Focus was drawn to the head and eyes during this session, I thoroughly enjoyed learning new interesting experiences, and having the thought of how to create work that makes people think, as I learnt from discussion of Simone Forti.
What do viewers think when show my improvisations?
Can viewers notice my mindful acknowledgement to specific body parts?
Observing Steve Paxton’s ‘magnesium’ (1972) I realised the quick movement stemmed from momentum, the dynamics of throwing and chucking were used. There was many tricks and skills of flying and falling. I saw great opposition to the Blake Neils and Brando piece (2010) as the movement was clearly based upon feeling the sensations of the partners body, how different touch techniques, such as brush, tap, swipe, push, pull can stimulate new explorations of movement.
I enjoyed the relaxing feel of holding the head with a partner and allowing the skull to have freedom off the shoulders, I experienced this with Kirsty, I was repetitively told to give my weight and relax my head, I imagined my head sinking into slime, nestling the head into the floor, I was lay on the floor visioning sinking in the floor. Until I experienced controlling my partners head I did not realise how heavy the head is. Within the reading ‘Steve Paxtons’s Interior Techniques’ (Turner, R. 2010) we are informed about ‘Hierarchial power relation’ (p125) understandably meaning to be controlled and to control, also thinking about no one being the leader. I questioned how no one is the leader, I concluded that there is equal hierchary during an improvisation if followed without the rule of controlled and controller.
We explored the findings of the head leading, with eyes closed. Our partner followed us around the space as we moved with our head, exploring with the head was an unusual experience, I didn’t quite enjoy this sensation however with my eyes closed I did feel more comfortable leading by the head rather than with eyes open.
We used the engagement of the pelvis also to relax on the spine, feeling the soft relaxing connection, this was in a pebble shape created by the body and in downwards dog. Understanding the body to give weight and transfer it correctly has been a big learning curve for me. I also enjoyed two bodies connected by the skull rolling with consistency and accuracy to remain safe during practise.
The last task we explored was a headstand over another body using enough momentum to get to the opposing side. I was terrified as I had never done a head stand and feared falling or injuring myself, Rayanne however influenced me to try and I did and I was pleased with myself that I did it, but I realised finding the correct placing on the spine is very important as the back may collapse. Overall this lesson was linked in contrast to the eyes and head using new ideas and concepts.
Forti, S. (2005) The Movement of Attention. The Movement Research Performance Journal, 29 (Spring), Available from http://daniellepkoff.com/writings/Daniel%20Simone%20Interview.php [accessed 15 October 2017]
Paek, S. M, (2015) Beginning, approaching, practicing, dancing. Contact Quarterly, Vol 40: 1, pp. 36.
Steve Paxton (2010) Interior Techniques: Contact Improvisation and Political Power. Full Text Available By: Turner, Robert. TDR: The Drama Review, Vol. 54 Issue 3, p123-135