Summer Solo Studio Practice #3

I feel fantastic today. My body is loose and warm.

I improvise on a theme of revealing my body, every part. I imagine an a ball rolling across the surface of my skin, revealing what’s underneath. It feels luxurious and spacious.

I place the ball on the walls, the ceiling, the windows. My eyes follow it so my body can be an extension of the room. 

I draw a map of  my experience. 20170522_110217.jpg

I notice a similarity of symbols from my past drawings. Am I creating a lexicon? Perhaps I can create map legends for improvisational scores.

I’m wondering if maps always have to move in lines. How many points can I map at once in my body?

How do I chose north?

I make a short phrase based on my map. I tell myself to move instinctively from my first impulse, best impulse sort of way. I find new pathways and patterns.

I read a bit from Lucy Lippard’s, Lure of the Local.  One description of what a map can be: “An intimate sphere whose center is everywhere and whose circumference is nowhere.”

I realize a temporal relationship to maps. Maps are generally used to learn about places we haven’t been to yet or don’t know how to navigate through. Or, maps are memories we have in our heads to tell others how to move through a place. Once a place is truly learned, and as a place is experienced in the present, the map disappears. We don’t need a visual abstraction to tell us how get from point A to point B, we just do it, by sensing, by knowing.

It seems the same with dancing: we practice a pathway until we can move through it without thinking.

I decide to investigate my body in the same way maps are formed, by charting landmarks. I do a body scan and take note of my bodily landmarks that feel the most pronounced, the places in my body that I have a more intimate relationship with.

Familiar Landmarks:
right ankle
left big toe
right hip
left SI
left shoulder
right hand
right eyebrow

80% of these landmarks have been sites of injury.

I make a series of movements based on these landmarks, giving them a random order so that I am not tempted by my normal habits. Then I make a list of unfamiliar landmarks in my body, the places I often over look:

Unfamiliar Landmarks:
left rib
back of neck
soles of feet
left shin
left ear
right thigh

I intersperse my familiar landmarks with the unfamiliar ones. The phrase becomes infinitely more complex, but it still seems surface level, skin and bones. I want to go deep. I identify 8 body levels to work from.

Body Levels:

I intersperse these levels into my familiar/unfamiliar landmarks. The result is a study that interests me, but I can’t remember it. I’ll return to it at another time. I want to resist solidifying material too soon.

I’ve made too many mediocre dances that way.


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