Rehearsal at BDF: Rocking Scores


What it is: a movement score that places movers near each other, with and without physical touch. For the sake of this entry, 'touch' may be defined as physical or energetic; the depth, specificity, and clarity of the touch is important. Each touch is initially fed by supplying energy incrementally, which may translate as physical weight or charging the space between bodies (will work on how to talk about this- but for now, it's in that nexus of pheromones, heat, listening to other bodies, etc). The gentle incremental additions of energy act as waves- ebbing and flowing- with a little more energy upon each direction. The feeding of the touch presents an energetic system, a pattern, of relating to the other bodies that prioritizes the nuanced shifts and negotiated use of weight necessary to keep the  energy increasing rather than the achievement of a perfectly repeatable choreography. Here the shapes do not matter- the accuracy lies in the adapting to and feeding one another. Though a repeatable choreography may be reached, the score is sensitive and subject to the smallest variation which becomes larger difference. Here the movers cannot be exact and a tiny wobble 'off their leg' might change the weight/pattern of the whole group. 

Feeding the energy invites imageries for moving bodies that I refer to in classes and other laboratory experiences (all of which are a mash-up of my curiosity AND inspirational, inquisitive, and informational experiences I've had with those that have come before me):

1. NET. The use of unison and/or being together is likened to a three dimensional net cast on the surface of a water. Wherein two opposite corners might offer resistance or succumb to another tug at another point in the net. This way of being is also somatic, with the fascia moving, supporting, gliding and the body's system of tensional integrity (tensegrity).

2. CONTENT/CONTAINER. The body as a two-liter bottle, perhaps half filled. Move the container without splashing the water. Feel the weight of the water as it rolls with stillness inside its container. Conversely, move the container as a means to make the water splash, dump, pour, shift. The body as this container, its contents of organs, marrow, blood, water.

3. THE LIGHT TUBE. (another post)

4. THE SKIN as a shapeshifting, diaphragmatic, billowing container. 

Notes from BDF research period:

  • more about feeding the weight- continuously and incrementally- rather than the action of rocking
  • rhythmic synchronicity is most often uneven- elliptical, a sliding apex, and constantly shifting its meter
  • the dissolve is the new fix
  • gentle recording

From the day "Katie Crawled Out" (Paraphrased observations from dancers Marion Spencer, Aya Wilson, Katie Skinner, Nattie Trogden, Betsy Miller, Kristin O'Neal)

M: Release any sitting of the material... by returning to the concept of the container/contents... erase the container's relation to being viewed from the outside.

A: Range of listening that can assist or reinforce. Intent of listening; what can be lost or not noticed because of the focused listening and how to switch into something else because a glitch presents itself. (Flicker of states/presence).

N: Desire to make sense

A: Eagerness to make the rocking happen becomes a quickness vs. assembling as a system. (Navigating and responding to the present).

Light Tube

Tube of Light + moving body.

A tube of light that moves through, connects, the diaphragmatic regions of the body: the pelvic floor, the diaphragm, 'lungs of the heart', behind the collar bones (bottom of the throat), roof of the mouth, crown, and halo. Allowing the light to bend with support and light that is able to travel through the body, with the idea that this tube of light can narrow and widen- have its own aperture- depending on the support/volume needed. The light tube continues behind the halo into the furthest stratosphere, like one of those advertising lights shinning across the sky. The light tube extends beyond the pelvic floor and beyond the surface of the floor. These two ends extending with support like a  hammock tethered and wrung-out in as many directions as a moment requires. The hands and feet have their own mouth like diaphragms, and can radiate light like tributaries off the heart and belly/gut/engine.

Recalls, but necessarily drawing upon: Skinner's notion of a cone head that extends to a point approximately 13" above the head, John Jasperse's image of a pelvis as an upside-down lampshade (added the ribcage as a right-side-up lampshade, and the two together can move like spinning plates or like two ends of an accordion), Ohad Naharin's "lena", and some Chakra-ish ideas (7 Chakras)... including that of (an 8th) MAGENTA (chakra) presence.