It feels just like going, and then underneath that, organisation. Organs.
Organisational structures. Systems, I practise the practise of materiality. I practise the forgetting of names.
I imagine myself an early body, a body with radial symmetry.
World-built, it’s out of scale game of trial and error. I rehearse its coding, moving through me.
An important subject I am thinking about is around how we gather to be with each other, and in exploring that I am taking inspiration from how relating happens at different scales to the human. It is audacious and precarious; I am very aware that my international team are working with me on this project in the context of an uncertain Brexit. This is also our material
SOME TIMES is currently being developed with black box/ studio theatre spaces in mind. We would love to continue developing it from autumn this year onwards and are seeking interest in supporting it in the future through residencies, commissions, and/or bookings.
This research is supported using public funding by Arts Council England, South East Dance and Sadler’s Wells.
Structures are laid down, overlaid. Reptile, mammal, and frames I am dropping. Coding and coding: language in real time.
How the dancers said that a dinosaur takes a whole day to do anything, and that this should be the name of the work.
Collaborators: Luke Birch, Christopher Matthews, Lena Kimming, Katja Nyqvist, Elisa Vassena. Also Jamie Forth with conversations about a sound design to come and Naoto Hieda for choreographic programming tools to come (development initiated at the 8th Choreographic Coding Lab, Amsterdam). I’ve also started to try out some possibilities using Gabriel Wilding and Ebba Petrén’s playing cards for X-dimensional excursions (discovered during PSV5 at PAF).
We have spent 10 days in the studio on research and development, and currently have several of sections of the piece which were shared with a small invited audience on 28th June at Greenwich Dance.