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…
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.
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.
The last day that Shugi, Yunyu and I worked together, we were in a long hallway at TNUA. After filming the material from different angles several times, I became intensely drawn in to the quiet dance that was moving the space around me. Shugi and Yunyu had begun to stir space while holding time; they had shifted past the mechanics of the choreography and were ritualizing the silence into motion. It was meditative. It was vibrant. It was timeless. The dancing they were doing had a particular, luminous yet direct virtuosity.
I imagined that working this series with seasoned performers, I would experience new ways of understanding virtuosity.
What does virtuosity mean at this age? At least one answer is this: holding the space of time.
The XTE AOC Benefit is this Saturday, February 11 at 7:30 pm in the Studio Theatre at Erma Lowe Hall on the TCU campus (3000 University Drive S at Bellaire Drive N). For tickets or to make a donation to the AOC go to: https://secure.qgiv.com/event/aocdancebenefit/
Laura Barbee in Pale Moon
Lynn Lane Photography
Twenty-five years ago, Andy Parkhurst, a senior at TCU and then president of Chi Tau Epsilon Honor Society, inaugurated a concert to benefit the AIDS Outreach Center of Tarrant County. The members of XTE have worked since then to cultivate the relationship and support the AOC. They have continued to produce concerts yearly and in 2012, under the direction of Julie Kostelancik, began to successfully incorporate the work of professional artists in the event. In 2014, the concert was listed as one of the top ten dance concerts in the metroplex.
This year, wild goose chase dance has been invited to participate with other professionals and the DanceTCU ensemble. Please come if you are in the region and support this endeavor.
a trio of images from our film shoot today. . .
This is William Trevor’s response in a 1989 interview in the Paris Review when asked about defining the short story:
I think it is the art of the glimpse. If the novel is like an intricate Renaissance painting, the short story is an impressionist painting. It should be an explosion of truth. Its strength lies in what it leaves out just as much as what it puts in, if not more. It is concerned with the total exclusion of meaninglessness. Life, on the other hand, is meaningless most of the time. The novel imitates life, where the short story is bony, and cannot wander. It is essential art.
Over the past two days, we’ve begun to work with references to the past through a mode of moving in which Shugi now finds home. The result looks much like a cat’s cradle.