Small talk, to the reader
Hereby I would like to give you a sense of who I am, therefore how I will tend to think. By thinking I mean how I understand the world I operate in. By world I mean the field of dance but not only. By not only I mean life and how it influences how I make decisions. By decisions I mean the position I decide to take in front of the circumstance I find myself in. By circumstance I mean the information that I am presented. By information I mean the parameters I decide to consider in order to respond. By responding I mean taking a conscious stance. By conscious I mean considered according to my own history and archive. By archive I mean the tools I have collected on the way to make of me a functional being. By functional I mean able to express myself with transparency. By transparency I mean unconditioned by codes. By codes I mean habits. By habits I mean unconscious behaviour. By unconscious I mean learned through repetition. By repetition I mean reoccurrence of a seemingly same event. By seemingly I mean not exactly the same but perceived as the same. By perceived I mean filtered by subjectivity. By filtered I mean based one's own parameters set to process events. By event I mean that which depends on attention and time. By attention I mean awakeness. By awakeness I mean life. By life I mean movement. By movement I mean physical and non physical. By physical I mean motion of the body within itself and out in space. By non physical I mean motion of thought, sensation, emotion. By thought I mean definable. By sensation I mean subjective. By emotion I mean energetic. And so on...
Stupid things will be sad and we will change our minds as much as possible for as long as it is possible.
Please retain what speaks to you today. And each day of the practice. Please retain as much as you can, even though it won't all explicitly be used, but bare with me as it will all inform the work.
Some topics of interest and principles, + problematic words (in italics):
*sensation - genuine - experiential - honest - focus. Movement doesn't happen if there's no reason (and that can be an external factor -contingency- or one's internal drive, motivation, inspiration, inner trigger, necessity)
*habit vs change: can we exercise changing our minds at any time?
*say the stupid thing.
*visual rhythms / acoustic architecture: acknowledging that presence is a manifestation of rhythm and has power to provoke.
*provocation: we are provocateurs; dancers; listeners.
*agreeing to produce a common language/vocabulary
*inexplicit sociality: a group or a solo is a group. Try to always remind yourself that there is a group, despite not all might be actively-provoking / visibly-present (dancers or viewers)
*interruption is encouraged, at any stage, to annoyiment if necessary.
(problematic words shall be given a re-definition for the purpose of this research)
Under-layering themes, anytime we need an anchor:
*fancy words: authorship; agency; contingency; affect; politics of representation; objectification; commodification
*philosophy within the dance: value of this art; semiotic interpretations
*choreology: attention to the analysis of movement
*social sciences: how is this (dance) a medium of cultural and social interaction
Other themes:
*dispersion / disruption
*not-aboutness
*change
*juxtaposition
Readings (to be referenced):
Choreography_as_Apparatus_of_Capture; Lepecki
To end with judgment by way of clarification…; Cvejik
New Materialism_ Interviews & Cartographies; Barad
Baton, VOL 1.
Dramaturgy of the body: Christel Stalpaert