The dancers brought in material they had collected over the week. What struck me is how diverse the forms of the materials where. The collection ranged from visual art to an audio recording. We took these materials into the studio with us. The role of what the dancers found was not to initiate movement material but to paint the room in which they live. By making a selection to bring into the space they are carving their own environments.
The materials that where brought in where:
-A video recording of waves on the Bosphorus crashing upwards as they roll towards the shore. The moment of suspension as their movement dynamic transitions from being thrown upward toward to sky to falling downward into themselves.
-A photo from the latest edition of 'Science and Technology'. Something falls into water. It causes a a drop to be thrown upward. The photo is taken just before the drop falls back into itself. An image which holds within it the evidence of something that came before and that will come after it.
-A song. A melancholic female singer (Müzeyyen Senar) elongates her vowels in desperation and anguish.
-An image taken from the sea in the Marmaris. Three stumps washed over by the foam of the sea. As the waves come into the shore the middle, shorter stump is covered over by the sea froth, hidden. As the waves run away the stump is revealed afresh.
-An imagine of a section of an abstract painting by Barış Sarıbaş. The relationship between the shapes creating a feeling of suspension. The evidence of something hidden.
In the movement journey I guided the dancers on the bones where very alive. The movement pathways succeed in being skeletal which is what I aim for.
It is difficult for me to find a balance between giving them cues I have already prepared and following them on their journeys and allowing what I see to guide me. How can I find the the balance between an environment I want to create and translate to them, and allow them to explore their own environment?
I find myself becoming conscious of the dancers getting bored. I need to allow for more silence. More stillness. I am afraid I will loose them in too much stillness. I need to have more trust and faith that they are exploring their rich inner worlds.
I must remember Rosemary's words: 'You build up moments of restlessness. You don't have to be doing something all the time. Then from that restlessness three things might happen' (class notes)
One of the dancers who has already found her predicament from within a long stillness said she had a phrase in her head after the movement session : ' To fall into oneself'
Next week the dancers need to bring in an object that relates to the movement experience they had today.
The dancers need to find images, moments, experiences to hang in their rooms.
The materials that where brought in where:
-A video recording of waves on the Bosphorus crashing upwards as they roll towards the shore. The moment of suspension as their movement dynamic transitions from being thrown upward toward to sky to falling downward into themselves.
-A photo from the latest edition of 'Science and Technology'. Something falls into water. It causes a a drop to be thrown upward. The photo is taken just before the drop falls back into itself. An image which holds within it the evidence of something that came before and that will come after it.
-A song. A melancholic female singer (Müzeyyen Senar) elongates her vowels in desperation and anguish.
-An image taken from the sea in the Marmaris. Three stumps washed over by the foam of the sea. As the waves come into the shore the middle, shorter stump is covered over by the sea froth, hidden. As the waves run away the stump is revealed afresh.
-An imagine of a section of an abstract painting by Barış Sarıbaş. The relationship between the shapes creating a feeling of suspension. The evidence of something hidden.
In the movement journey I guided the dancers on the bones where very alive. The movement pathways succeed in being skeletal which is what I aim for.
It is difficult for me to find a balance between giving them cues I have already prepared and following them on their journeys and allowing what I see to guide me. How can I find the the balance between an environment I want to create and translate to them, and allow them to explore their own environment?
I find myself becoming conscious of the dancers getting bored. I need to allow for more silence. More stillness. I am afraid I will loose them in too much stillness. I need to have more trust and faith that they are exploring their rich inner worlds.
I must remember Rosemary's words: 'You build up moments of restlessness. You don't have to be doing something all the time. Then from that restlessness three things might happen' (class notes)
One of the dancers who has already found her predicament from within a long stillness said she had a phrase in her head after the movement session : ' To fall into oneself'
Next week the dancers need to bring in an object that relates to the movement experience they had today.
The dancers need to find images, moments, experiences to hang in their rooms.
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