1000: Too much, too many.
MOVES: How does dancing work, how does choreography get made, what’s a thing and whats the stuff on the way to the thing?
BACK UP: What fades behind, recedes, supports? When an act usually repeated is singular does it become meaningless or sublime?
DANCERS: How do we look at a history of a physicality that’s been commercialized and commodified unironically? Can we look at these moves as similar to materials like yarn or thread, the materials that evoke “women’s work”? How does that work inter-sectionally?
Throwing movements out onto a flat ontology, step touch, step touch, step touch, step touch. This is a weird project, it’s a dance, a series of dances, a history we’re inventing, an invented archive. A litany of moves hyperlinked here, a reinvention of choreography.
Draftworks 11.9.19. Performed by Elanor Grace Bock, Kirsten Michelle Schnittker and Hadley Smith.
Offerings rotate, come back for something new each week.
This week I re-watched Relentless Display, my MFA thesis at the University of Illinois. I wanted to remember how I’d scored a specific section, how the music worked by not working.
Some writing from that time can be found here if you’re interested in the title.
Credits:
Performed by Arielle Dykstra, Abigail Elliott, Elinor Fujimoto, Reika McNish, Jennifer Oelerich, Allison Pauley, Hadley Smith, Randi Townsend, and Katherine Williams
Sound design by Nora Simonson
Lighting by Alon Stotter
Costumes by Hadley Smith
Thanks to Tony Reuter and Julie Rundell for their advisement on sound and props respectively and to Pingwei Li for her advice and assistance with costumes.
Sound from "Wondering About Things" used with permission from the University of California Board of Regents on behalf of Lawrence Hall.
Non Je Ne Regrette Rien
Written by Charles Dumont and Michel Vaucaire
Used by Permission of Shapiro, Bernstein & Co., Inc. – Barclay Music Division on behalf of S.E.M.I./peermusic
Other people’s memories and also mine.
Currently featuring “You Can Go Anywhere” and “Exceptional Subjects of Various Kinds”
I found three photo albums in 2009 in a planter on my college campus. I’m still mesmerized by this style of vacation photography, a single unidentified figure alone through space and now time.
Currently I’m working on a project loosely inspired by Mary Overlie’s Viewpoints. It’s a zine series that considers how we build and interpret performance, and also offers an example of a pedagogical practice I’m describing as “imagining into knowing.” (First image below)
Sublime Materiality first emerged as a print zine created with Jessie Young. @sublime_materiality, launched on Instagram Spring 2019 as a digital zine dealing with the object world. (Second image)
I work with zines, joke work-books, and contributed to Opera News which is a brilliantly anarchic little project via Yonkers Press.
CURRENT:
Julian Barnes “Elizabeth Finch”
AMTRACK
ALWAYS:
Ian Bogost’s “Alien Phenomenology”
Oksana Bauil’s 1994 Olympic Free Skate
The prologue of “Fanny and Alexander”
“Continuous Project Altered Daily” Robert Morris
PAST:
The art direction for Maniac on Netflix
Body Electric, the work-out program, not the Walt Whitman poem
Sara Stridsberg’s “Valerie”
Dark Floral
Kerri Strug’s 1996 Olympic Vault
Splayed ribcages
The Shangri-Las “Remember”