New blog

I have decided to create a seperate blog for the "Too Big: Wolves at the door" project.
Here is the link.  http://dancingwolvesatthedoor.blogspot.com

There is also a link to the right.

Something you carry with you

Great rehearsal.  Beautiful movement generation.  We used the prompt, "Something you have been given (object) that you carry with you, like when you moved to college you brought it with you - or something that you have given someone else, that has had the same role in their life."
We went around the circle and each person shared.  Then we made a gesture to go with each object.
The gestures were very rich, and the level of the dancers caused me to go right into the deep exploration phase.  Each dancer was assigned to create a solo within these parameters:
- Use all 14 gestures, or eliminate some if you would like
- Keep them in the same order
- Elaborate, elongate, expand, push the gestures
- You may change your gesture if you feel it isn't quite right, but you can't change anyone else's.

Solos were wonderful.  Video- ed.  They will be posted.

The poem, "Fifty-fifty" by Patricia Clarke was distributed and small groups read and discussed, then we discussed it as a whole group.  Emma took notes.

To close, everyone performed their solo as I read the poem.  Caleb and Emma watched.  There were some amazing line ups/link ups.  Wish I had taped!  Will see if we can do it again on Thursday.

Movement Generation for "Rate of Exchange" A score for trios

MOVEMENT GENERATION THREE:

Trios:

As a trio create movement score from this sequence of imagery.  Think of it as a sequence, with some sort of narrative nature (not literal) to the unfolding events:

• ·       Make a pocket
• ·       Discover a hole
• ·       Go through the hole
• ·       Find one of the original gestures from Movement Generation: "What is of value?"
• ·       Pull it out
• ·       Examine it
• Send a whisper, like a shiver, through your group

Movement Generation for "Rate of Exchange": what makes a whole?

MOVEMENT GENERATION TWO:

Working with a partner call them “1” and “2”.  “1” creates a movement image from the A column, “2” responds to that movement with a movement image from the matching B column.  Think of these images as fitting together to create a whole.  Then “2” creates a movement image from the “A” column, and “1” responds with the corresponding image from the “B” column

Proceed through the entire list.

Develop the material so that it may or may not have stillness between what each person “offers” and responds with.  Create a new something to distinguish that you have moved onto a new row.  For instance:  change of facing, change of levels, one exchange happens only as upper body gestures, one exchange is all about fast, dangerous movement through space. 

Share.  Select a limited number of these duets, or assemble a limited number of these duets through all the material generated.  Everyone learns these.

Maybe this chart helps:

Dancers 1 and 2.  Indicated below is which dancer starts, which one responds.  Dancers use the A column as the start, B column for the response.	A	B	Suggested movement challenges that could inform movement choices
1 starts, 2 responds	coat	pocket	Use only isolated body parts
2 starts, 1 responds	Tea cup	saucer	Movement must move from a point A to a point B
1 starts, 2 responds	shelf	Tin on the shelf, filled with ??	As full out and wild, risky movement as possible
2 starts, 1 responds	window	Highway seen through the window	A lift must be involved
1 starts, 2 responds	Counter of a convenience store	Map on the counter, directions marked out	Moments of extreme slowness, attention to details
2 starts, 1 responds	Paper Grocery bag	Receipt at the bottom of the bag	Radical level changes
1 starts, 2 responds	mailbox	letter	Sharp contrast in the movement qualities between 1 and 2 (i.e. sharp/smooth; loose/tight)
2 starts, 1 responds	Screen porch	lawn	Attention to focus, which is always away from where the movement is headed
1 starts, 2 responds	Spare key	Lock on a door	“Spell” at least one word from each column.  “Spell” as in write the word in space, trace on the floor, or on the body.

Movement Generation for "Rate of Exchange" in three posts: "What is an exchange? What is of value?"

MOVEMENT GENERATION:

Prompt:

Something (an object, a tangible "thing") that you have been given (or have given to someone else) that means something to you, that you have taken with you when you move to new places (even if you have lost it over time) because it means something to you.

 In a circle, let everyone tell what their object is, and a little of the story behind it.

Create a gesture for each person’s object.  Create a movement phrase stringing them all together.

Read poem “Fifty-Fifty” by Patricia Clarke.  (Link here: http://www.poetryfoundation.org/poem/245682)

In duets, discuss with another person.

Some questions:  What is the relationship between the two people in the poem?  Why are they having an exchange? Can you imagine an exchange like this between yourself and someone?  Is it truly a 50-50 exchange?  What is a give and take?  What connects the “give” in this poem to the “get”?

Come back together as a large group and share reflections

Return to the movement phrase created from the individual gestures.  How can one gesture “make way” for the next one to be received?  Think about this quote: “In addition to saving: give” Play with this as soloists.

As a group - look at the enhanced gestures.  Decide on what might be adapted.

In break out groups – take the movement phrase and turn it from a solo movement phrase into a group movement phrase.  It does not have to be unison.  How can one gesture “decorate” another?  How can the whole group stick themselves together and deliver a single gesture?  How can you incorporate space and level more deeply and intentionally?  What are the opportunities for transitions?  You may use all the gestures, or just some.  You can also repeat key gestures, especially if you want to create a motif that runs through your study. 

Scarcity and Abundance in the Digital Age: Seth Godin

A link to Seth Godin's blog

composition corner

caleb here, for composition ideas and curiosities:

7/16/13 

as a starting point this summer, i am interested in the harp for both recordings and performance, as it seems to possess a range of color, comparable to the piano (possibly making it versatile); has a unique physical presence on or near a stage (which is wonderful to explore visually); and is able to create both singular melodies and dense textures depending on the piece (which makes it a flexible foreground and background instrument).

this is an example of what i'm thinking about when it comes to a highly-affected (e.g. distortion, layering, reverb, etc.) harp recording, from flying lotus (LA):



i'll have to see what kind of contribution the harpists that i know at grinnell can afford—ideally a performance but i'd also make some recordings to play with and layer/affect. perhaps both intermittently would yield the most interesting music!