Shared material on dying

Shared Material on Dying is a trio/solo work commissioned by Jenny Roche and the Dublin Dance Festival in 2008 from choreographer Liz Roche. Touring widely since its creation, it continues to be a rich research environment for the interrogation by Jenny Roche of the dancer’s first-person perspective in choreographic production and performance. The research perspective drawn from the live performance of this iteration was how the exploration of the same dancing moment might be expressed from multiple perspectives by three different dancers and what this might reveal about the dancer’s inner configuring of the performance environment. Erin Manning (2009) describes the unstable and emergent moment before movement materialises as the preacceleration of the movement, when the potentialities of the gesture collapse and stabilize into form. It is this threshold of potentiality that is interesting, the moment before the dance happens when the configuring process of the dancer brings it into being. Cynthia Roses Thema (2007), after neuroscientist Antonio Damasio, writes that embodied experience is mapped as it unfolds and alters from moment to moment in line with a constantly changing internal milieu. As a performer in this piece, I explored the inner terrain of the three performers (myself included) by externalizing these inner states. This research contributed to a paper presentation at the Digital Resources for the Arts and Humanities Conference, UK 2013.

Bouncing back : developing resilience

We always seem to hear about those dancers who are successful, but how do you cope when you don't get what you want? In life, we are often faced with situations where things don’t quite go to plan. We might not get the job we wanted, the grade we expected, the grant we applied for, or that long-dreamed of opportunity. What we make of these experiences shapes how we respond in the future to similar events...

Body and forgetting

Body and Forgetting is a powerful dance performance that brings together the work of choreographer Liz Roche and film maker Alan Gilsenan, with a live score by Denis Roche. Inspired by the writings of Milan Kundera, Liz Roche Company's remarkable dancers find their way through delicately woven circumstances of disappearance, loss, relationship and hope. Their attempts to hold fast to memories and objects of meaning is at the heart of this work. The live performers move in dialogue with filmed versions of their dancing selves. They re-write their histories, make better endings to their stories, say what they regret not having said. These filmed reflections or versions of themselves, by offering a mirror, ultimately bring the performers back to themselves, richer from the experience.

Beating homesickness

Dancers often have to move away from home to further their studies or obtain employment. Particularly in Australia, moving interstate or travelling overseas is quite a common experience.

Preparing for success in the new year

The beginning of a New Year brings with it many opportunities. Not only can you improve on the previous year, but you can also start afresh, set new goals and prepare to achieve the success you desire. Smart dancers know how important it is to consider all aspects of their dance training, especially when preparing to return to classes after the Christmas break. This includes spending some time thinking about what you want to achieve in the New Year, and what to do if challenges arise...

Jumping the fence from dance to cross-disciplinary research

Introduction: reading the signs Inside the dance ethos, knowledge is rarely articulated other than through the experience of dance itself. On the surface, the dancer focuses on practical and specialist skills. However, a closer look reveals that their knowledge does not merely trigger an embodied way of thinking; it enables the dancer to map a trail of metaphors within the body. In effect, dancers acquire a distinct embodied culture with its own language, dialects, customs and traditions. In this paper, I shall firstly examine the way metaphors establish a link between reason and imagination between one set of embodied knowledge and another. It is in regards to this function, where metaphor welds opposites together or when interior and exterior information exist in the same moment that it is most useful for jumping the fence from dance to cross-disciplinary practice. Secondly, I shall discuss how metaphors can help sustain creative practice. For it is only by stepping outside the culture of dance that I could first unravel the experiences, processes and knowledges inscribed through a career in dance and begin to define the quality of my own voice.

Physical activities and sedentary pursuits in African American and Caucasian girls

The purposes of this study were to describe and compare the specific physical activity choices and sedentary pursuits of African American and Caucasian American girls. Participants were 1,124 African American and 1,068 Caucasian American eighth grade students from 31 middle schools. The 3-Day Physical Activity Recall (3DPAR) was used to measure participation in physical activities and sedentary pursuits. The most frequently reported physical activities were walking, basketball, jogging or running, bicycling, and social dancing. Differences between groups were found in 11 physical activities and 3 sedentary pursuits. Participation rates were higher in African American girls (p<.001)for social dancing, basketball, watching television, and church attendance but lower in calisthenics, ballet and other dance, jogging or running, rollerblading, soccer, softball or baseball, using an exercise machine, swimming, and homework. Cultural differences of groups should be considered when planning interventions to promote physical activity.

Suedehead

An original work by New York-based choreographer Jodi Melnick performed in the Irish Museum of Modern Art. A dance for four. Four individual solos, often seen intersecting, interrupting, invading one another. Coming and going. How to be coming and going at the same time. Starting with a working process with an openness to the performers and their beautiful, sometimes jarring, one step at a time, bird by bird. It has to be like that. A devised choreography that incorporates the creative input of the cast of dancers to produce an original work.

Altered copy

In 2008, Jenny Roche commissioned Jodi Melnick to make the solo Business of the Bloom on her. Four years later, Roche re-enters this piece and draws on their many years of working together to inhabits its ideas and impulses from a new perspective. In this new 'altered copy', Roche refers to this previous work; embellishing, redirecting and abstracting moments. By reinterpreting both her earlier self and footage of Melnick dancing a reworked version of the solo in performance, Roche connects with the polyvalent nature of both interpretation and memory. This reworked version outlines the relationship that dancers have to movement traces that circulate after a dancing event. Suzanne Ravn (2009) found that dancers experienced the reapperance of movement traces from previous works when moving. Martin Nachbar (2012) writing from his first-person perspective as a dancer, describes the dancer who discerns between the past of movement that is remembered and the current moment of its performance. He outlines how past and present movement experiences cohabitate in the embodied present. Timmy de Laet (2012) identifies the emerging trait of re-enactment in contemporary dance, in which contemporary artists such as Nachbar dialogue with past choreographies to comment on the various mnemonic dimensions of dance. De Laet (2012) explains that the function of these works are not to preserve the past choreographies as might be achieved through reconstruction but to contemplate creatively issues of ephemerality and preservation of dance. Altered copy addresses this dialogue between the past and present body.

Material traces : reflecting on dance performance and the archive

How dance history should be conserved, like any other human event is problematical. This article refers to the dancer’s embodied repertoire of movement and questions how it might connect with the archive, so that the recording of dance work is not taken as fully representative of the work itself. I propose opening out the multi-dimensional configuring that is part of the creation of a dance piece in order to flesh out the bones of the archive. This could be done through engaging with the choreographer and the performers (who are often co-creators of the work) to draw a range of insights and perspectives together.

Boundary swaying

This practice-led research is positioned within my ongoing enquiry into the dancer’s experience and role within the creative process. Gins and Arakawa (1997) and Keane (2007) speak to the unsatisfactory reliance on discipline boundaries, to describe the dynamic lived-experience of interaction. This theorising is of application to this project, which examines creative agency through the lens of Arakawa and Gins’ language prompt, boundary-swaying. In this project the boundaries of movement creator, performer and director overlap and blur through the use of improvisation and multiple cameras. All contributors are invested creatively and compositionally in the ensuing dynamic collaboration, wearing many hats, ‘conceiver, creative thinker, teacher and learner’ (McKechnie 2005, 93; Stevens & McKechnie 2005, 250). This project asked the question, how can the work of Arakawa and Gins to agitate, disrupt, and transform the modus operandi of creative practice between choreographer and practice, dancer and practice and choreographer and dancer? The use of Arakawa and Gins’ philosophy and language prompts within this project stimulated and positively influenced the established creative relationship of researcher and choreographer/artist in the following ways: • Foregrounded the dancers tacit knowledge, first-hand experience, know-how and embodied savviness; • Promoted artistic collaboration, illuminating new creative possibilities, choices and innovation; • Facilitated the distribution of creative authority and agency. This creative work was presented as part of the AG3 ONLINE: the Third International Arakawa and Gins - Architecture and Philosophy Conference. The work was vetted for inclusion by an international panel of examiners.

Experience has no shadow

This research is situated in the field of practice-led research investigating embodied perspectives on the performance of dance making. In the stock of choreographic literature, the celebrated ‘creativity’ label is associated predominantly with the choreographer and is discussed in terms of product rather than process (Lussier-Ley and Durand-Bush 2009; Hennessey 2003). A reliance on the mystery of inspiration or choreographic genius (Penty 1998) for the production of ‘great’ dance works does not acknowledge the complex and timely process common in the creation of dance (Mace and Ward 2002) nor provide a true representation of the creative contributors (Farrer 2014). The failure to attribute creative impulses and skills to dancers is reminiscent of a time when they were thought of only as instruments in the creative process not active participants and collaborators (Jowitt 2001a; H’Doubler 1957). This project asked the question, to what end do dancers contribute to choreography and how is this contribution valued and recognised? Dancers are integral to the creative process. The research found that the scope of a dancers’ creative involvement in the development of a new work is dependent on: the individual choreographers approach to creating movement; the relationship between dancer and choreographer, and dancer and fellow company members; and the dancers collaborative skills and interpretive skills, versatility, and initiative. Recognition and attribution of dancers’ creative input is dependent on a choreographer’s viewpoint, generosity, and prior creative experiences. The work was created as a part of the Ausdance Queensland 2010 Bell Tower III Choreographic Residency program. Applicants were peer reviewed and vetted by a panel of local and national dance producers. The creative work was presented at the Judith Wright Centre for Live Arts. The project was funded by Ausdance Queensland and Arts Queensland. https://es-es.facebook.com/events/106661226023025/?hc_location=stream

Performance psychology applied to dance

The recent interest in the area of performance psychology has included a focus on applied practice within the performing arts. The use of psychology within this field has been occurring for many years, although practice has been observed to originate primarily from within clinical psychology in dealing with ‘problems’ (e.g. eating disorders). During the past 15 years, increased interest and focus has come from the field of sport psychology and its application to fields such as dance. Experience with the application of sport psychology in the dance profession has shown that dancers identify primarily with the concept of performance psychology. The focus of applied performance psychology practice with dancers has been observed to incorporate principles from across sport, clinical and organisational psychology, yet packaged together in such a way that the focus is on performance enhancement – whether that be in terms of dance technique, artistry, creativity, or personal skill development both on and off the stage. This paper focuses upon sharing the practitioner’s experience of the delivery of performance psychology to dancers (both professionals and dancers-in-training), and discussion of the considerations related to this undertaking within this unique population.

The art of the positive pas de deux : putting positive psychology into dance!

Performance psychology has more recently included a focus on applied practice within the performing arts, and specifically the dance industry. Whilst the use of psychology within this field has been occurring for a number of years, it has primarily taken its cues from the area of sport psychology or clinical psychology when dealing with ‘problems’ (e.g. eating disorders). What has been evident with the more recent introduction of positive psychology concepts with this population is the observed responsiveness from dancers towards a strengths-based approach. The aim of the inclusion of these frameworks has been to assist in increasing the empowerment, personal responsibility and effectiveness of the dancers’ psychological preparation and skills in the area of performance – whether on stage or off.

Secondary sources

Secondary Sources, a Dublin Dance Festival 2010 commission, by choreographer Liz Roche that brings together renowned collaborators and performers from the US, Australia, New Zealand, UK, Spain and Ireland. Liz Roche creates a tapestry of movements that reflect on the performers' embodied connections between primary and secondary sources of inspiration, exploring the influences that we carry in our bodies that come from other people, places and events. The work began nearly two years ago in New York as a quartet made during a residency at Movement Research NY and has been developing ever since through an on-going process between Liz Roche and an exceptional group of dancers/collaborators who are joined in performance by musician/composers Justin Carroll and Edward RosenBerg with lighting by Nick McCall and costumes by Jeni Roddy."