Immersive Impressions of SFDI (Seattle Festival of Dance Improvisation) 

“At the furthest reaches of the world often occur new marvels and wonders, as though Nature plays with greater Freedom secretly at the edges of the world than she does openly and nearer to us in the middle of it.” – Ranulph Higden   

Playing badminton with Oscar Kosky, rising third grader, in his backyard in rural Virginia.  Watching his body fall over and over again (very beautifully and completely subconsciously).  Watching his badminton racket become an extension of his body.  Thinking that perhaps dance benefits rather than is diminished by being more open to all forms of movement.  Imagining a summer camp based around an appreciation for all movements: sports, art, dance, science –> hiking, soccer, swimming, kayaking, frisbee, modern dance, ballet, West African dance, improvisation, hip hop, CI, tag, hide and go seek, tai chi, movement forms I can’t list here from my frame of reference, and on and on and on… With high levels of rigor. 

Should rigor be porous? Would that be inclusive? What do we mean by these things, these words? 

A score for a score within a score, and a way to escape: as if something to get stuck on; safety in numbers 

What would you say if you knew people would listen the way you believe you’re listening to them? – I ask myself. 

What does it mean to be a geologist’s daughter? A geologist’s dancer? Daughter of deep silence.  Daughter of deep time.  Daughter of geologic time.  Daughter of waiting for water. 

Hybrid practice:  with a partner, hold hands and walk through the space (in this case the park), for five minutes timed. One person in the pair has their eyes closed the entire time. At the end of five minutes switch roles and repeat. After, take a picture, write an email, text, letter, etc. and send it to someone that you care about or love. The letter/picture/text/email in some way describes the experience of walking with eyes closed and the experience of being in the park.  

The perfect gesture is something not quite known or almost fully achieved – it is at the cusp of being established as what it is.  

The perfect gesture is not interesting to me.  
Momentum gains mass// my presence in place is momentum gaining mass 

In public parks I think there should be “human-recreation free” zones with planted trees that in 100 years will be forests that remain.  

Bearing certain stupid scars – the title of our dance 

And Onye Ozuzu’s son passes me by on his way up wooden bleachers and he handles my body like he does the stairs, tools to get where he’s going.  And I like that environment that, guarded openly and porously rigorously so that it is safe for a child to do that to an adult he doesn’t know.  But more so I love that environment that causes him to think that he should (use bodies as stairs).  

 The Underscore.  Drawn.  

SAM Olympic Sculpture Park

  

  

Andrew asked, “Why improvise?” And to myself I answer: “For me, improv is the freedom to choose what to follow, what to take responsibility for, as myself, freedom to chose my own movements and morals.” 

……….

New projects and poems… 

Women

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