Artist Profile: Katie Piatt

Katie Piatt (Portland, OR) – Springfield Today (LIVE)

Katie Piatt photo2 - by Jason Piatt

WEEKEND 2: Get ready to don a wig and/or costume, and be interviewed as the audience becomes the interviewees in recent PNCA grad Katie Piatt’s exploration of her hometown in Springfield Today. 

BIO

Katie Piatt is an artist living, playing dress-up, and telling jokes in Portland, Oregon. She explores the ideas of gender, body, sizeism, and identity with her extensive background in soft sculpture and sewing, as well as in her newer participatory performance and storytelling practice. Through the art of spoken word, improvisation, body language and costume, she collects the stories of participants while challenging the effects of growing up a fat girl in the conservative Ozark hills of Missouri. She received a BFA in Painting from Missouri State University in 2012, and an MFA in Visual Studies from the Pacific Northwest College of Art in 2015. Her recent mischief includes crashing last year’s Whitney Biennial as an aged characterization of Little Orphan Annie and doing stand-up in Canada dressed as an old woman named Martha. http://katiepiatt.com/

PERFORMANCE SYNOPSIS

All the stories created in Springfield Today are based on true local color, traditions, and memories from Katie’s hometown in Missouri. The group fiction that occurs is a magical, one-time-only part of the show. Even the theme-song is created from an interview! Everything you see happening will not happen again. This show will make you laugh if you’re from the Midwest, have ever traveled through there, or know any of the major stereotypes about Midwesterners.

VIEW A TRAILER FOR SPRINGFIELD TODAY

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Artist Profile: Dani Tirrell

Dani Tirrell (Seattle, WA) – The Beautiful

WEEKEND 2: This dance/theatre work, created and choreographed by Seattle dance artist Dani Tirrell, is centered on Dani’s relationship with America/Seattle and his identity as a gay black man. He summarizes it as: semi-patriotic, gender non-conforming Butch Queen, some heels, some Drag, and a little bit of Thug Realness.

BIO

Detroit native Dani Tirrell is a dancer, performer, choreographer and dance educator. Most recently Dani’s work has been seen at the Seattle International Festival of Dance (Seattle), Black Choreographers Festival (San Francisco), Poetry + Motion (Seattle), On the Boards: 12 Minutes Max (Seattle), Global Dance Party (Seattle), Gay City Arts: Up Close Personal and Young Tanz Sommer (Austria).

In 2012 he was awarded a grant through The Central District Forum of Arts and Ideas creation Project. Dani is currently on staff and Northwest Tap Connection and The Beacon. He has choreographed for Broadway Bound Children’s Theater (Seattle), Brown Box Theater (Seattle) and Repertory Theatre of Hope (Detroit). Dani is the founder and Artistic Director of Dani Tirrell Dance Theater/Color Lines Dance Ensemble. He currently teaches Modern, House and Vogue throughout the Seattle area.

PERFORMANCE SYNOPSIS

The Beautiful will examine the question: “What is freedom if you are gay, black, living in America and raised in the Detroit area?” Using Vogue and House dance as a base, along with contemporary modern movement, the concepts of sexuality and the human condition are explored against a backdrop of Detroit and the automotive industry. The sound score will consist of reworking American patriotic songs interwoven with House music. In this work, Dani finds himself asking:
Who were these songs were created for?
Does these songs mean the same today as when they were first written?

CLICK HERE TO SEE A PREVIEW OF DANI’S WORK

CHECK OUT DANI’S WEBSITE

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Artist Profile: Jessica Jobaris + general magic

Jessica Jobaris + general magic (Seattle, WA) –
A Great Hunger

WEEKEND 2: brings Seattle choreographer Jessica Jobaris and her company, general magic. With “A Great Hunger,” they bring us a Shangri-La supper table offering the intelligence of dolphins, the promise of God, superficial intimacy, Humpty Dumpty, and blurry faces binge eating on Nietzsche. A repast dedicated to the secret world of loneliness, and the incessant work of staying perpendicular.

BIO

Curiosity of the expressive body brings Jessica Jobaris to study, perform, teach and choreograph in Seattle, NYC, and the EU. She has been awarded residencies/commissions throughout the U.S., creating 25+ dance works. Jessica performed with Seattle all-stars Lingo dance theater, Scott/Powell Performance, Maureen Whiting Co., Salthorse, Carr Dance Media (NYC), Theater directors George Lewis and John Paulsen. While living abroad, she worked in Berlin for German MTV, Kristin Berger, Felix Ruckert, Jess Curtis/Maria Scaroni, & visual artist Eloise de Hauteclocque. She currently performs for Mark Haim Dance & Theater, having had the privilege of opening the ArtDan Festival in Paris, and forJoyce Theatre’s Focus Dance showcase in NYC.

PERFORMANCE SYNOPSIS

Opening: a very long clean barren table. Performers enter and begin with a seance; to see if they are truly alone. Layers of stillness, hyper-physical choreography and “name” soliloquies, using Tennyson’s method for transcending the self (repeating his own name to lose his “ego”). Performers fluctuate in failure and attainment of physical contact/intimacy with each other inside projected landscapes: nauseating oceans, screaming roller coasters, blurry faced car drives, and starring Humpty Dumpty as the Fool. Unsentimental in nature, this performance is also a study in creating and annihilating loneliness thru performance; how to not be so lonely in being lonely, by being lonely together. Mostly, a comedy.

CLICK HERE TO SEE A PREVIEW OF JESSICA’S WORK

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Artist Profile: Faith Helma

Faith Helma (Portland, OR) – I HATE POSITIVE THINKING

WEEKEND 1: Faith Helma’s newest solo work, I HATE POSITIVE THINKING, is a performance in which the new-age psychology of positive thinking is ripped apart, and alternatives attempt to be articulated using charts, songs, semi-coherent rants and experiments with the audience. This show will be a departure from previous works that Helma has created with Portland’s Hand2Mouth Theatre, and from her last solo work, Undine, created in 2009.

BIO

Faith Helma is a performance artist and singer/songwriter who has worked with Hand2Mouth for fifteen years, creating and performing in Repeat After Me (2007), Everyone Who Looks Like You (2010) and Something’s Got Ahold of My Heart (2013) among others. She also created the one-woman music-theatre performance Undine (2008), which toured to Seattle, New York and San Francisco. She currently works with people one on one and in groups as a Creative Guide, and if you’d like to book a session you can go to her website: faithhelma.com/workwithme.

PERFORMANCE SYNOPSIS

I HATE POSITIVE THINKING is inspired by Faith Helma’s aversion to positive thinking on the one hand, and her fascination with life-coaching, hypnosis, and the power of the unconscious mind on the other. It’s also inspired by the curveball of giving birth to her son, and how the tools of creativity and performance helped her survive. By using these tools, Helma will help other people harness their own creative power to dissolve blocks and solve life problems. Specifically the performance will include:
• Semi-coherent rants from about how much “I hate positive thinking”
• Guided exercises and experiments with the audience (for instance, testing one of the main facets of positive thinking by seeing if we can manifest something over the course of the performance)
• Simple songs I have written, like “I’m Awkward, I’m Alive” and “You Can’t Control the Universe, You Can’t Control Your Mind”

VIEW A SAMPLE OF FAITH’S PAST WORK

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Artist Profile: Markeith Wiley

Markeith Wiley (Seattle, WA) – 31 & Counting

WEEKEND 1: includes Seattle dance artist Markeith Wiley. His solo performance, 31 & Counting, is a schizophrenic dance theatre work that acts as a physical memoir, weaving tales about race, truth, lie, sex and money.

BIO

Markeith Wiley, the 2014 City Arts Future Lister and Artistic Director of the dance group The New Animals, has been in Seattle for just short of a decade. The works of the group and Wiley have been seen at On The Boards, Velocity and several other theaters in Seattle. Wiley conducted two residencies in 2012, one at Cal State San Luis Obispo and Riverside Community College (CA). With three tours to Sun Valley, ID and one to Riverside, CA, Wiley and the group plan to cross over to the east coast in 2015.

PERFORMANCE SYNOPSIS

There is Markeith The Effeminate, The Lover, The Public Speaker, The Shadow, among other characters. 31 & Counting takes place in a corner of a living room, incorporating music composed by Seattle artists and samples from Southern California rap artists. Markeith explores the various parts of himself, while asking questions about what it means to be a black man in America, and more specifically, the Northwest.

VIEW A SAMPLE OF MARKEITH’S PAST WORK

READ MORE ABOUT MARKEITH AND THE NEW ANIMALS

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Artist Profile: Nancy Ellis

Nancy Ellis (Portland, OR) – Nancy’s NANCY

WEEKEND 1: Nancy Ellis, a longtime Portland favorite, has been working on her first self-created and choreographed solo performance, Nancy’s NANCY. We are so thrilled to share it with Portland audiences, this story tinged with “sadness, stubbornness and infectiously bright charisma” (Willamette Week).

BIO

Nancy Ellis began dancing professionally in 1994, when she joined the musical theater chorus of the St. Louis Muny Opera and became a member of Gash Voigt Dance Theater of St. Louis. In New York City in 1995, Nancy became a founding member of both Yanira Castro + Company and Maura Nguyen Donohue/inmixedcompany. With these and other artists, including Annie-B Parson and Paul Lazar/Big Dance Theater, Nancy has performed throughout the U.S. and in Russia, France, Germany, Hungary, Italy, Switzerland, Puerto Rico, Costa Rica and South Korea. Since moving to Portland in 2006, she has worked with Jennifer Monson (TBA 2006), Hand2Mouth Theatre, Tahni Holt, Linda Austin, Katherine Longstreth, and Dawn Stopiello. Nancy began making her own work in 2014, with generous support from the N.E.W. Residency program at Studio 2@Zoomtopia. She presented Nancy’s NANCY in sold-out shared evenings there in September 2014, to positive audience and critical response.

PERFORMANCE SYNOPSIS

Nancy’s NANCY is a self-portrait inspired by Yanira Castro’s NANCY, a performer portrait based on Nancy Ellis which premiered in New York in September 2013. Life events and documentary dance-theater solos by artists including Miguel Gutierrez, Jérôme Bel, and Faustin Linyekula also inspired this performed memoir.

VIEW A PREVIEW OF NANCY’S WORK

READ MORE ABOUT NANCY’S NANCY

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Artist Profile: Éowyn Emerald & Dancers

owyn Emerald & Dancers (Portland, OR) – Will You Take This Balloon

WEEKEND 1: Choreographer Éowyn Emerald’s Will You Take This Balloon is built around three duets performed by 4 dancers. This work explores the complexities of human relationships and interconnection while revealing the beauty and vulnerability of giving yourself to another person. When individually broken up each duet has it’s own motive and meaning.

BIO

Since graduating from UNCSA and moving to Portland, Éowyn Emerald has been creating work locally and has had the opportunity to work with numerous schools, companies, and the unique experience of assisting Sylvain Emard when he re-set his work Le Grand Continental for White Bird and 160 of their dance-loving subscribers. Éowyn has received a NFAA A.R.T.S. award for choreography and was awarded a Regional Dance America Monticello award and scholarship for her work. She was recently selected by The Times of London as “a talent to watch.”

PERFORMANCE SYNOPSIS

A duet can be one of the most powerful and intimately revealing events in dance for performer, choreographer, and audience alike. By revealing a relationship in performance, one opens a door that most people have walked through many times throughout their life. It invites the audience to find parallels to their own stories and discover the power of the relationships that unite us.

Part 1: Force of will meets the strength of the human body in “Will You” a dynamic duet that explores the balance between power and love. Utilizing unconventional partnering and dynamic movement, this cold, calculating, and emotionally riveting work balances the endeavor for dominance with an inner longing to be loved unconditionally.

Part 2: Fluid, enticing, and optimistic, “Balloon” is a captivating duet that captures the grace and vulnerability of falling in love over and over again. “Balloon” is an exploration into the idea of falling in love at first sight. Its goal is to be effortless and fluid in its partnering and movement quality. Calming and sinuous the movement takes the watcher on an optimistic and engaging journey through the eyes of a young couple.

Part 3: Sexual driven and risk taking imagery “Take This” explores the dark side of when ones loyalty wavers and commitments are challenged.

CLICK HERE FOR A PREVIEW OF ÉOWYN’S WORK

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Artist Profile: Frédérick Gravel

ON DEMAND: Frédérick Gravel – Usually Beauty Fails

Deux couples 300CR

Portland, get ready for Frédérick Gravel!

I was lucky to catch Usually Beauty Fails at the PuSh Festival in Vancouver, B.C. in late January. I had heard rave reviews and some skepticism when the piece toured to Seattle at On the Boards the week prior (where the film we are screening was captured). I was in awe of many parts of this piece – the raw energy of the performers, the incredible live music, the casual humor in Gravel’s addresses to the crowd, and the incredible intimacy that traveled back 30 rows to where I was sitting. Hopefully we will see Gravel’s work live on our stages soon, but until then I’m excited to be able to bring this film version of Usually Beauty Fails to Portland!

BIO

Frédérick Gravel is a dancer, choreographer, guitarist, singer, and lighting designer whose work is presented not only in underground performance spaces in Montreal and New York, but at scholarly symposia as well. Gravel cultivates artistic ambiguity, cultural meeting points, the mixing of disciplines, and post-modern irony. He plays with the contemporary zeitgeist; flippant and skeptical. He is complicit with the audience, thumbing his nose at the avant-garde; at the exclusive preserves of the elite. In lucid, offhand fashion, he takes popular culture and establishment culture out of their assigned roles and brings them together.

PERFORMANCE SYNOPSIS

Socio animalus. Three musicians plugged into the power grid, six dancers ready to explode, the energy of Pop to intensify the beat, the energy of desire to set things ablaze. Quebec’s Frédérick Gravel ignites bodies and blows up the stage in Usually Beauty Fails, a surrealist and unbridled metaphor about our relation to beauty, the shock of love and the challenges of relationships. The performers’ combination of physical restraint and furious involvement produces a nervous dialog made of projected bodies, ruptures, false starts, repetitions and aborted gestures. No more gender-related clichés, all individualities are asserted: desiring and desired beings make use of symbols and their own bodies to better arouse the audience. The choreographer-dancer-musician grabs the microphone to distil with humor and impertinence a speech about dance and humans as social animals. An audacious integration of popular culture and choreographic art; an invigorating and carnal work that posits conflict as art and elevates reality’s imperfections to the rank of most efficient aesthetic.

Once more bringing together dancers and musicians in a space where choreographic show and concert are interwoven, Quebec’s Frédérick Gravel plays with the codes of contemporary dance and pop culture to question their respective canons. Built upon a series of short scenes in the manner of Gravel Works (which itself preceded Tout se pète la gueule, chérie), the work goes by like the songs of a sweet and savoury album about the fury of life, our unease at experiencing beauty and the difficulty in finding harmonious contact points in relationships.

Inspired by the aesthetic of videos where the desire to please is so strong that they become quasi-pornographic, the choreographer exacerbates frontality and tackles the game of seduction in group movements where dancers are as vulnerable as provocative. It is difficult for the public to remain indifferent to this silent appeal. But from one sequence to the next, the atmosphere transforms itself, we are plunged into another universe : guitarist, dancer and sometimes also singer, Gravel grabs the microphone in between two songs, like an irreverent M.C., and takes a few jabs at contemporary dance clichés as he breaks the fourth wall.

In the sections where the duo embodies the paradox of relationships that the body calls for but that the mind refuses, he refines his aesthetic of the accident, using physical constraints to generate conflicts that in turn produce movement. Combining choreographed and reflex gestures, the dancing results from a succession of frictions, accidents and failures that reveal the nature of beings endowed with wild vitality and unstoppable perseverance despite their repeated setbacks. No exuberance, no lyricism, no crisis nor any other theatrical construction. The movements are raw. The hips and the eyes carry the strong emotional and sexual charge. Dancing bodies in the instant of instinct. Animality and candor of the human beings stripped of his or her masks and judgment filters.

As a choreographic entity integral to the show, the live music sets the tone and gives a color and a direction, or on the contrary, appears to break an image, sweeps through a scene like a tidal wave. Perfectly integrated to the mise-en-scene, the bodies of the musicians bring us back to the reality of the show’s space-time, offering the spectator a perspective on the fiction created through the abstraction of the dance.

Like all previous works by Frédérick Gravel, Usually Beauty Fails was created in close collaboration with all members, dancers and musicians of GAG : the Grouped’ArtGravelArtGroup. (Text: Fabienne Cabado / Translation : Michel Moussette)

WATCH OUR VIDEO TRAILER FOR USUALLY BEAUTY FAILS

WATCH AN INTERVIEW WITH FRÉDÉRICK GRAVEL ABOUT USUALLY BEAUTY FAILS

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READ A REVIEW OF USUALLY BEAUTY FAILS BY VANGUARD SEATTLE

Artist Profile: Allie Hankins

Allie Hankins – Like a Sun That Pours Forth Light but Never Warmth

allie-ancient-lakes-007

Allie Hankins’ full-length debut is on the way!

Allie’s first performance in Portland was at the 2011 Risk/Reward Festival. She choreographed and performed a piece titled By Guess & By God under the moniker Part & Parcel with fellow dancer Mary Margaret Moore. Since then, she has become one of the most most talked about artists in PDX. We can’t wait to behold Like a Sun That Pours Forth Light but Never Warmth after several years of development!

BIO

Allie Hankins is a choreographer, performer, and researcher currently residing in Portland and Seattle. She is an inaugural member of FLOCK — a new dance center that serves as a creative home to Portland’s experimental dance artists — and a founding member of Physical Education: a casual/critical reading & research/dance & performance body comprised of herself, keyon gaskin, Taka Yamamoto, and Lucy Lee Yim. In Portland Allie works/collaborates with choreographer Tahni Holt, composer Jordan Dykstra, Noor, and Zac Pennington (Parenthetical Girls/Crying). Her work has been presented at On the Boards’ Northwest New Works Festival and Velocity Dance Center in Seattle, Conduit Dance and Studio 2 in Portland, the Robert Rauschenberg 19th St. Project Space in New York, and various venues in Minneapolis, Albuquerque, Vienna, and Berlin.   

PERFORMANCE SYNOPSIS

A correspondence between choregrapher Allie Hankins and Ballet Russes danseur noble Vaslav Nijinsky.

Appropriating Nijinsky’s obsessive repetition, approach-avoidance, and sexual deviancy, Hankins constructs an amalgamation of herself and the notoriously troubled dancer. As imitation dissolves into disorientation and false memories, Hankins endures with a persistance  unique to bodies in spiritual crises—confronting isolation and desperation in the pursuit of corporeal transcendence.

Against a backdrop of lurid color and gold-bathed muscle, Hankins negotiates the impermanence of identity, and the volatility of solitary retrospection. Embodying movement’s capacity to engender lust, repugnance, confusion, and ultimately elation, Like a Sun inhabits the space between confinement and liberation, reality and fantasy, myth and man.

ABOUT VASLAV NIJINSKY

Nijinsky (1890-1950) remains, by reputation, the outstanding male dancer of at least one century, and a pathbreaking choreographer as well. Celebrated for his spectacular leaps and sensitive interpretations, Nijinsky became a soloist at the Mariinsky Theatre, St. Petersburg, in 1907, appearing in such classical ballets as Giselle, Swan Lake, and The Sleeping Beauty. In 1909 he joined Serge Diaghilev’s Ballets Russes, and the company’s choreographer Michel Fokine created Le Spectre de la rose, Petrushka, Schéhérazade, and other ballets expressly for him.Yet his life dramatically demonstrates the uncertain line dividing genius and madness. The “god of dance” spent 30 of his 61 years in the grip of infantile rages and catatonic withdrawal; neither Freud, institutionalization, sedation nor countless insulin shock-treatments could halt his increasing derangement.

WATCH A VIDEO TRAILER FOR LIKE A SUN THAT POURS FORTH LIGHT BUT NEVER WARMTH

ARTIST WEBSITE

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READ MORE ABOUT NIJINSKY

SOURCES:

http://www.publishersweekly.com/978-0-8184-0535-8 http://www.britannica.com/EBchecked/topic/415147/Vaslav-Nijinsky

A window into Allie Hankins’ artistic practice

Enjoy this unique view into the creative process of Like a Sun That Pours Forth Light but Never Warmth by Allie Hankins. These posts were taken from Allie’s blog http://casting-long-shadows.tumblr.com/ – follow her there for more in the future!

Scroll from bottom to top to view these in chronological order, or scroll top down to peel back through time.

With Laura in the Studio.
March 13, 2013
Photos by Matt Olson
Posted 5 months ago

GoPro Camera tests for Matt Olson.
Photo by Matt Olson.
“Yes, it’s recording.”
Posted 1 year ago

 

On the beach with Laura.

March 13, 2013

Photo by Matt Olson

Posted 1 year ago

 

 

You are traveling on a train. You are speaking on a mobile phone. The train enters a tunnel. The connection breaks up and is lost. What happens here? The conversation is abruptly curtailed; you are pained, frustrated – relieved? Whatever their nature, there will be affects. The telephone induces a defection and a crisis of the self: in telephonic communication parts of oneself, one’s consciousness and senses, are donated to the other, one gives one’s attention, one gives ear. And when the line goes down we are returned to the hic et nunc of our physical circumstances without the phatic niceties (“thanks for calling, see you soon”) that not only provide formal closure and break our communicative contract but prepare us for the psychic shock of being alone once more. But, as all who use this technology will know, in the event of disconnection, as the signal strength dies and the state of full, pristine connectivity bleeds into a rebarbative silence, a transitional sonic disfiguration occurs: the voice of the interlocutor suffers violent torsions, a garbled – oddly aquatic – strangulation. What happens here?

The Horror of Disconnection: The Auratic in Technological Malfunction, by Martin Dixon

I posted this on my other blog a while back, but it means something different to me now that I’m on an island with limited reception and countless “dropped calls.”

“Psychic shock of being alone once more.”

It’s been an incredible month. It’s been a lonely month. I can’t believe it’s been a month.

 

 

"Anatomy of Spasm"  (experiment)

“Anatomy of Spasm”

(experiment)

Posted 1 year ago

 

Photo by Matt Olson

Photo by Matt Olson

Posted 1 year ago

 

Photo by Matt Olson

Photo by Matt Olson

Posted 1 year ago

 

Photo by Matt Olson

Photo by Matt Olson

Posted 1 year ago

 

Performance day.

Performance day.

Posted 1 year ago

 

Version 2: With James.

 

And what is a month in Florida without at least one selfie on my bike riding toward the sunset with the wind in my hair? 

And what is a month in Florida without at least one selfie on my bike riding toward the sunset with the wind in my hair?

Posted 1 year ago

 

Every “dance” I make is also a novel, apparently. Thank you for understanding.  "muscle punch arms—> antennae—>retrograde elastic—>yourself disappearing QUICKLY BY FOLDING."  "MORE MISSHAPEN PEARL!!!"

Every “dance” I make is also a novel, apparently. Thank you for understanding.

“muscle punch arms—> antennae—>retrograde elastic—>yourself disappearing QUICKLY BY FOLDING.”

“MORE MISSHAPEN PEARL!!!”

Posted 1 year ago

 

Photo by Laurie Lambrecht.

Photo by Laurie Lambrecht.

Posted 1 year ago

 

Dancing in a white room is surprisingly disorienting.

Posted 1 year ago

 

Fellow artist-in-residence Matt Olson found these lights in the basement of the big studio today. Possibilities.

Fellow artist-in-residence Matt Olson found these lights in the basement of the big studio today. Possibilities.

Posted 1 year ago

Allie+Laura=Best Shirt Buddies on boating day. Photo by Laurie Lambrecht.

Allie+Laura=Best Shirt Buddies on boating day. Photo by Laurie Lambrecht.

Posted 1 year ago

 

 

 

It finally warmed up today. I’m attempting to put the new vocabulary in new containers.

 

Posted 1 year ago

 

March 8.

Today I will let go of the notion of steps and instead look at movement as a series of states. A state always suggests a particular consciousness or mindfulness hanging in the air while you are moving or even when you remain motionless. But is a state a picture or a sort of vibrating image? It brings up the question of what one is actually creating in dance, live art, or performance. Images or pictures? Motion or action? Are we choreographing transitions between images or creating motion? Maybe we interact with a chain of events happening without creating images.

This can be a physical research: throw myself into a physical situation and, wherever I end up, try to recognize the place I am in. I want to understand the physical structure of that state and try to separate it from the moment when I start to represent, when I give names to the material or sensation. Can I dissociate the moment of recognizing where I am from the representation of it? Am I a person standing or am I a person standing staring out to sea? Where am I and where is my weight? And can I be between these two things?

Maybe states are a different way of trying to understand feelings (I’m full of ‘em out here). That is, the feelings I have and how I embody them. The modern dance tradition aimed to evoke and represent emotions, whereas states seem more related to feelings or rather the concept of “felt sense” (maybe?). Feelings come and go. I cannot always name them. Sometimes many feelings are present at the same time (like today). Feelings dwell in the realm of uneasiness, anxiety, or desire—perhaps these terms are too big, but they tie states to a “felt sense,” to sensorial issues and physical existence, to sensation without addressing them immediately in a theatrical or psychological way.

I’m really lonely today.

 

 

My new friend and fellow Artist in Residence, Laura Brunellière.

My new friend and fellow Artist in Residence, Laura Brunellière.

Posted 1 year ago

 

A rare moment of lightness. Trying to remember lightness.

Posted 1 year ago

 

 

 

 

 

 

 

 

 

 

 

Structure.

Structure.

Posted 1 year ago

 

Today.

Today.

Posted 1 year ago

 

Red Shoes screening at the Rauschenberg Residency, courtesy of Mimi Pond.  Dying Dancing

Red Shoes screening at the Rauschenberg Residency, courtesy of Mimi Pond.

Dying Dancing

Posted 1 year ago

 

Thankful for a familiar face and a shared vocabulary.

Thankful for a familiar face and a shared vocabulary.

Posted 1 year ago

 

And begin…

And begin…

 

I shared this video with the other residents last week. This video, and an essay called “Nijinsky’s Golden Slave” by Kevin Kopelson inspired me to begin making my solo “Like a Sun That Pours Forth LIght but Never Warmth” that I continue to work on here in Florida.

This is Jorge Donn dancing “Bolero” as choreographed by Maurice Bejart. The famous orchestral piece was commissioned by Ida Rubinstein (who danced opposite Nijinsky’s Golden Slave in the ballet “Scheherazade”) for a ballet choreographed by Nijinsky’s sister, Bronislava Nijinska in 1928.

Jorge Donn has also portrayed Nijinsky in another ballet by Bejart called “Nijinsky Clown de Dios”

So the glistening, sinewy body of this man, Jorge Donn, was a site of intersection/collision of all these historical interests of mine. And in this video we get to spy on him backstage as he prepares for this monumental task, and then we see him after he has been dancing like mad for 18 minutes, and the explosion of energy at the end—the moment when he faces extreme exhaustion and only barely escapes complete failure—makes me want to jump out of my skin.

 

 

March 2.

“Now it is inside my body that something is happening, the body is the source of movement. There is no longer the problem of place, but rather of the event. It is not I who attempts to escape from my body, it is the body that attempts to escape from itself by means of a spasm.” —Gilles Deleuze

Spasms call attention to the kinetic potentials of individual bodies—pushed into movement, caught in stillness, reverberating in between.

Spasm interrogates the visual through the kinetic, body through language, expression through emotion, performer through witness, pain through pleasure.

So, today’s work:

  • Consideration of movement as something interior
  • Immobility as a momentary pause of a tremulous choreography of isolation
  • Torquing language of the photographic to speak as choreographic proposal (Images of Nijinsky are all I have to work from)
  • Stillness vs. mobility, recognition vs. incommunicability
  • An exposure of flesh that reveals little intimacy or erotic force as it turns away from and into itself in a contraction of muscle and sinew (my back, my breasts)
  • To obscure an image the very moment you attend to it
  • Athleticism contained within the tension of a gesture
  • Choreography as an unstable site that disputes representation and signification
  • Sever choreography’s anticipated relationship to mobility and stasis and graceful expertise. Subvert a virtuosic notion of dance.

Choreography is given to the erotic: it tests out, seduces, and proposes without ever saying anything. Choreography is a corporeal passage in which the body is both a question and an inaccessible answer.

 

 

 

 

 

 

 

 

 

 

 

 

At the Weeks House with a Rauschenberg and Ann. Photo by Matt Olson.

At the Weeks House with a Rauschenberg and Ann.

Photo by Matt Olson.

 

 

Where I work.

Where I work.

 

 

My home for the next month.

My home for the next month.

 

 

Photo by Steven Miller

Photo by Steven Miller