Chamber : dance improvisation, masculine embodiment and subjectivity

[No Abstract]

What’s the score? Using scores in dance improvisation

This paper explores the use of scores or verbal propositions inimprovising dance. Examining my use of scores in my own improvisationpractice it discusses what scores might be and might do and how theyrelate to the real time composition of dance in the present of its making.To help explore these ideas I refer to the theory of Nelson Goodman anddiscuss the use of scores by other dance practitioners including StevePaxton, Yvonne Meier and Anna Halprin.

The Movement between: Dance improvisation, witnessing and participatory performance.

This was a practice-based project which extended the possibilities for dance improvisation in performance. The project engaged questions about how live performance is constituted, about what the roles of the dancer and audience might entail, and about how a community of common experience can develop through a responsive exchange between its participants.

This story wants to be danced : creative writing, dance, convergence and confluence

I suggest ways the discipline of dance can enrich and challenge the discipline of creative writing. I focus particularly on improvisation in dance, relating this to creative writing pedagogy, classroom structure and activities. Much possibility exists in utilising moments when creative arts disciplines touch. How might creative writers and creative writing courses use such fusions? I draw on material theory and briefly upon transformative and collaborative education theories in my exploration of these ideas.

Moving towards a group dance

This paper describes the process of the creation of an improvised group dance, discussion how both the dance and the group came into being through practising with what were called 'scores'. The dance was created as part of a three year practice-led research project. The question asked on conducting the research was What is the work of 'scores' in the creation of an improvised group dance? where scores were verbal propositions, usually relating to physical, bodily, or movement notions. The aspect of the overall project discussed in this paper concerns the coming into being of of the group in both social and material terms.

Trajectories of intensity. Looking at structured improvisation in 'the weight of the thing left its mark'

This article examines the intentions and implications of ‘structured improvisation’ in relation to my work 'The weight of the thing left its mark' performed in Melbourne in April 2009. The performance piece is premised on the dancers maintaining a performance improvisation practice but to frame these and add predetermined context as a choreographic overlay. In so doing the aim was to create spaces within the work where improvisation could authentically exist while striving for a definable and repeatable ‘work’. The presentation will examine some of the complexities and difficulties inherent in this aim and grapples with the different expectations and conflicts that exist between performance improvisation and choreography.

Breathing in the atmosphere : affect and improvised dance performance

Whether conceptually or experientially atmospheres are hazy. Atmospheric situations often emerge without us being able to control or fully apprehend the conditions of their emergence. Atmospheres affect us not at the cognitive level but through embodiment - through the sensory capacities of our bodies and subsequent registers of affect. We feel atmospheres. Dance improvisers also feel what emerges in an improvisation, whether as the adrenalizing effect of the audience’s presence or because the dancer is immersed in their own movement (as the affect of interest). But dance improvisation is a situation in which atmospheres (and their affective impacts) emerge in unpredictable ways. Becoming attuned to ‘what is going on’ is an aspect of improvisational skill but improvised performance is also an exposure to ‘not knowing’ – not knowing what will happen (or how it will change), not knowing what motivated the movement. This exposure to ‘forces of not knowing’ is similar to many atmospheric situations in everyday life which we negotiate according to personal habits and personal levels of discernment. This performative paper picks up on Gernot Bőhme’s concept of a “new aesthetics” such that hazy atmospheres, and the uncertainty of where they come from, can be claimed as part of an aesthetic encounter. It also reflects on the act of breathing as a potential interface between aesthetic and scientific definitions of ‘atmosphere’.

A glossary of bodily responses

A collaborative video with Avril Huddy where two viewpoints, performer and documenter, were presented simultaneously to investigate Arakawa and Gin’s notion of “boundary-swaying”. In this performance-work, the performer influences what the camera is able to capture by engaging the documenter in a form of improvised dance. The performer’s movements appear impulsive and unpredictable, testing ways for the documenter to frame the performer’s movement. The images revealed by the documenter’s camera reflect a complexity of moments and co-incidences, evoking a sense of the performer’s embodied thinking within improvised movement. While a second camera uses a conventional wide angle shot to document the unfolding of the performance-work and track the connection between the documenter and the performer. While the performance-work itself is still highly-experimental, the ideas underpinning this exploration suggest how future investigations integrating more sensitive technology such as motion capture and tracking devises may be investigated. This performance-work formed part of the Creative Response Exhibition curated by Alan Prohm, Bill Lavender and Jason Nelson and a peer-review committee as part of the proceedings of the AG3 Online: Third International Arakawa and Gins Architecture and Philosophy Conference, hosted by the Centre for Public Culture and Ideas at Griffith University.

Skin hunger

Performed dusk till dawn, Friday 26 October 2007
"Skin Hunger is an improvised movement performance that invites the audience to engage directly with the performer. The performer is accompanied by a sign that invites the audience to 'touch me and see what happens'. He then uses the tactile information as a stimulus to generate movement and motivation for what he does. Small moments of relationship emerge from the initiations offered by the audience and the performer's ability to be responsive to the moment of touch.

The sign reads:

Touch me.
Touch me and see what happens.

Perhaps I will dance
Or I may do something else.

If you hit me I will bruise I do not enjoy physical pain.

Tenderness is rare.

Brush, scratch, rub, pat, prod, punch, bump, jiggle, stroke, push, nudge, tickle, hug, squeeze, caress, feel, grope, fondle, graze, tap, fiddle with, handle, slap, knead, cuff, spank, thump, shake, jerk, clout, graze, chafe, tap, poke, jab, dig, skim, shove, pet, cuddle, embrace, finger, maul, paw, manipulate, pump, support. "
cf. Melbourne International Arts Festival. Musicircus artists
(http://www.melbournefestival.com.au/musicircus_artists)

Barely real

This is not another reality television show. This is about dancing - full and rich. But it's set against the foibles and treacheries of the reality TV starlets and asks - which one truly is real?