Connectivities: duets

Embodied transformations

Working with a partner, support their movement – stroking, holding, guiding, following your partners movement with your hands. Guiding their emerging solo, and echoing it with your touch and in your body.

When you are ready exchange roles - passing from guide to guided.

As the dance between you develops and extends let a duet take shape. Following and leading blur. A dance with or without touch/contact is formed.

                         Note how this dance resides within you....

then, when you are ready - drift away from your partner and explore this dance as a solo... how does it reside in your body?

then when ready find a new partner.. here allow a different dance to form – informed by the previous duet and altered by this new partners dance…

       and again move to solo’s, and then in time, new duets…

then, following one more solo re-find your first partner –

re-find your first dance,

                      Noting what has changed, how things have moved                 on,             transformed.

                     Note what remains, what remains anew...

inspired by Eva Karzcaq (ID workshop Dec 12th, 2011)

Connectivities: breath

Working from ease and flow in the breath...

Begin in rest... allow air to enter the whole body and exhale deeply, 

as you exhale release tensions in the body,

becoming like an empty suit...

As you exhale and the tensions drop away see what movement is opened....

Video:

Flow and interruption 5: complexities

Developing upon the previous post/task, here the complexities become greater as the instructions are linked to random external sources (sounds, light changes etc).

Requiring multiple levels of attention - internal and external, aural and visual, the task is to maintain the sense of flow, the internal connectedness to image, whilst being open to layered external sources surrounding you and, here being purposefully brought into the improvisation.

Video: two version of the the improvisation are here linked together, in which both the dancer and camera respond to the complex layers of 'instruction'.

Flow and interruption 4: internal image and external triggers

Working with a partner/witness the purpose of this task is to develop and maintain an internal image whilst paying attention to multiple layers of information and responding to 'instructions' that are intended to expand the improvisation and the territory of movements emerging.

Both the partners give and respond to the agreed 'instructions', here they are:

enlarge

minimize

stay with that

shift

Video: Two versions of the improvisation are edited together, cross fading between moments. Here the cameras position, depth of field and relationship to the dancer are also altered in relation to the same instructions.

Flow and interruption 3: external triggers

External Triggers (vocal):

Working with a witness/partner.

As you dance you respond to external instructions to....
         Change, 
         Pause,
         Elaborate....


Pay attention to the nature of your 'responses' and vary them, play with the different possibilities.

As a development you might give instructions to your partner at the same time such that an exchange as a form of duet evolves.

Video: Lightly edited, camera on dolly.
In this version I also trigger alterations in the camera operation/framing via the instruction to 'change'.


External triggers (sounds):

Developing the use of simple instructions to trigger a response
... to a change, pause or elaborate...
map these instructions to external and random sounds.


In the video below for example the triggers are mapped as follows:
Change to passing Cars
Pause to external Voices
Elaborate to corridor and door sounds

These random 'interruptions' become part of your dance,
listen for them, whilst staying within your practice...  
note the way your awareness needs to be in several places.
Note the way the sounds layer over each other, generating complexities....

How do you elaborate a pause?
How do you response to two triggers that come at once?

Video: lightly edited, camera on a dolly.
Here the camera work is also triggered to 'change' through external sounds (in this case passing cars).