Tina

ideas in motion / 1:28 minute dance

 

Tina standing

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developing a solo

for and with Tina …

a museum of sorts … built on the past … gesturally derived in the present

 

Tina close up

Harbor Residency

Thanks to Opera House Arts in Stonington, ME, and the ongoing and gracious support of artistic director, Meg Taintor, residency coordinator, Kate Russell, and the OHA staff, and a TCU Research and Creative Activities grant, Tina and I start work together this week.

Here’s the harbor!

And a view from the OHA theater’s lobby where Tina was warming up, taking in the view.

And …getting started.

 

 

authentic movement as a start

Mercy is a long-time practitioner of Authentic Movement. She was anxious to share the experience with me and suggested we use the practice as a point of departure. While I have only just connected to the tip of the proverbial iceberg in terms of the impact of Authentic Movement to generate clarity of being, and transformation, we did land on an idea to set in motion: it involves a mover and a witness; an experience of giving and taking of weight and support.

 

Mercy

following curiosity

Loretta bird's eye view

Curious about scale and the role of perspective in that …

Curious about filmed imagery as time…in time…

Curious – always – about simultaneous realities…

I would like to add my thanks to the UCI Department of Dance, Claire Trevor School of the Arts, University of California, Irvine, for in-kind support of the creative work that Loretta and I pursued together.

in light of time

The development of a dance – for me – is always about the gathering and then culling of ideas. Mostly those on being and becoming. All ideas live afloat in my surrounds and as I get closer to studio work, I start to sift through them. Questions guide the sifting process as well as the dance-making process; the ideas that remain help to establish context and content.

Prior to getting together, conversations with Loretta turned toward scale. This happened in part because Loretta finds fascinating the photographs of Robert Hite, and his play with scale.  This work by Hite became part of the conversation about the nature of  looking back in time – realizing that when one is small, all things material register differently in size than they do later in life. What once seemed to scale – if not large – now feels somewhat miniature.

Thus our point of departure: miniatures for the mind and the imagination – translated through the body in motion…

Loretta hand

holding a dance in hand

Alyson spoke of holding memories in her hands. I started to consider the idea of “holding a dance” in one’s hands, and what that could mean. That has been the heart of our investigation these last several days.

Alyson

I would like to thank the Division of Kinesiology, Dance and Athletics at Rio Hondo College, Whittier, CA for in-kind support as I develop this dance with Alyson.