Follow Your Interest
Taste Your Sensations …. taste everything, chewing and digesting
Get What You Need
(you are responsible for your own experience)
map of an exploration
• Can you roll along the floor whilst keeping all of your attention on your right big toe/left ear/eyelid?
• Can you scan you attention from your bottom to your top? From you right side to your left? Can you travel your body up as you travel your attention down your body? Can you move your attention from the inside out as you fold your body from the outside in?
• Can you see attention moving in a dancer, even if their body is still?
• What is attention, exactly?
the folding body
I didn’t really understand what it was to fold. I thought it was limited to the bending of joints, the arching of the back, the closing of the eyes. Anouk showed us that folding can happen in every cell, that the body has the capacity for infinite folds and unfolds, like paper that is scrunched, unscruched, folded neatly, folded roughly, flattened, and scrunched again.
Anti-social behaviour is necessary to challenge, question and change
2 types of touch
I have always used touch to explore the outside, the environment, the other. To learn details of what surrounds me. I have never used the touch of my environment to explore my own body and sensations. I had to let go of conquering the outside landscapes, and let them enter me. They taught me, not the other way around. If my environment was another person, the boundries became very complex, until the skins started to mesh and melt together into new, hybrid landscapes.
“Dance can only be subversive when it questions and exposes the construction of the body in culture” – Janet Wolff
And here I am
… a not-quite-dancer, not-quite-disabled, but this work goes so much further than that. I am not adapting my body to execute the moves of the teacher. The learning here is not one-way, it pulses in the room, binding us all together. It is about attention and exploration. We do not perform, but experience and share … well, we try to experience and share (it can be so difficult sometimes). The movements are small or slow or still or internal or fast and huge and they are all valid. What is this world that starts where my skin stops? How has it seeped through my pores, where is the world in the pink, living bone of my skeleton or the juicy rocks of my muscles?
As I move on from the Candoco International Summer Lab, I feel invigorated and secured within my own practice. I am a movement artist with no dance technique training and a disabled person with no visible or bodily ‘difference’ … but perhaps that is an open window rather than a closed door. Using the explorations facilitated so sensitively by Anouk, I am beginning to see where my art lies within the remit of integrated dance, and the power dance has to subvert cultural readings of the body and of dance.
See my writing published on the Candoco website here.