TRANSART Claire Elizabeth Barratt TRANSART : 2014

To develop, document and describe exercises in Physical Preparation (of body and mind) and Creative Response (in play and interaction) that are conducive to constructing the self as a versatile medium for performance.

To investigate methods of creating new work using these physical and creative tools.

Methods

I created a series of “Solo Sketches” to demonstrate my Physical Exercises.

These are presented as video documentation with accompanying instructional text.

I facilitated two series of workshops in Asheville NC, where I am based.

My “guinea-pig students” were members of Asheville Contemporary Dance Theater and the Asheville Butoh collective respectively. These workshops were process and feedback oriented.

I also facilitated a community workshop in Salisbury MD which was geared towards culminating in a public performance.

These workshops are presented in my blog as detailed reports of exercises with student feedback and my own observations – plus segments of video documentation.

Questions & Suggestions

From studio advisor Laura Gonzales:

“Where is the work?” Laura is always asking – challenging me to regard every aspect of what I am doing and ask “where is the art? where is the work here?” Can it be developed somewhere unexpected that I am not thinking of? The language used in describing the exercises, the video documentation, the presentation of a curriculum as well as the movement of the body, the intention of the exercises, the development of original performance pieces. “Where is the Art?”

From critique group peers:

Who is this curriculum for?

How will the resulting curriculum look?

How do I intend to utilize the four categories of: 1. Definition, History & Context, 2. Physical Preparation, 3. Creative Response, play & Interaction, 4. Assignments & New Work.

How am I integrating the underlying themes of my work as an artist (Transformation, Metamorphosis, Transcendence) into my pedagogy?

From workshop participants & crit group:

Alteration of “normal” conditions – a suggestion to perform exercises under altered conditions to help define the intention and intensify the physical and mental experience.

For example: alter clarity of vision in order to focus internally on the breath and on the connection with the earth for balance and stability.

And: perform exercises in an altered environment – such as under water, or even something as simple as music that contrasts the intention of the exercise.

When leading a workshop exercise, make sure my directions are clear and unambiguous. Lead students through each step and thoroughly introduce and explore each idea individually before combining different elements.

How can exercises be adapted to suit different ages, levels and abilities?

What relationship do these exercises have to Performance Art?

Concern about safety issues and risk of injury.

Is it necessary for the exercises to be so long?

Participants express a desire for social interaction – to be able to observe each other during individual movement exploration and also to include more interactive exercises.

From faculty in Berlin this summer:

Jean Marie Casbarian: What is your work about? Do you consider your practice as a pedagogical practice?

Andrew Cooks: What about your work is important to you?

Results & Conclusions

On the most part I feel satisfied with the results of this semesters studio work.

Ideally, I would like to have covered more ground in every aspect of the work. There are more Physical Preparation exercises I plan to develop and add to the “Solo Sketches” blog, as well as exploring them in a workshop setting to receive student feedback. There are also many more Creative Response exercises to explore in a workshop environment.

The main area I did not have the opportunity to make progress with is the creation of new work utilizing the tools provided through these physical and creative exercises. In order to accomplish this, it is necessary to work intensively with the same group of students for several sessions – which I was unable to do this semester. However, my studio advisor, Laura Gonzales, suggested that I can still accomplish this as a solo project, and that it would in fact be more beneficial to do so before bringing the method into a workshop situation.

Over all, the work that was accomplished feels very thorough, significant and cogent, and I can see a shape forming for what will become a practical and comprehensive pedagogy.

RESEARCH

Goals & Intentions

To study the chronological history of 20^th century Performance Art.

To understand more about the role of performance in an anthropological context.

To investigate current pedagogical methods of Performance Art.

Methods

Reading:

RoseLee Goldberg – Performance Art: From Futurism To Present. Thames & Hudson, 2011. (completed)

RoseLee Goldberg – Performance: Live Art since 1960. Harry N Abrams Inc, 1998.

(completed)

Guillermo Gomez-Pena / Roberto Sifuentes – Exercises For Rebel Artists: Radical Performance Pedagogy. Routledge, 2011. (completed)

Richard Schechner – Performance Studies: An Introduction. Routledge, 2013.

(still reading)

Nathan Stucky / Cynthia Wimmer – Teaching Performance Studies. Southern Illinois University Press, 2002. (still reading)

Victor Turner – The Anthropology Of Performance. PAJ Publications, 1988.

(still reading)

Michael Huxley / Noel Witts – The Twentieth-Century Performance Reader. Routledge, 2002. (still reading)

Online research:

Performance Art syllabi search of educational institutions.

Questions & Suggestions

From research advisor Laura Bissell:

Laura B sent me a suggested bibliography (which is included in Advisor Meeting Report 2)

As I am quite a slow reader, she suggested I search for specific articles once I have narrowed down my subject matter to key points of interest.

From studio advisor Laura Gonzales:

Laura G suggested I research all types of syllabi and curricula in order to grasp a comprehensive understanding of how they function and for insight into possibilities for presentation methods – then begin to structure my own.

She also suggested that the writing I have done in creating reports, instructions and descriptions for my studio work this semester might be of value to incorporate into my research paper.

A possible research paper topic might be on the subject of exactly how the exercises I am developing prepare the body and mind for performance.

Results & Conclusions

Reading RoseLee Goldberg’s performance art chronologies has really helped to gain a historic perspective and fill in some gaps for me. The flow of how one artistic movement fed into another, due to key individuals, political influences and other radical changes in philosophy, psychology, art and fashion are all very apparent in her books. They also introduced me to artists I had previously had little or no knowledge of and who I will now continue to research.

The subject of Performance Studies is not one that I have researched in depth as a subject apart from artistic performance, although I have been aware of its concepts. I am currently reading Richard Schechner and Victor Turner plus a reader compiled by Nathan Stucky and Cynthia Wimmer. These viewpoints are providing me with insight on the roles of performance in society and in perceiving actions as performative – for the function of communication (in both humans and animals).

“Exercises For Rebel Artists” has truly delighted me! I could hear loud and clear the voices of Gomez-Pena and Sifuentes – their language feels very natural and familiar to me. I appreciate the fact that their pedagogy is a well-rounded method that leaves aesthetic choices to the individual. Even though their own artistic, social and political choices are so radical and provocative, their method is one that stands alone and does not necessarily dictate their own aesthetic results. This is exactly what I am aiming to achieve in my own pedagogical method.

So far my research time has been somewhat limited as my focus has been on producing and clearly communicating my studio practice work. However, the materials I have absorbed have been enriching and I look forward to more intensive study in the coming months.

GOING FORWARD

My goals for the immediate future are to follow up on “loose threads” still hanging from my Studio Practice semester. I would like to respond to questions that were posed to me by workshop participants, my peer group and Transart faculty.

I also want to complete a solo project to explore and demonstrate the use of my physical and creative exercises as tools in the creation of new work.

Going into the spring semester, I aim to research the possibilities of syllabus and curriculum formats and shape mine in a manner that feels most suitable for the work.

With the help of my research advisor Laura Bissell, I will formulate a research paper that supports and defends the intentions of my project.

Thursday, December 4, 2014

Critique Response 2 – November 21 2014

Critique Response 2 – November 21 2014

For my second peer group critique response, I asked my group to continue with giving me their overall impressions of my work over the semester – including the recent Physical Exercises, Workshop Sessions & also a workshop culminating in a public intervention performance as part of a downtown art-walk event.

One question that has arisen more than once (& posed again in this critique by Mark) is: Who is this pedagogy intended for?

The answer, in short, is: Anybody who has a body.

What is interesting to me is that, to most people with no formal background in dance or movement theater, it appears to be a method for dance professionals, teachers, choreographers etc – whereas – to dance professionals, it appears to be a “stripping away” of codified dance techniques & those who attended the workshops stated they find it very challenging to let go of their dance training in order to fully experience the natural & organic sense of the body in motion that these exercises approach. So, it seems to be perceived differently depending on the previous background of the perceiver!

Perhaps too, there is the visual influence of my demonstrations of the exercises in my Solo Sketches video series of the Physical Exercises – as I am obviously moving like someone who is dance trained – therefore it might be difficult for the untrained eye to distinguish the difference between the intention of the movement & the execution of the movement.

However, this has brought up the fact that I need to present a clear definition as to how & why & in what way this method of exploring the body & it’s capacities is for everyone & anyone – aswell as it’s value in the preparation of “Self” as a medium for Art.

Robyn & Lindey both recognized potential for incorporating much of what I am developing into a therapeutic or meditational context, as they both have experience of teaching & facilitating this kind of work – from children with ADD to senior citizens. I also can envision the compatibility of using this work in a therapeutic context – however, if I were to specifically pursue this vein I would want to collaborate with a trained professional who has a deeper understanding of the clients needs & behavioral issues than I do.

Robyn also brought up something that some of my workshop participants have encouraged - & that is the idea of executing the physical exercises in a situation where there is some kind of counter-active or alternative environment which serves to heighten awareness of the body performing a particular function by providing some kind of resistance or alteration.

Examples of this are: Doing the exercises in water, wearing heavily padded clothing, using music that is the polar opposite in mood to the quality of motion, with earplugs, with glasses that distort vision.

O’Neill & KJ both commented on my development as a teacher … not only in the creation of a pedagogy but also in how I adapt due to considering the responses of the students. (This is exactly why I am developing this pedagogy through workshop situations – because pedagogy does not exist in a vacuum – it is in relationship to those receiving & utilizing it .. )

& Mark commented: “I appreciate how you have repositioned the body of the student as the authority. This is empowering and accurate.”

Gabriel focused his comments on the public intervention performance entitled “Attack of the Killer Stripey Tubes!” – noting the irony of the ominous alien invasion b-movie type title to the rather awkward, humorous, gumby-like characters the performance consists of!

(& actually, the full title of the piece is “Attack of the Killer Stripey Tubes! – who are actually quite friendly & not very scary at all”)

However there are some subtly disturbing undertones created whenever there is a distortion of the human form – so the humour is based on this dis-comfort.

I have used this movement installation in a variety of formats in the past – in a storefront window, on a trolley tour. Gabriel suggested doing it in a super-market & I had already thought about how I would love to do a guerilla public intervention of it at Wal-Mart!!!

Link to shared group google document:
https://docs.google.com/document/d/14uFhuZoa5nh3DWav1HSdr5WZgF0LTFKBY9ivx-5ikJg/edit?usp=sharing

Sunday, November 23, 2014

ATTACK OF THE KILLER STRIPEY TUBES! - workshop & performance

WORKSHOP REPORT - September 19 2014

Workshop – 1 – 4pm

234 West Main St. Salisbury MD

Performance / Public Intervention – 5.30 – 8pm

Salisbury downtown plaza Third Friday art walk

Motion Sculpture movement workshop & Motion Sculpture Movement Installation “Attack

of the Killer Stripey Tubes” performance / public intervention – a community event

hosted by Salisbury University Art Galleries.

Participating in the workshop were:

Tara Gladden, David Gladden, Clarisse Young, Pat Petersen, Cori Beardsley, Nancy Mitchell, Dakota Saulsbury, Kaitlyn Case, Kent Kondo, Sally Molenda, Eric Shuster.

Introduction

Vibrations

Joint Spirals

Breath - (adding shape & stillness)

Transfer of Weight - (adding shape & stillness)
Exploration of body-shape alteration with

stretchy fabric tubes & balloons.
Public intervention/performance
installation:

“Attack of the Killer Stripey Tubes”

The overall arch of this workshop was: to release tension and energize the body

(Vibrations), to open up and free the body for full range of motion (Joint Spirals), to

expand and stretch into space (Breath), to connect with the earth for stability (Transfer

of Weight). As well as these physical goals – each exercise encourages creative exploration

of motion and form. The focus eventually centered on Shape and Stillness with slow

motion transitions. This lead to preparation for the performance “Attach of the Killer

Stripey Tubes” by exploring possibilities of distorted / augmented human form inside long

stretchy fabric tubes and the introduction of balloons to achieve this rather mutant

anthropomorphic effect!

During the two and a half hours performance installation time, each performer was at

liberty to take breaks as needed – they could also choose to work together in groups or

pairs, or to “go solo”. They were encouraged to interact with members of the public and

with structures on the street.

Over the course of the workshop, we stopped briefly to check in and discuss how everyone

was doing and share experiences of each exercise.

Summary:

This was a community group mainly consisting of students. There were also professionals

and retired career workers in attendance – so there was a mix of ages and abilities. None

of them were trained dancers – although some had experience with dance or yoga classes.

Most were interested or involved in the arts.

What struck me about this group was their courage and enthusiasm – not only to try

something new and unfamiliar, but also to then go immediately out into the street and

totally get into the spirit of public performance! It was such an enjoyable experience for

all of us.

Feedback:

As I do not have a record of the discussion during the workshop session – I have asked

participants if they would write to me with their comments and feedback.

Tara Gladden
Occupation(s) – artist, educator, curator/gallerist.

- Interest / Experience in the arts in general: I am a singer/interdisciplinary artist with a little movement training and a lot of body awareness, interested in integrating movement into my work.

- Workshop comments & feedback: This was a very accessible, well structured workshop. The exercises were very well sequenced and it was flexible enough to appeal to and be suitable for all levels. Claire did a very good job of creating an atmosphere of open, safe space which made me feel comfortable in the context. I also think the length of 3 hours worked well.

- Performance (Stripey Tubes Public Intervention / Installation) comments & feedback.: This was a fun and challenging Performance. I felt well prepared for the experience after going through the workshop in terms of working with the stripey tubes and having the movement vocabulary to feel confident in the delivery. I wonder how things might have been different in terms of energy for performance had the workshop and performance happened over the course of 2 days.

- Conclusion & any other statements, ideas, comments, questions etc: I both participated in and programmed this workshop. As a result, I was there and have gotten a good amount of feedback about the experience; all of which was very positive. I have run into people who participated in this workshop over the course of the past couple months and can say with confidence, that the concepts presented in the workshop resonated in a deep way, made a lasting impression on the participants, and it was a positive experience for most if not all involved.

David Gladden
Profession: Assistant Professor of New Media Art at Salisbury University

Interest/Experience: At Brooklyn College, where I earned my MFA in Performance and Interactive Media Arts, I learned movement exercises, theatrical strategies, and performance art concepts. I tried various techniques and was exposed to many ideas. I am currently a performance artist, as well as a painter, sculptor, video artist, and teacher.

Workshop Feedback: I enjoyed the workshop immensely. I found it engaging, intriguing, meditative, and immersive. I thought the workshop and instruction was of great help for the participant to be successful in the performance and public intervention. The event was a lot of fun and my students also enjoyed it.

Performance Feedback: The performance/public intervention was interesting. Some people treated me as if I was not human. They poked and prodded me, or they said strange things. Other people embraced the strangeness of me as a living sculpture, and thought that we added a strong visual and mystical presence to the downtown festival.

Conclusion: It was such a treat to have such a great, bonding experience with a diverse group of people: students, faculty, artists, and community members.

(BTW – I also would like to mention about David, that while at Brooklyn College, he studied performance with Vito Acconci)

Pat Petersen
Occupation: Retired, former County Finance Director and federal auditor

Interest: I have always loved ballet and liked modern dance, so much so that when I turned 35 I took "Adult Beginner Ballet" for the first time. What a revelation! The simplest things are the hardest, and some of the most spectacular things aren't. In any event, it quickly became apparent that I was not cut out for ballet, but that didn't stop me from enjoying the class for 3 years. I took what I learned and applied it to watching ballet companies at the Kennedy Center with a much greater appreciation for what goes into making the dance. Thank goodness for DVDs - I can always enjoy watching Baryshnikov and Nureyev any time I want!

Workshop Comments and Feedback: I found the workshop very informative and very stress-less. As a 64-year-old non-limber person, I wasn't sure if I would be able to do everything I was asked to do, but the way you conducted it put me at ease - basically, just do what I was comfortable with within the parameters of the exercises. An example - sitting on the floor is difficult for me (poor core strength) so the second time we got on the floor I just sat on a chair instead and did the breathing exercises there. Another example - when you asked for feedback, you were very receptive to what the participants were saying. And when I found that one side of my body responded differently than the other, that was a revelation! The breathing exercises were the most helpful to me, centering me for the upcoming performance.

Performance Comments and Feedback: I loved the chance to perform. Kids were the most fun - either they were scared or delighted, and I felt both reactions went into making my performance a "success." I did have one problem - since I have poor balance (that darn core strength issue coupled with a bad foot) I wasn't able to hold the positions as long as I "should" have - my performance was more of a very s-l-o-w-l-y moving performance, shifting weight, bending, stretching, etc. I know in the workshop we held our positions longer, but I wasn't able to do it that way. However, the very slow movement worked for me.

Suggestion: In the workshop, when we were slow walking, I was able to "dis-focus" and concentrate on my body (not my sight) by taking off my glasses. When everything is a blur, I find that I latch onto what I can control, which in this case was breathing and feeling the floor. Could you think about giving people something that would distort their vision (3-D glasses, maybe?) that would (1) force the focus to body/breath, and (2) possibly prepare them for the lack of vision when they are in the stripey tube?

I would do it again!

Kaitlyn Casey
Student
Interest/Experience in Graphic Design and Photography

Workshop Comments: I did have a little bit of a prior commitment beforehand so I
wasn’t able to be there for the complete workshop. From what I was able to attend, I
thought it was interesting and went well. I haven’t been apart of something like this
before so it was a change up. The music was very calming and so were the exercises.
Walking from one end of the room to the other in slow motions while creating
different shapes using our arms and legs allowed me to be free and let go of some of
the stress and tension that had been built up from some of my classes. It also helped
me prepare for the performance in creating different, relaxing moves instead of
being stiff.

Performance Comments: This was really interesting and I liked it. I usually tend to

be on the shy side when it comes to performing in front of others but I liked how
this allowed us to be hidden from the public. That wasn’t the only reason I liked it
though. Being in the tubes and creating the different shapes was beautiful and it was
fun to walk around the streets. You would make a pose and freeze for a while and it
allowed for a good interaction between the performer and the public.

Conclusion: I was glad I was able to be apart of something like this. It was different

and it felt good to be able to explore performance art. I’m more into digital
photography and design on the computer so it was a nice switch from what I’m used
to. Thank you for allowing me the opportunity to be apart of this.

My name is Clarisse Young.
I'm currently employed at perfume world.
My dream is to start a career where I can dance and move around everyday. I'm working on creating a yoga, ballet, and palates workout style and someday I hope to incorporate Tai Chi aswell. I want to open a wellness center where people learn how to naturally and holistically heal themselves and get in tune with their trinity (mind, body, and spirit) and find my and help others find their perfect balance in life.
I love dancing and singing for fun. I've been a cheerleader. I've done performance arts in high school, our chorus program involved a lot of dance as well. I've taken a few ballet lessons most recently. I love music. I love making sound at all. I play piano and love making different rhythms.
Claire's workshop changed my whole perspective on movement and bodily control, and through the Web (physical not virtual web), my entire life. I received such a sensation of renewal and freedom. The more control I gained over my muscles, particularly through my breathing, the freer I felt. The workshop opened my eyes even wider to the power of even, deep, and intentional breathing. If you completely relax, you end up with more energy, as if the more energy you release the more you receive. As if you're breathing in divine source energy. I believe with a clear and focused mind you are. She taught me how to more efficiently practice moving mediation.
To me the stripey tubes represent the way everything is connected. All of the forms of art are connected to one another and life itself is art through the eyes of the artist. A human can be a moving sculpture because of the natural sacred geometry we are already made out of. It allows you to experience on a more literal level that you are part of a bigger picture. All parts equally important and dependent on one another. Claire shows you how to observe that you naturally are already a work of art. You must listen to your body and you can demonstrate this to yourself and come back to the present moment and feel absolutely rejuvenated.
Claire's workshop was truly a life changing and perspective broadening experience. I'm extremely grateful to have been a part. It was a very dreamy and enjoyable day.

Corinne Beardsley
- Occupation(s) - Sculpture and Ceramic Professor

- Interest / Experience in the arts in general - & in movement / performance:

I am a dancer- leading improvisational dance classes- 5 rhythms style. I am not a trained dancer, but have been to a few "Sweat your Prayers" dance group

- Workshop comments & feedback:

The workshop was wonderful and got me to open up in new ways. I hadn't slowed down my movements before, and felt each dimension of their movements with my breath. It was experimental moving yoga. I felt so much of myself moving and opening up. New forms developed, I felt myself connecting the vision of what I saw my body doing connecting with the movement. Controlling the breath with my gestures, thinking about the expressiveness of the movement, and the beauty of shapes between transitions. The warm up of shaking it all out, focusing on separate body parts felt so good too. It was a powerful and transformative workshop for my dancing practice.

- Performance (Stripey Tubes Public Intervention / Installation) comments & feedback:
I did not participate in the performance too much. Putting on the tube felt constricting to the openness and freedom I just experienced in the workshop. Those I saw wearing the tubes looked awesome, but personally I just wanted to dance freely. I could have challenged myself a bit more to overcome that feeling.

- Conclusion & any other statements, ideas, comments, questions:
The music from the workshop was perfect too, having that trancy beats directing us was a treat and felt very in sync with the whole experience.

Eric Shuster
- Occupation: musician (percussion), music educator at Salisbury University

- Interest / Experience in the arts in general - & in movement / performance: interested in performance and visual arts. As a percussionist, I use a great deal of movement in performance. I find myself sensitive to the idea of movement in performance as both a technical and creative/artistic element.

- Workshop comments & feedback: I entered without expectations or a real knowledge of what was happening. I'm friends with the organizer, Tara Gladden, and I trust the things that she programs. I found the atmosphere fairly welcoming. It helped that I knew a lot of the people. The soundtrack was very good. I liked the room except for the large windows made me feel a bit self conscious. Still, I was able to loosen up fairly quickly and maintain that state of being.

- Performance (Stripey Tubes Public Intervention / Installation) comments & feedback: I did not participate in the performance...I suppose I didn't feel comfortable with what I took to be an exhibitionist nature of the work. I didn't have a strong feeling about working with the tubes during the class. Perhaps it was because my tube only went around my torso. I did enjoy watching some other folks in their tubes.

- Conclusion & any other statements, ideas, comments, questions: Despite not taking part in the performance I very much enjoyed the class. Thanks for all that you did!

Kent Kondo

Occupation: Student

Interests: Graphic Design, Music Composition, Painting, Photography
Experience in movement / performance: Little to none

Comments: The whole experience was relaxing, and I found myself in a very serene state the next day. Unfortunately, that serenity left me the day after that. The workshop taught me to feel in touch with every change that was happening in my body while doing the movements. The initial warm-up exercises I also found very effective in its introductory purpose. I was also struck about how it was better to not move at all than to do little fast movements that attracted attention -- that in a way, not attracting attention was the best way to garner the most interest. There is certainly something poetic about this approach.
I enjoyed the climactic approach to the performance itself, starting with the workshop's beginning, shaking the ankles and such to loosen up, (with our movements gradually getting more and more artful with each exercise) all the way to the donning of the stripey tubes, and taking that intimate experience within the workshop into the outside world, or in our case, the narrow streets of Salisbury.

One particular experience that was interesting was that a little child about the height of my waist came up and kicked me in the shin, and the child was then scolded by the mother and told to "go apologize, right now!" The child I think was able to enjoy the interactivity of the motion sculpture and appreciate it as a work of Art, more than the parent, who still considered the form a human being, to be respected with space. It was odd how I was glad I got kicked in the shin, and probably one of the few circumstances in my life where that will be the case.

Links:

http://salisburyindependent.net/things/beware-killer-stripey-tubes-friday-plaza/

http://www.salisbury.edu/newsevents/fullstoryview.asp?id=5878

http://suartgalleries.org/2014/09/04/sept-19-claire-elizabeth-barratt-and-david-linton-motion-sculpture-workshop-installations-and-performance/

Later that evening, I also performed in an audio/visual performance collaboration with artist David Linton (which is referred to in these press links).

photos by Tara Gladden

Friday, November 21, 2014

Studio Advisor Meeting - Nov 21 2012

Studio Advisor Meeting with Laura Gonzales – via Skype

9am EST Friday November 21 2014

Text

Text is long – how to make it more concise – now it is like spoken language, as if present in the moment … which is how I am currently approaching it.

Making the written material an art form.

The text I have created might be used in Research paper?

Writing style

Simon Morris

An Intolerable Piece of Writing

Pedagogy as Performed Absence

Guillermo Gomez Pena

Exercises For Rebel Artists

Video

Think about creating “instructional video” – include text in the video – both written & spoken.

Video making style

Nina Kotamanidou

http://www.intothepill.net/issue2_pages/itp2_ninakotamanidou.html

Introducing “Body Soundz”

Voice & Body sound

Roy Hart

Kristin Linklater – Freeing the Natural Voice

http://www.linklatervoice.com/resources/books

Joseph Quimby

https://vimeo.com/77819157

Continuing “Developing New Work” part of pedagogy

Do this myself – workshop time did not allow for this process with students.

Transformation, Transcendence & Metamorphosis

are the underlying themes in my work.

How to weave these themes into my articulation of the pedagogy?

The exercises have a transformational aspect – as with other mind/body/spirit practices, such as yoga.

How are these exercises engaged as performance tools?

Thursday, November 20, 2014

WORKSHOP 6 - Asheville Butoh

WORKSHOP REPORT – Wednesday, November 19 2014

10am – 1pm

Asheville Butoh Studio

475 Fletcher Road, Alexander NC

Participating in the workshop were:

Jenni Cockrell (dancer), Diana Brewster (graphic designer).

Physical Exercises:

Abbreviated Vibrations / Floor Massage, Cat Stretch warm up

Body Soundz

Creative Response:

Abstracting Adverbs

Movement Telepathy – Mirror

Feedback & Discussion.

Video documentation of Body Soundz, Abstracting Adverbs, Movement Telepathy plus feedback & discussion.

Video Link:

http://youtu.be/d5Uhke7mOGU

Body Soundz:

· Deep breathing – exhale on “ssshhh”, “ssss” & blowing through lips. Then fragmented blowing through lips in short, sharp exhalations.

· Hang forward & humming to place sound vibrations in resonators. Roll up, shake arms & open to “Aah” sound. Repeat to progressively higher pitches/frequencies. Then stay on open vowel & gradually modulate pitch up as high as possible, then down as low as possible into the chest resonator. Also modify shape of mouth in different vowel sounds.

· Plosives (pbtdkg). Repeat each single one rapidly until muscles begin to fatigue. Create rhythmical, conversation-like banter with each one separately, then combined. “Plosive Rap” – single sound on each one p-b-t-d-k-g with “Hip-Hop” style body motions, then freestyle mixing up plosives in any order.

· “Wow-wee” with arm circles. “Wow-wee – kiss – blah” to articulate facial muscles.

· Body Drumming – patting/slapping resonant areas of the body (chest, belly) – add voice. Interactive Body Drumming – in a line, pat/slap the back of the person in front – add voice.

I am gradually developing a body of “Body Soundz” exercises to explore sound that can be created by the body alone (without the need of other objects – I may include the exception of the floor for stomping sounds in future explorations).

I have a background of vocal training for singing and theatre, however – as with my current movement explorations, I am trying to specifically isolate the most basic sound concepts in the body and address them individually in their purest form – starting in a way that feels most natural and organic to the body.

I want to integrate sound and movement in the body so that they don’t feel like two separate entities being imposed upon each other and vying for attention – but sound as gesture from/of the body. This work is still in very early stages.

Abstracting Adverbs:

This is a modification of the “Acting Adverbs” game – also known as “In the Manner of the Word”.

In this workshop we approached this in two different ways – as an exercise and also as a game structured in a somewhat similar fashion to “Acting Adverbs”.

Exercise – Walking at a fluid pace around the space, participants respond to a spoken adverb – allowing it to influence their movement as they walk.

Game – A participant decides on an adverb. Another participant will give them a simple instruction (we used simple actions from everyday life – brushing teeth, making the bed, walking the dog etc). The person with the adverb will then perform the given action in the manner of their adverb. Everyone has to try and guess what it is. This can also be done in performance partnerships, where two people decide on an adverb and perform the given task together – giving scope for interaction and for task scenarios requiring more than one person.

Movement Telepathy – Mirror:

Derived from an established movement theatre partner exercise, the structure we used in this workshop is as follows …

Partner A and partner B face each other, standing very close together. Starting only with movement of the head, shoulders, arms and hands – A begins to move slowly and B acts as their mirror-image. With given instruction by facilitator, B takes the lead. They then take a step backwards and repeat this process including more of the body. Then again from further away. Each time the leading person is switched over, it is by a spoken instruction to do so.

Then the partners come back to the original close starting point. This time there is no verbal instruction given as to when to switch leader, the movers non-verbally exchange the lead with the goal of coming to a point of “fusion leadership” – where they are both moving together in mirror-image movement telepathy.

They can move as close or as far away from each other as the movement takes them, they can do any movement they wish – the only rule is that they must stay together in mirror image. This means they always need to be able to see each other, and also that attempting to move quickly might be very challenging!

We finished the exercise with the two partners slowly turning away from each other, still trying to feel the presence of the other for as long as possible – then becoming individually motivated again to separate in opposite directions.

Video documentation notes:

Unfortunately I was unaware of my position in relation to the camera during the Body Soundz and completely obliterated Jenni from view!

I also failed to notice that the videotape had run out at the beginning of recording the Mirror exercise. So the documented version is an abbreviated example that does not show the full progression from the beginning.

Discussion & Feedback:

This weeks discussion was more of a conversational dialogue throughout he session than our previous “journaling & reporting” style – so I will touch on certain points that came up.

Body Soundz – with the plosives exercise, Diana & Jenni both agreed they found it more difficult to repeat the same sound continuously than to skip from one sound to another – we tried saying “kittykitty” very fast as many times as possible & Diana especially found this much easier to sustain than I did! She also commented that she visualizes the letters – so that lead to further discussion about letters and also words (text) being used as sound without a literal intention of language.

I place the sound that the mouth is making into muscle memory, so rather than using the language part of the brain as interpreter of vocal sound, it is a gesture of the body in a specific part of the body (mouth) with a specific placement (e.g. tongue behind teeth). We later expanded on this discussion about text as sound in performance without the necessity for literal meaning.

Jenni also commented on the concept of sound being a function of the body that she doesn’t usually consider as a choreographer, but has now been reminded that it is a facility that has potential to be incorporated into her work.

Abstracting Adverbs – with the walking exercise, initially there was a natural tendency to really act out and go into an exaggerated mime - & actually that turned out to be very fun and entertaining …. So we decided that perhaps it would be a good starting point to go ahead and start with that extreme, then gradually abstract the actions into focusing more on the subtle quality of motion produced by the response to the adverb. Jenni suggested taking this into almost un-noticeable nuances in the effect on the walk – more of an internal acknowledgement. With these extremes of full blown comedic mime – to barely noticeable subtle nuance, there is a wide scope of response in just the pedestrian action of walking.

With the game of guessing what adverb the performer is using to accomplish their given task … both Diana and Jenni immediately were able to create little pieces – vignettes / dances. This seemed to be due to the previous simple walking exercise.

We developed the idea for a whole narrative game where there is one (or two) performers and the other participants each create a segment of narrative that includes a simple action with an adverb.

For example: You are walking your dog briskly – then you sit down on a bench drunkenly – you eat a sandwich stupidly – then you get up & continue jogging with your dog maliciously – you reach the duck pond & feed the ducks clandestinely … etc etc …

We also discussed the introduction of body/vocal sounds into the Abstracting Adverbs game. This is something I had intended to do originally, however I didn’t actually think of it while we were exploring the game in this session. Diana suggested initially perhaps just introducing breath sounds.

Movement Telepathy – Mirror – Both Diana and Jenni commented on the amount of mental focus required to sustain this exercise. They found themselves questioning whether they had initiated a movement or if it were the other who had done it … this is exactly the kind of “telepathic” creative response I had hoped to achieve in this exercise!

Due to the video malfunction the first time we did the mirror exercise, we had to do another, abbreviated, version to document it for this report. What was very interesting to note was the difference between the first and second times.

The first time, the movement was bigger, with large, expanded shapes, dramatic variations in level and in distance from each other. The second time (which was recorded) the movement was much more subtle and extremely sensitive to every little nuance each other made.

Summary:

I felt this workshop session was extremely helpful to me, as it gave me an opportunity to really experiment and try out some totally new material and discover the real-live responses of other human beings to these ideas!

It was nice that it was small and intimate and felt a little less formal than the bigger groups. There was time for more conversational dialogue in this session and it was very good timing for that, as the previous sessions had been more focused on making sure certain material was covered.

This session was focused on social interaction and creative response. It feels more challenging to me to be able to structure exercises and games in order to explore creative ideas through social interaction than with individual self-explorations. Diana and Jenni were very helpful and accommodating in assisting with creating functional structures for these exercises so that the concepts could be explored interactively.