Our research project is broadly concerned with a question: What is the something that that is?
When physically negotiating the world we are continually processing visual and sensational information aswell as information coming from memory and imagination.
In dance classes there is often a prioritising of form. We are exploring the relationship between perceptual and physical information and our own movement by exploring the properties proposed by objects. For example this might begin with a personification of object, noticing structural similarities between the object and our own bodies which might suggest "stimulus" type physical visual response. As the process of "seeing" or attending to an object is refined we can notice ideas proposed by the object such as a quality of tiny disorganisation, stability with lightness, having the appearance of integrity but being separable by force...and so on. The aim for such explorations is to open up th world of possibility for physical embodiment and creative engagement with the world through movement when the propositions contain logical oppositions.
The experiments are designed to be fun, suggesting investigative tools for creative play, broadening movement vocabularies, challenging ideas about compositional tools in secondary dance education and making movement relevant in everyday life. In the workshops we are exploring the way that people gesticulate in speech, how their bodies are active in communication and how close this is to the experience of information processing during improvisation.
A return to a state of wonder at the world is possible through attention, too often young people are bombarded with complex sensory information that stimulates them in a manner conducive to physical passivity. We are interested in how to open a channel of stimulation by acting in and on the world, looking twice and taking responsibility for our own physical responsiveness.
Beyond these ideas around movement studies in dance education, we are developing a creative methodology from which we will build a performative score. In March 2009 we are still working to define and refine the terms of this method in our studio practice, thinking, writing and teaching.
When physically negotiating the world we are continually processing visual and sensational information aswell as information coming from memory and imagination.
In dance classes there is often a prioritising of form. We are exploring the relationship between perceptual and physical information and our own movement by exploring the properties proposed by objects. For example this might begin with a personification of object, noticing structural similarities between the object and our own bodies which might suggest "stimulus" type physical visual response. As the process of "seeing" or attending to an object is refined we can notice ideas proposed by the object such as a quality of tiny disorganisation, stability with lightness, having the appearance of integrity but being separable by force...and so on. The aim for such explorations is to open up th world of possibility for physical embodiment and creative engagement with the world through movement when the propositions contain logical oppositions.
The experiments are designed to be fun, suggesting investigative tools for creative play, broadening movement vocabularies, challenging ideas about compositional tools in secondary dance education and making movement relevant in everyday life. In the workshops we are exploring the way that people gesticulate in speech, how their bodies are active in communication and how close this is to the experience of information processing during improvisation.
A return to a state of wonder at the world is possible through attention, too often young people are bombarded with complex sensory information that stimulates them in a manner conducive to physical passivity. We are interested in how to open a channel of stimulation by acting in and on the world, looking twice and taking responsibility for our own physical responsiveness.
Beyond these ideas around movement studies in dance education, we are developing a creative methodology from which we will build a performative score. In March 2009 we are still working to define and refine the terms of this method in our studio practice, thinking, writing and teaching.
A few questions we asked the young people involved in the workshops we did at Dance Warehouse.
1.Have you been involved in a workshop/ class like this before? If not, how was it different from the other classes you have done?
2.What sorts of things are you interested in? This can be subjects at school, books you read, films, music, issues in the world e.t.c.
3.How do you think about your dance classes? Are they for fun, fitness, to be with your friends, perhaps you want to study dance when
you leave school or you can be creative in classes in a different way to other parts of your life. There isn't a correct answer!
4.Is there anything that you especially remember from the workshop- that you enjoyed or found difficult? Did you feel challenged?
5. If we think about the objects we used, can you say something about how that was for you. What relationship did you manage to build with the object, or how did you physically relate to it. Write anything that you remember, I know it was a while ago...
6. We asked you to move without telling what to do, it was up to you to respond physically. How did this feel- was it fun, or scary? Did you feel more confident at the end of the session?
7. Finally, would you like to do more of this type of workshop? Feel free to write anything that we haven't thought of asking!
1.Have you been involved in a workshop/ class like this before? If not, how was it different from the other classes you have done?
2.What sorts of things are you interested in? This can be subjects at school, books you read, films, music, issues in the world e.t.c.
3.How do you think about your dance classes? Are they for fun, fitness, to be with your friends, perhaps you want to study dance when
you leave school or you can be creative in classes in a different way to other parts of your life. There isn't a correct answer!
4.Is there anything that you especially remember from the workshop- that you enjoyed or found difficult? Did you feel challenged?
5. If we think about the objects we used, can you say something about how that was for you. What relationship did you manage to build with the object, or how did you physically relate to it. Write anything that you remember, I know it was a while ago...
6. We asked you to move without telling what to do, it was up to you to respond physically. How did this feel- was it fun, or scary? Did you feel more confident at the end of the session?
7. Finally, would you like to do more of this type of workshop? Feel free to write anything that we haven't thought of asking!
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