Today I have been exploring using the camera as a Landing Site. What I found was these shapes.
I am outside the door. The floor is cold. There are sounds everywhere. Both near and distant. Birds integrate with the humming traffic, both of which are playing with the speed of sound. Slowing down and stopping, starting and moving again. A crow is surprisingly cutting through space as if its looking for action. It draws my attention and make me smile. Then I go towards the door, and stand in front of it. I “knock-knock-knock” in the most stereotypical way. I open the door, close my eyes and enter the space.
How are you choreographed?
How can I approach sensing the space without putting it in a certain time or shape.
The body is easily reduced.
Outside, trying to listen three-dimensionally I remember that I understand the sounds as a composition.
Inside the roughness of the floor under my feet is an opener to a world of sensing and creating sense. The meaning arises from the experience. I cannot move without reflecting on how I am choreographed, how the space guides me and how memory at the same time awaken a certain choreography. I am longing to set myself loose from judging movement and phases. I am very sensitive to my self-judgement and I keep coming back to how stupid society can make the body, the image of the body and how easy it is to be ironic instead of being. The aestethtics of being is complicated to enter without identifying it and feeling the fear. I try to move beyond fear and from addressing and identifying movement to experiencing the movement in itself.
I forgot that I could have been 100 or 4, but subconsciously I sometimes enter being four and sometimes I have the same compassion for myself inside my sensing body as I can have for an old person; a body that is full of experience. I notice when my body directly can approach its surroundings and move through space as a known landscape.
I can differ from when I identify the space as I remember to have seen it and when I remember it first – when I am there.
The architecture serves my body. The curve serves differently than the right angle wall, underneath my feet there is rough stones, bamboo mats, concrete.
I remember that when I met a pole there was something familiar, and then our previous talking of Miley Cirus sexual pole dancing and licking made my approach of the pole suddenly unfamiliar and bizarre. When the instructions some time later reminded me of poles as trees I could again approach and let myself be touched by the pole without being culturally embarrassed by my behaviour.
The movement from the body differs from when ‘I’ do ; when I feel they are performed and when they are playfully alive and awake responds to ”each passing moment”, responding to the situation the environment serves me. When my body recognises a choreographic situation I am caught by the comtemporary discource of reducing and being ironic to the sensing body. The protest against the aesthetics of release and improvisational work in the body sometimes force on the body that it shouldn’t sense.
Is there a time for taking the body back again, and not needing to be responsible of the aesthetics it is producing. The image doesn´t give an imaginary experience. This text is already reducing the capacity of the body. There is still a struggle for language, but I will use every language I have available to understand and to be understood.
To allow rest.
To see with the eyes closed, how the light changes.
To see with my eyes open the meaning of using colours and contrast.
To be silent to Helen Keller.
To use silence without being afraid of making a statement through sounds.
To name something ‘Susan’ and then later The Museum of Unconditional Surrender; to remember that it is a subtitle of one of my favorite books which I never finish. And which I read in different cities, always starting from the beginning. To recognise that I am no longer writing to myself but to someone else. To you. To feel a bit embarrassed of the unwilling poetic, and therefor maybe cliché in the past sentence.
To resist making fool of the body
To feel that an on-going lifelong theme/ work/ project is arising. The choreographed body as not different from the architectural body and not different from the life choreographed. How does/did life choreograph you? How to investigate this with a deep compassion, an ease and not being afraid of sensing my whole body as once? Not being afraid of making form and appear foolish. Not being afraid of aesthetics that doesn’t feel cool. Not being afraid of identifying a movement or a response as authentic within its frame, situation and circumstance. Saying farewell to non-sensing, saying farewell to irony, saying farewell to coolness, welcoming unconditional surrender.
Monday the 21st of October I arrived at the Mitaka Reversible Destiny Lofts. With three hours alone in this structure I wandered around in the space. Not really sure where to be or what to do. Should I sit down? Should I explore the space? Should I rest? Should I work? After wandering around for some time I was drawn into the yellow cocoon shaped room. I attached a hammock in the ceiling and took up my camera. I laid the camera on my stomach, imaging the camera to be the eyes of my stomach investigating this round room. After some time I fell to sleep…
Se video here: https://vimeo.com/77478750
Arrival at Reversible Destiny Lofts MITAKA. Getting settled.
11.00-18.00 Open schedule/own projects
12.00 —–> Open schedule/own work/optional screening of “For Example. A Critique of Never”, Arakawa and Gins, 1971
12.00 —–> Open schedule/own work/logging
Seminar series: Choreographers for the future
– led by MA students in choreography
18 October 2013, 12.00-16.00 hrs
Prøvesal 2, Oslo National Academy of the Arts
Fossveien 24, N-0051 Oslo
Theme: choreographers as creators of new entrepreneurship as seen in relation to the MA study programme; the development of own projects, methods, arenas and definition of choreographers’ field of action.
Brynjar Bandlien, freelance dance artist: Introduction – what are the characteristics of entrepreneurship?
Bjarne Kvinnsland, freelance composer: How to develop your own production apparatus
Amanda Steggell, prof. choreography: Entrepreneurship everywhere
Ingri Fiksdal, research fellow at Oslo National Academy of the Arts: Presents her research project
Heidi Jessen, Solveig Styve Holte and Anne Kathrine Fallmyr, MA choreography: Thoughts on starting our own enterprises
Landing Sites – a further-field pursuit of new tools for choreography
From 20 – 28 October 2013 Amanda Steggell (prof.), Solveig Styve Holte, Katherine Fallmyr, Heidi Jessen (MA choreography) and Tormod Carlsen (MA directing) will travel for a week’s residency/ field trip at the Reversible Destiny Lofts in Mitaka, a suburb of Tokyo. The lofts are built by the artists and architects Arakawa and Gins. The residency is the first of a two-part workshop for exploring the body’s capacity to co-create event-spaces with any given environment.
Read more here!
– a further-field pursuit of new tools for choreography
Amanda Steggell 2013
Research should no longer be done off to one side, in a school, a library or laboratory. Where one lives needs to become a laboratory for researching, for mapping directly, the living body itself, oneself as a world-forming inhabitant. (Arakawa and Gins)
I will travel with Solveig Styve Holte, Kathrine Fallmyr, Heidi Jessen (MA choreography) and Tormod Carlsen (MA theatre directing) for a week’s residency/ field trip at the Reversible Destiny Lofts in Mitaka, a suburb of Tokyo. The lofts are built by the artists and architects Arakawa and Gins. The residency is the first of a two-part workshop for exploring the body’s capacity to co-create event-spaces with any given environment.