Documentation as a reflexive tool for movement and composition awareness

The aim of the class is to train perception and composition awareness through the dialogue between a sensorial exploration and its documentation. We will take a score from Lisa Nelson as daily movement practice. I named it " The two sides of touch” . We will document this practice with drawing, filming, writing and talking scores. Participants will circulate between all modes and uses them as reflexive tools to unfold their movement and performance awareness. The multi-sensorial and polyphonic documentation built up along the week, will operate as a feedback system: Students will understand and communicate their point of view through the documents they will produce. In that way they will share their knowledge and teach each others.

You can find the whole description of the workshop here: http://www.idocde.net/idocs/426

 24/07/2013, Day 3: With Jenny Beyer, Gaja Karolczak, Magda, Mariah Martens, Alexandra Maricich, Dicle Dogan and Dila Yumurtaci.

We stayed with the practice of "The two sides of touch” score from Lisa Nelson. This time we worked in a trio with one  Environment, one Explorer and one Watcher. As we where seven that day, there was a trio  composed by Jenny Beyer, Dicle Dogan and Dila Yumrtaci and a quartet composed by Magda, Gaja Karolczak, Mariah Martens and Alexandra Maricich.  

The explorer could use his hand to explore the environment or use the environment to explore herself. They stayed first in a limited area  (around one hand) then this area expanded to the whole body.  The watcher could" zoom in" and "zoom out", and with closed eyes , open them briefly as if to take pictures. He could also film short fragments  ( 1 to 3 min ) of the duet with a video camera or an Iphone. All could call for "closed" ( eyes closed) and "open"  ( eyes open)  . The call was adressed to the trio.

After 20 minutes, Environment and Explorer where taking 10 minutes to revisit their experience with drawing.The watcher was  watching his short film and selecting some of them to share with the others.

Note about the drawing practice: Since two years I am part of “ phréatiques”a Julien Bruneau’s project, “that explores intersections between dance, drawing and verbal thinking.” This project introduced me to drawing. In “Phréatiques”, we draw with black ballpen or " mine de plomb". The drawings can be individual or collective,they are based on perception: vision, touch, earing, kinaesthetic sense and imagination. Words are sometimes involves in the process of drawing and can become a trace as well, integrated in the whole picture. 

They changed roles the Environment became the Explorer an the Explorer the Watcher.

We did the whole cycle and went for three times 30 minutes. ( 90 minutes )

Note for the video editing: For "Dila films Jenny and Dicle", i have just pasted the fragments the way they where filmed  in time. For "Dicle films Jenny and Dila", my editing as been inspired by the very short lenght of the fragments and the details that where filmed.  I have used the calls "repeat" from Lisa Nelson Tuning Scores in order to dig into the visual experience of a detail or emphasize the possibly dramatic lecture of a situation. All this choices are my way of reading what Dicle showed me in what she filmed. One futur score could be to give the same fragments to differents person to see what kind of reading they make out of them.

I have made one idoc for each day of the ImpulsTanz workshop. You can find all the overwhole documentation in the folder: http://www.idocde.net/folders/51

Another folder that gathers document of a similar proposal in Ponderosa 2012: http://www.idocde.net/folders/15