Day 9 Qualities

Walking — what happens when dancing stops and walking begins. Can the dancers break out of dance code to walk from A to B, or will the walk become a codified statement? Does walking constitute a gap in the dancing, a pragmatic move from A to B, or is it a full statement. Is a gap a statement? Kerry is asking for urgency, a presence, in the walk, yet not codified, I wonder how this is being interpreted – as grandly present, or internally focused, in time to the music or just an embodied moment of walking.

Looking — how do the dancers see each other? At present they work in duets with no eye contact, body-to-body, soldier-to-soldier, waiting for the beat to begin, and then bang into the fast partner work — the meetings between them are coldly robotic. What is Random’s aesthetic on looking? Kerry begins to address this, looking for the links into partner work so there is continuity between meeting and dancing. For me, the dancers are mirror bound, they see themselves and each other in the mirror, and I don’t sense they are in contact with each other relationally, as different live bodies.

Endings — allow yourself to breath, settle, allowing you to register the end of the duet, before walking off. How much of this is translated?  Or is the image of pausing before walking off stage copied from Kerry’s demonstration? How does this become assimilated internally? Does it matter? How do you perform pause?

Throughout this creative process, learning has been externally directed, and then internally assimilated.   Mirror learning.  Remembered by image. So the code is transferred. Question — what is the relationship here between semiotic and symbolic language, how does one inform the other on the dancer’s body?

Run through of 1st section.

Links have been made, for Yabin’s solo; this is stronger with Zhibo added.

Links made into Sun rui and Zhibo’s duet at end of section.

Much smoother links into men’s feet and arms phrase.

Kerry has changed Wang lei’s ending. While the others walk upstage, he walks down stage and goes into his initial move at the beginning of the piece.  Bookends, nice. Of course this adds an accessible narrative!

End of the day and Kerry is aware of a ‘larking about’ atmosphere in the studio, like school kids anxious to get out to play.

The quicker we can do these two runs the quicker we can go home.

I like a relaxed atmosphere, but I get a sense when it gets to much fun it gets uncontrollable. Especially when you are tired, if one person laughs, then two people laugh, then it goes crazy. Then you are having a party and I don’t know what is going on.  I need you to focus otherwise I don’t know if my decisions are correct.  So focus for me for another 20 minutes. Also, try not to laugh at each other, be supportive. I know this material is strange.  No we don’t feel strange, it is normal now.  I think you look beautiful I am proud of what you have done…

The dancers tell Kerry that it does not feel strange any longer; the movement language is assimilated into their bodies.  So this brings another question — if the material feels comfortable then is that an achievement — or is it the discomfort, the strangeness, that actually defines the quality of the material?  So — are the dancers’ aiming for comfort in their dancing? Or can Kerry encourage them to continually question and play with the movement to ensure that it retains its strange awkward-ness.  For the awkward fractured quality of Random’s work is its strength.

Run through 200% then home!

1 comment to Day 9 Qualities

  • Katherine Mezur

    I was thinking how my noh teacher said that noh is the art of walking and then I noticed in Kabuki dance, kyogen, even bunraku, that walking was the central movement/art. “Dance” perception is “diverse.” I was also reminded that the systems of performance making, like rehearsals, are not the same in every culture. k

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