forward to the months ahead!
Saturday, September 22, 2012
Smith starts and away I go
Young and old, excited and bewildered, relieved and uncertain.... I am back in school.
The work of many inspiring artists around me infuses my blood stream and gets my pulse going,
It begins and here is where I will share my stories, thoughts, and fears.....
Sunday, November 6, 2011
A conversastion to be had: is it the medium or the message?
As an artist using technology in my choreographic practice, I am curious about the puzzled duality present in the Sunday Nov 6th posting of Arts East.
In my years of collaborating with multi-media artists, I am often faced with the same curiosity and skepticism found in this blog posting, a reaction that is quite synonymous with the phrase “dance and technology.”
The dichotomy is of interest to me, especially when the skepticism is coming from the public, who themselves don’t even acknowledge their own level of dependency and possible addiction to technology that exists in their own lives. Whereas the curiosity may emerge from a deeper level, that subconscious guilt knowing that we are all users which gives the public permission to carry the “ok… well show me what you got” attitude.
As an artist, I don’t feel limited at all by my use of technology or feel that I have to sacrifice my vision, otherwise why would I use it? An arabesque found in the ballet vocabulary doesn’t serve my message, so I choose not to dedicate my time to this particular use of form. The body can only do so much, just as a painter only has so many colours.
I am not dependent on a computer programmer, I collaborate with multi-media artist, electronic-acoustic composers, and with sculpture and installation artists because I don’t expect to be an expert of it all. And in fact it is the true essences of collaboration that leads my art practice to be rich and full of possibility. I choose to dialogue, exchange vocabulary and question the task at hand. This exchange of intellectual thought and human-to-human contact is where the richness of my work is developed. Especially when apposed to the alternative -being in the dance studio alone creating some moves to do.
In a have-based society the medium can easily become the message, and in fact is often the case in our daily life. We post, we update, we email, we share links, the list is endless but what are we really saying?
It is true and undeniable that technology is the way of the world right now. Data bytes of the information age, is the new industrial steam.
So isn’t my job as an artist to ensure that the medium is serving the message? and isn’t this what you the audience should be asking as well?
Photo Credit: Chris Randle, Taking your Experience for Mine by Sara Coffin
In my years of collaborating with multi-media artists, I am often faced with the same curiosity and skepticism found in this blog posting, a reaction that is quite synonymous with the phrase “dance and technology.”
The dichotomy is of interest to me, especially when the skepticism is coming from the public, who themselves don’t even acknowledge their own level of dependency and possible addiction to technology that exists in their own lives. Whereas the curiosity may emerge from a deeper level, that subconscious guilt knowing that we are all users which gives the public permission to carry the “ok… well show me what you got” attitude.
As an artist, I don’t feel limited at all by my use of technology or feel that I have to sacrifice my vision, otherwise why would I use it? An arabesque found in the ballet vocabulary doesn’t serve my message, so I choose not to dedicate my time to this particular use of form. The body can only do so much, just as a painter only has so many colours.
I am not dependent on a computer programmer, I collaborate with multi-media artist, electronic-acoustic composers, and with sculpture and installation artists because I don’t expect to be an expert of it all. And in fact it is the true essences of collaboration that leads my art practice to be rich and full of possibility. I choose to dialogue, exchange vocabulary and question the task at hand. This exchange of intellectual thought and human-to-human contact is where the richness of my work is developed. Especially when apposed to the alternative -being in the dance studio alone creating some moves to do.
In a have-based society the medium can easily become the message, and in fact is often the case in our daily life. We post, we update, we email, we share links, the list is endless but what are we really saying?
It is true and undeniable that technology is the way of the world right now. Data bytes of the information age, is the new industrial steam.
So isn’t my job as an artist to ensure that the medium is serving the message? and isn’t this what you the audience should be asking as well?
Photo Credit: Chris Randle, Taking your Experience for Mine by Sara Coffin
Friday, April 29, 2011
your experience is now mine and my experience is yours to ponder
The international dance day message by Anne Teresa De Keersmaeker is quite relevant to the questions I have been researching:
"People have always danced to celebrate the crucial moments of life and our bodies carry the memory of all the possible human experiences.
We carry the world in our bodies"
I fully believe, live and understand this statement. I fear the shift in living further and further away from our body will have greater impact than we can ever actually measure. It is this measure we should not look for, but instead fight to stay in the lived and shared experience.
Happy International Dance Day, make sure you skip, jump and leap tomorrow... I know I will be.
taking your experience for mine,
opens Friday April 29th, International Dance Day
at the Scotiabank Dance Centre at 8pm. Tickets available on Ticketstonight.ca
Join Me!
Photos top to bottom by Chris Randle, Chris Randle, Andrew Hawryshkewich, Andrew Hawryshkewich
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