Dear All,
I enjoyed sharing my work with you all today. As promised here are the further resources:
•Angela Woodhouse on
Vimeo
•Carol Brown and Alys Longley
(Ed) 2018 Undisciplining
Dance
in Nine Movements and Seven Stumbles Cambridge
University Press
•Woodhouse and Broadhead Sighted,
and overview in
Aotearoa
Research Journal Vol 5 issue 1 https://www.dra.ac.nz/DRA/issue/view/5
Collaborators:
Mole Wetherall - Reckless Sleepers https://www.reckless-sleepers.eu/projects
Pierre Degen https://www.ganoksin.com/article/pierre-degen-plays-rules/
Caroline Broadhead https://carolinebroadhead.com/
Nathaniel Rackowe http://www.rackowe.com/
Dancer/collaborators:
Stine Nilsen
Eddie Nixon
Marcia Pook
Fabio Santos
Henrietta Hale
Martina Conti
Alice Labant
Other references mentioned:
The Poetics of Space by Gaston Bachelard
Writings by Marcel Merleau-Ponty (philosopher/ phenomonology)
Rutt Bliss Luxembourg, photographer
Martin Creed, artist
Alwin Nikolais Choreographer and Murrey Louis, his dancer
Judson Church and Rauschenburg
Sara Pearson, choreographer
Reinhild Hoffman, choreographer
Also of interest Heisenburg and the 'Uncertainty Principle' (1927) in Quantum physics
Jenny Holzer (Tate Artist Rooms)
Dear Angela thank you so much for sharing your work with us today. It was really interesting to see the starting point flow and progression from there, along with the retrospective relevance now. I have continued this discussion in my blog below, best wishes Charlotte
ReplyDeletehttps://charlotteferndavis.blogspot.com/2021/03/7th-march-discussion-continued.html?m=1
Hello Charlotte, I am remiss in coming to this so late. Many thanks for your responses and I hope to catch up with your blog soon.
DeleteDear Angela thank you so much for sharing your knowledge, practice and your work with us. It was really joyful and useful for me as a women, an artist and movement researcher. I am very interested myself in closest intimacy of feeling body and the breath, synergy between dancer/mover, space and different materials, dialogue with the shadow/lights, emptiness, testing the time, interesting in NOW/nowness... Actually my 4 AOL is talking about connectivity and communication through performance, connection between space, dancers/movers and the audience and how state of NOW is very important for us artists and movement researchers.
ReplyDeleteThis is just a part of my thoughts in 4 AOL and observation on Sunday discussion.
"In this matching up of ourselves with the others and with the world the audience wants to see, feel, participate emotionally, resonate performer’s aesthetic correct doing, right form, seek for qualitative action, according to Freleigh similar to the “state of nowness” (Freileigh, 2015, 173) and me as performer constantly searching for that right doing and correct responsiveness to the manipulative insight of the observer. That communication is constant, interrelated, complex, changeable and seducing. That performance is known only by me and only I can “become dynamically interrelated in a communicative process through the object which mediates what can be known” (Fraleigh, 1987, 36).
I reconnect, cultivate, put in question, participate, perceive with the others in the surroundings and bring my lived body to existence while performing. My dancing need to be worth in their eyes, even in the corner of the eye. I transform my images so I can be closer to the seekers, my truly observers. I am actively and intelligently choosing my way of reflection about my next moves while performing and being fully open to the self. Through trustful cooperation of the (in)sight I am making sense of previous experiences in nonverbal language by doing movement, sharing power of imagination, sometimes doing chaotic entry to seduce or confuse and emerge in my own way (Bound, Keogh and Walker, 1985, 135). For me as a performer too, I am very connected to the breath, so I am convinced that movement without fluid breath and space does not exist. Space is essential for the movement. Allan Deleuze see this spacing through Heidegger".
I put some thoughts about democracy too on my blog https://sandramove.blogspot.com/2021/03/theories-and-frameworkssunday.html
Hello Sandra,
DeleteMany thanks for these observations and connections being made. I apologise for my late reply but I hope to catch up with your blog soon.
Hi Angela,
ReplyDeleteThank you for your session on Sunday 7th March. Some questions which have resonated with me centre around 'what were we interested in at the time' and 'how do we feel about the memory now'. These two ideas, I believe, are vital things to consider in reflective practice (I am writing an AoL at the moment) and I hope enable us to create patterns in our writing; something touched-on by Peter Thomas recently.
I was also reminded by you to keep reflecting on my creative practice as well as my teaching practice, as well as on how the two connect to (and feed) each other. I had neglected to focus on this until now.
As I mentioned to you on the day, I have been considering democracy (Dewey, 1933) and hegemony (Brookfield, 2017) in performance and teaching alike, as well tacit knowledge (Polanyi, 1966) versus 'espoused' assumptions (Scaife, 2010). How do I identify the relationship between teacher and student or between performer and watcher? Is there a wall between us and what do we assume about eachother?
https://benwarbis.blogspot.com
Thanks for this Ben, and apologies for being so late to acknowledge these important ideas.
DeleteThank you Angela for sharing these resources. I wrote more about Theory and Practice on my blog https://paolanapolitano.blogspot.com/2021/03/why-to-apply-theory-into-practice.html
ReplyDeleteHi Paola, I have been rather behind on catching replies! Thanks and I will read your blog.
DeleteHi Angela, I wrote some thoughts about the last week Artist in coversation...so here it is my blog...Thank you again for your artistic introduction and sharing:)https://sandramove.blogspot.com/2021/11/artist-in-conversation.html
ReplyDelete