Pictures in fashion magazines look weird enough. But what if you cut off half the picture then recreated it ? This was the main focus of our NC session today, led by the amazing Lea Anderson.
Initially, the task seemed simple – look at the picture, copy it. Soon enough we realised the intricacy and precision involved in copying an image – the focus of the subject, the angle, the position of the feet, hands, shoulders, the expressions. To add to the complexity, the photos had all been cut and pasted in various ways – some were just the faces of models, others a knee and a hand, one was just feet. This left us with the freedom to decide what to do with the rest of the body if it was not specified in the photo.
The most startling result of this session was watching how different everyone one’s responses were. We worked in pairs, and everyone followed the same set of images in the exact same order. Yet, each pair has such completely contrasting ideas and methods of copying. Despite this, we could all identify the images each pair did, and when one pair were stuck and asked ‘Which picture comes next?’, we all knew exactly where in the sequence the pair were and which picture came after it. The images could be clearly seen in each pair but the transitions and context of them were completely individual.
This idea of sequence and identifying patterns has left me wondering at what point does one image end and another begin ? Can we ever copy ? What is it about each image that made it recognisable in the different pairs ?
Thank you Lea !
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I see this map nearly everyday and on the way back from Next Choreography. It always stood out to me because it is so short and uncomplicated compared to the other tube maps. I’m not sure why, but today it reminded me of the improvisation scores we created last week (1/12/16) at NC.
Just to clarify, a score could be any rule or structure used in improv, for example you can’t stop moving. We decided it would be a good idea to create a score where all the dancers either had to be in eye contact with one other dancer or have their eyes shut, easier said than done, that’s for sure. We had more than one score, just to complicate things – like laughing if you heard someone else laugh or trying to go up or down at the same time as the other dancers (very difficult with your eyes shut.)
Going back to the image, the white circles with the line between the two for some reason, reminded me of trying to dance with my eyes shut and blindly searching for someone to make eye contact with. When dancing, we somehow had a sense of where we were going and how to get to each other, without the need for vision.
Thank you Seke for the eye-opening session, hope you feel better Amy !
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After all the talking, thinking, reflecting, absorbing, I felt that it would be great for this week’s session of Next Choreography should focus more on doing – a glimpse into next term, and a physical drawing together of many elements from different sessions within this term.
We did things with eyes closed and ears open, ears closed and eyes open, eyes closed and touching, eyes closed walking backwards. In fact lots of walking backwards! Opening all the senses, opening the possibility of sensing through our backs. Drawing on our need for negotiation, co-operation, and peripheral vision. We composed short things and manipulated them, we put them organised ourselves through various different systems – we watched/experienced the system at work. I was reminded of Ruth Little, Lucy Cash and Charlie Morrissey all rolled into one! We took over the building in two wiggly lines moving backwards, and without realising it or planning, our activity became a performative experience for all of the audience members entering the building to attend the Crossing Borders talk. Quite lovely! I’m looking forward to all that next term might bring.
Here is our book of words for the session
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I can feel more than I can see (being the follower)
What to do when there’s no more support? (being the mover)
In the space, when the hand was removed, I still wanted to feel
After 5 minutes of continuous writing, I knew from my own experiences that not everything I would hear from my partners script would make sense immediately. The thought process was a little slow but effective. Obviously we would not know all, but I feel as our last words of our own interpretation rang true of what we initially meant. We listened to the things we didn’t hear. Read in between the lines and formed an understanding.
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It’s week 3, and in advance of other artists coming in and us starting to go and see stuff, I wanted to focus our attentions this evening on the nature of noticing, witnessing, listening and responding. But I also felt that we haven’t spent much time moving together yet, and I wanted to allow the session to be about meeting and responding through/with our bodies. I let the group choose between more moving or less moving. They chose more, and so the responding and listening and witnessing was probably more through moving than through talking. This culminated in sharing those experiences, through writing.
Aura and Emily sharing their writing
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