Summer Solo Studio Practice #8

I’m tired today when I enter the studio. It’s been a busy week that has worn on my reserves.

I start on the floor, noticing sensation. I start with my skin, and then open up my hearing. I realize that I’m feeling tense because I’m in a different studio than I normally use. I feel exposed in this space somehow and keep looking back at the door as if someone might enter.

I try to open myself up to the room. There’s nothing to be gained from such an irrational fear. I allow my heart space to fill with breath and my perception to open beyond the walls of the room. It helps and I begin to feel better. 

I notice as I’m move into improvisation that I feel like I’m tethered to the space from multiple points in the room, a shifting organism that is prodded and pulled by space. It feels delicious and revives me somewhat.

I remember other dances I’ve danced in this room. I take on qualities of people who I can see vividly dancing here. Memory is so powerful, especially memory of other people’s bodies.

Experiencing their movement changes how I move.

I return to my study with exuberance. I start complicating it with more movement, more speed. I take out some parts that no longer feel relevant. Call it choreographer intuition that helps me make those decisions. It’s just a feeling that I trust.

As I do it several times, I realize this study tends to revolve in a clockwise fashion, resulting in my body feeling a little twisted to the right side. I’ll have to remember to add some counter- twists at some point.

I’m not sure what to work on next so I return to Giard’s text. Maybe I should make a new study based on some of the words. I write down the words that seem like they have the most movement potential:


I try saying them out loud while moving and feel like an idiot. There’s a reason I’m a dancer and not an actor.

I record my voice saying the words on my phone. That feels much more fitting some how.

I make a short accumulation-like phrase in order of the words based on some movements from my initial body-based landmarks study. The words give new life to it.

The light bulb switches on and I realize I can connect my text/landmarks study to my larger phrase. Maybe I can create an entire textual score that gives a container to this movement?

I take a stab at drafting this text and decide that I should record myself saying it so that the next time I rehearse I can dance to it. I’m starting get a glimpse of a dance that might come out of all this playing in the studio. What about props? Maybe something that can be folded and manipulated and changed like food, like dancing, like words. Will think about that some more.

Texts, props, music, none of these things are my forte. I tend to deal just with the body and space and forget to think about actual production. Perhaps this piece might be an opportunity to break that tend.

Potential Text Score:

-It came to me from my body
-Organized, Repeated, Modified, Combined, Reconstructed, Sequenced
-A series of basic gestures.
-Organized, Repeated, Modified, Combined, Reconstructed, Sequenced
-Strung together, a succession of meals and days
-Organized, Repeated, Modified, Combined, Reconstructed, Sequenced
-With attention given to the body of others
-Ritualized, Internalized, Satisfied
-Ritualized, Internalized, Satisfied
-When this became clear in my mind, it was already too late
-The enemy was on the inside
-Ritualized, Internalized, Satisfied
-Ritualized, Internalized, Satisfied
-This interminable repetition of household tasks through body techniques, manipulation of raw material
-Attention given to the body of others
-A series of basic gestures
-Ritualized, Internalized, Satisfied
-A silent legend
-A secret language
-A profound heavier material faithfulness
-By merely living in it with my hands and body
-Organized, Repeated, Modified, Combined, Reconstructed, Sequenced
-Ritualized, Internalized, Satisfied
-This sophisticated ritualization of basic gestures
-A way of being in the world and making it one’s home.



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