Re-Discovering a Reason to Move

A Research on Movement:
— the application of movement in the arts
— ability of non-dance artists in motion
— choosing the human body as a medium
— learning about my own practice and interests
— movement coming from the need to move

Interview — Three approaches: Watching, Applying, Ability

1) What stands out in performances? What is important?
2) When/why is the body & movement used in your work?
3) What skills have you learned in your discipline which apply to movement/performance?

I am working to understand the implication and potential of
dance, movement and performance.

1) starting and ending, the human, space, composition.
2) vulnerability of the body, observing, social interest impermanence,
3)Composition, presence, tension, "think in a beautiful way" - State of mind

Unlearning and redefining my personal dance practice
What moves me to move?

How do artists outside of dance approach movement and the body?

How can I utilize this knowledge to work in collaborations?

Working Session 1: Shaking and Organizing the Body

1) Tuning in, walking, 15min shaking, 5min running.
2) Box of Points: visualizing and tasks
3) After talk

3)After Talk: Important points to reexamine
— Space
— Group feeling
— Guiding improvisation techniques

1)Physically demanding
Looking for an impetus beyond my instruction
*dancers: went to further possibilities, exploring
*non-dancers: stayed with one idea.

2)Externally executed
*dancers: Went further physically. Technique is available and visible. Engagement of the whole body
*non-dancers: Mentally active, but dropped physically more often. Focused on box and body part

Starting Point

Interview — Casual, Artistic Interest/Practices

1) What kind of space do you prefer to practice in?
2) When and How do you use the body in your work?
3) What makes a performance?

Round Two

1)A space that is new, inspiring and sparks creativity

2)Physical involvement in playing an instrument. Relatable practice to Yoga, Alexander Technique etc

3)Presence. Valid in live performance art, and every other art. The act of making (a sculpture for instance)is a performance and the artist must be present in their here & now.

Working Session 2: Outside, Senses, Evolution

1) Tuning in to the group.
2) Following the curiosities of the senses.
3) Meg Stuart evolution exercise.
4) After talk

More playful and more curious about the group & space. Feeling the wind for example inspired Alicia to move

Eduards

Maria

João

Alicia

Joost

Ben

Round Three

Moving Session 3: Outside, Re-discover Reality

1) Tuning in to the group & space.
2) Finding a way to the ground.
3) Meg Stuart awakening exercise.
4) After talk

We rediscovered our reality and our internal curiosities and impulses lead us into movement

Discoveries

Dancers/Non-dancer:


What are the differences in artistic practice?

Autonomous <-> group/collaborative work?

How do different disciplines approach the body?

Performance:


Trained or Untrained body

Labels/roles

Body as a tool

Presence in performance

Guided Improvisation:


How does the guidance influence the outcome?

What are my expectations vs. realities?

How does space and the group influence?

Dancers/Non-dancer:

Studio space is inhibiting

We can find a space which inspires and relates to the work at hand

Autonomous artists create their own stories, group workers await instruction

Dancer's activate the whole body, non-dancers focus on the point

Some artists choose to expose themselves by using their body as a medium

Guided Improvisation:


Guiding with specific words & imagery effects the mind-state

Not giving tasks, but giving the grounds for the movers to create their own tasks

Sparking curiosity or the need to explore initiates the need to move

Using this as a creative process with dance/non-dance collaborations.

Roles melt away and reestablish

Presence, attention and focus is the most value to performance

All artists I worked with we able to be present and embody the work. Roles and titles shifted during the improvisation as everyone inspired each other

Acknowledging the differences, and coming together as a collective

A Research on Movement:
— we learn tools in our disciplines which can be applied to other mediums.
— my interest in other's in motion is about their presence, not their skill
— The body is vulnerable, human, approachable, desirable and ephemeral.
— movement happens between thinking & non-thinking, between decision making & instinct. Movement is an internal sensation directed externally in motion

UNlearning. ReDiscovering. COWorking.




Diving into the minds and motions of other artists to better understand what movement and dance is for me.

I step outside of the dancer's mind and into artist's mind in general. How can we work together in motion?

Seeking out available artists who have shown interest in using their own body in their work, we came together for conversation and movement sessions.

I began a dialogue with these artists: musicians, visual artists, designers & dancers.

This feeds my own practice. It will continue into further research and processes

Guiding:

Information can not be giving too quickly.

Instead of asking for something to be produced, allow the space for the individual to create from themselves; spark creativity of the mover to give their own impulse for action

Space:
Dancers take the studio space for granted.

The studio is cold, sterile, and isolating.

Where are some spaces that invite movement?

Group Feeling:

A connected group is key to feeling a sense of purpose in the space

UNlearning. ReDiscovering. CoWorking. ReMoving.