Please keep on adding your reflections; i.e. notes, images, videos, any kind of "outcome" that you would like to share following the "intake" of this session.

If you were a participant but you do not exist as a co-author please contact Defne Erdur from your account here or directly to the mail defne.erdur@idocde.net  to be part of this collective idoc.

 Christy Funsch:

On Saturday, July 25th, I facilitated a workshop based on 100 prompts for creative, improvisational, and/or physical conditioning practice at the third IDOCDE Symposium at Impulstanz. Following are some impressions and questions that serve as my record of the day. 

I had planned on leading the group through all 100 of my prompts. It was a daunting task (although I was attracted by the overwhelming possibilities it promised to bring). Once I attended the opening talks and welcoming events of the Symposium, however, I realized I wanted to restructure away from pure teaching (on my end) and doing (on the attendees' end). What are we talking about when we talk about form and formlessness? These questions surfaced as necessary and I began the morning workshop by situating myself in my own definititions (and accompanying baggage) of them. Form to me implies structure. Formlessness implies a fluidity, spaciousness, and potential dissolving of structure. 

Which led me to recalling my latest work, Dissolver and its narrative-representational-resistant drive towards abstraction, even while situations were being set up in which characters might emerge, relationships were starting to suggest themselves, and that pesky "story" was rearing its potential. I realized that although I tend to teach with tight structures, in my choreorgphic work I am constantly seeking freedom and open-interpretations.

So we didn't get through all 100 prompts! We accomplished about 55 of them, and then I asked the group to divide itself into duets. Each person then served as a coach for her or his partner. Coach on what? Well, what did their partner most need? Advice on multi-tasking? Massage? Performance tips? I enjoyed observing a vast diversity of approaches to this task.

Why did I introduce it? Well, the 100 days score is an offering. It is about supporting each other in commiting to and cultivating a daily practice. It is about celebrating all that we have to offer each other. It is about taking charge of a perhaps little thing and hopefully seeing this little thing transform and sustain whomever we offer it to. --Christy Funsch

Joana:

100 Prompts – 100 Days or 100 Prompts – 100 hours or 100 Prompts – 100 minutes or 50 Prompts – XX or XX – XX

It is really an useful tool and it can be applied in so many different ways and with many different goals or without a goal at all. For groups or for indivuals.

It is a challenge and probably there will be struggle but also so much more.

I highlight the Prompt that was given after many many others and after going alone for a while – meeting a partner and ask each other what do you need in that moment and just be there for her/him.

After going for the Prompts I found very liberating to:

“Whenever you feel frustration spin until...”

Truly Grateful

Also just for fun:

http://100dayswithoutfear.com/

 Tina:

Here are my notes - a short hand of the prompts we went through. Thank you for this inspirational session!

1. Shedding – wtih movement, voice, writing, imaging

2. What do I want?

            Claritiy of purpose in my writing, my dancing, my choreography, my life!

3. Organize 3 objects of yours in 3 different designs

4. Make 3 movement responses to the designs.

5. Explore the space in relationship to the objects and the whole room, in stillness or moving.

6. Take 5 breaths tracking what you did, what you observed.

7. Make a phrase.

8. Write about your phrase (looking at it through a lens of dance history, popular

 culture, political situation)

Personal note: The end position feels like a sort of Shiva figure, standing on one leg, small mirror on my head, one hand grasping somehting, the other offering an open palm.

9. Dance, wirte or imagine the formless-ness version of your phrase.

            What a great prompt – so liberating, though I don’t remember what I did, I liked

            being given the task.

10. Select words (encircling them) or an idea of your writing.

11. Revisit the phrase in a new way, edit it in response to what you have done.

12. Take a new space in the room with a beginners mind.

13. Feel your body as your world, landscape, home  -  explore your dimensions,

 shape, volume, density.

Evocative, poetic words – remind me of the power of words in the teacher/student relationship.

14.Open your eyes and use things around you, the architecture, as reference points

 for your movement.

15. Draw what just happened (no words!)

16. Combine the drawing with anything else we have done.

The drawing could be used as a score for repeating an improvised sequence or/and for a new improvisation structure. Could be a variation on „Mapping“ as taught by Joanna Mendl Shaw).

17. „True repetition“ after Daniel Nagrin. Repeating a sequence exactly for 1 Min

18. Evolving Repetition – allowing the movement to change.

19. Talk out loud about the two versions of repetition.

20. Write down key elements of your observations.

There is no such thing as exact repetition. Every time is new, each repetition influences the next one. Evolving repetition feels the same as variation on a theme.

21. Write a song that you can repeat.

22. Use your song to move or sing over the previous phrase. One group observes.

I had to dance the repetition phrase, „free“ moving while singing was too difficult!

23. Write down what you see in the other group objectively or associatively.

            Too much going on ..... lively but mostly internal moving.

24. Read over what you wrote on prompt 2 and 23. Improvise from your observations.

25. Take a new space with a beginners mind.

26. Explore exertion/recuperation – as they support each other.

27. Imagine/draw a costume.

28. Write key elements of what we have done, what has challenged you, on pieces of

 paper, leave one blank = source materials.

29. Organize them in pleasing shapes. (as a way of uprooting the source material)

            Look for new meanings that arise through new combinations.

            Arrow, airplane, bird, Wegweiser

30. Take 5 breaths tracking what you have done/observed.

31. Talk to a partner about anything.

32. Coach + receiver: Ask your partner what she needs right now, ask yourself: what

do I need right now? Come up with 5 ideas to support your partner and do

them! Reverse.

We were given between 30 sec and 2 Min for each prompt with the exception of the last one, which was 10 Min.

Last words from Christy:

Christy started this final talk appreciating the experience, intelligence and creativity in the room. What a precious gift to all participants to be recognized this way J

She advocates supporting each other in the dance community. Giving a friend the prompts is one way of doing that.

Take time every day for your own practice! It leads to ongoingness, which is „success“ rather than the idea of moving „upwards“ in a career.

Christy has made 100 prompts for numerous colleagues and students who felt stuck with one aspect of their dancing. For herself, she asked 50 friends (!!!) to give her 2 prompts each – because she is not good at making them for herself.

Advice: Don’t try to make something, use this daily practice for yourself, not for product making.

Check this blog for a record of the journey with 100 prompts from Christy.

http://100daypractice.blogspot.de/2014/11/before-i-begin.html