Thursday, December 6, 2012
I am presenting a new duet, which is sweet, beautiful, and sensitive. Come see Alison Liney and Megan Quinn perform "Real-time Bodies." The show is FREE!
Where: Conwell Dance Theatre, 5th floor at Broad and Montgomery
When: 7:00pm, Dec. 7th 2012
See you there!
Sunday, September 30, 2012
With the dancers I find two channels of movement occur:
Sunday, July 22, 2012
Sunday, July 8, 2012
First, I'd like to let you all know that for the past year or so, I have been working with my mentor and teacher, Amanda Williamson (along with co-editors Glenna Batson and Sarah Whatley), on editing an academic volume titled Dance, Somatics, and Spiritualities: Contemporary Sacred Narratives. Right now, we are just about in our peer-review stage, and then the book is set to be published in the Fall/Winter by Intellect Ltd! I spent a week earlier in the summer in the UK with Amanda, intensively editing the chapters before this review. In the book, many seminal figures in the dance, somatics, and spirituality fields speak openly about their work and their own understanding of the numinous. More info on that as the publication progresses, but let me tell you that I am incredibly honored and excited to be a part of this groundbreaking work.
And Meg's "Little Battles" (photography by yours truly, haha):
Lastly--and perhaps most excitingly--I finally got my video from the theatre performance of "Indelible [I closed the book and I changed my life]" that was staged in May in Conwell Theatre as part of Temple University's Endings concert series. For me, this was a cast of dancers I'd never choreographed on before, and I really loved working with these dancers! They really dedicated themselves to going through a process in which I saw them grow tremendously from day one to our final performance. It is now live on youtube, so enjoy!
Tuesday, May 1, 2012
Indelible [I closed the book and I changed my life]
By Becca Weber
This video installation is a dance film and documentation of a site-specific performance work. Situating the work, which questions our embodied histories, within the confines of a library challenges the Cartesian distinctions between mind and body. The library, while a physical location, remains a site firmly situated in intellectual and mental territories, and thus is rarely a place of embodied exploration. By performing movement explorations in this space, we disrupt the “safe space” of the hierarchy of mind over body, and reinforce the plasticity of our bodies—its ever-alive and changing nature which reflects our own individual histories. This site-specific dance also highlights the physicality of the books, and the presence of bodies—of both performers and studious “audience” members—in the space. By situating our explorations in physical intersubjectivity, we hope to transgress the boundaries between mind and body and the social codes of behaviour in public spaces of the mind to reunite the body and brain, the physical with the intellectual. Elizabeth Grosz claims in an analysis of Deleuze that the space in between two things is where thought originates; “becoming” which is the method of transformation for the two things creating this liminal space, “is bodily thought, the ways in which thought, force, or change invests and invents new series, metamorphosing new bodies from the old through their encounter.” (Grosz 2001, p.68-69) Becoming enables singular parts to be released from the system of the whole, transforming possible experiences. By prioritizing the relational aesthetics of the dancers to each other and to the books, “Indelible” engages in this bodily thought and transforms individual participants and witnesses experiences of this intellectual space to raise physicalized experience to an equal plane of value. Thus, the work actualizes an alternative method of engagement in a space dictated by the hierarchies of academia. In the silent space of the library, our movement is the nonverbal communication, giving voice to the knowledge of histories in our bodies and aligning them with the knowledge in the books.
These themes were cultivated from a multi-part movement exploration of themes inherent or implied in Bruce Smith’s poem, “Untitled [I closed the book and I changed my life].” The choreography stems from a collaborative creative process which examines our own embodied histories—specifically, our deliberate, chosen past actions to create change in our lives. The movement utilizes a playful, and at times fraught, interaction with books as metaphoric representations of this change/decision. “I closed the book,” “I turned over a new leaf,” “I’m beginning a new chapter of my life.” We tend to think of these touchstones in our lives as memories which live on in our minds, yet we keep rereading the same lines over and over, rediscovering familiar patterns at different points in our lives. When we create change, are those changes lasting? Or do we always carry our past histories with us, our embodied memories affecting our currently-enacted lives?
Wednesday, April 25, 2012
Since January, I have been working on a new piece for six dancers, which we recently turned into a site-specific piece in Paley Library at Temple University. We are performing the stage version at Temple University's graduate concert, ENDINGS on May 4th at 7:30pm. It's a free show, so come out if you're around!
Here are some still shots from our site-specific performance in Paley Library:
Tuesday, April 3, 2012
Untitled [I closed the book and changed my life]
I closed the book and changed my life and changed my life and changed my life and one more change and I was back here looking up at a blue sky with russets and the World was hypnotic but it wasn’t great. I wanted more range, maybe, more bliss, I didn’t know about bliss. Is bliss just a rant about the size of the bowl? The trance was the true thing, no, the rant, no, the sky, now, that icy whiteness.