Season 5, Session 7: “FLOATINGLAB” – Facilitated OL w/ Hamish MacPherson.

 

moving-maze-illusion

For our next ‘Facilitated OL’ Hamish MacPherson proposes a session within the context of his project THIS MOVEMENT.

FLOATINGLAB – Friday 25 November, 10 am-1 pm

Chisenhale Dance Space (Research Studio).

…so…Laban efforts are these ways to think about the inner intentions of movement…and one of them – there are eight of them – one of them is this concept of floating. so where your movement intention is light , continuous and indirect (or flexible) for example imagine a balloon being blown in the wind…the opposite would be heavy, sudden and direct…like a punch (and there are six other combinations)…punch.. bam bam bam…but floating is more like woouueeeaaouusttheyuuu or something so let’s try that ..
 
…but then I was thinking what if we could find different ways to think of floating..partly because I’ve been thinking of metaphorical floating…like floating voters or floating an idea…and how floating might be a totally different tactic to cuts and strikes and pressing for change..not too sure..so yeah..
 
…ok so other ways to think about floating might be to have a floating attention…can our awareness be light and indirect and continuous?…a kind of wandering meditation where it is ok to ride that drift…
 
..so the awareness of the performer…but then what about the awareness of an audience…can that be light and continuous and indirect? not trying to have anything to climax or stand out but a kind of continuous drifting attention is that something we can getting to…
 
..or maybe like the film Slackers when the camera just goes from one group to the next..or like an optical illusion where your eyes drift lightly, softly in order to see the movement so we can maybe do something like this if you’re up for it and you’re free ..
 
..and then maybe we talk about stuff because talking is a mode of performance but also a mode of accompanying or supporting performing and we could talk in ways that are roundabout and round the houses and light ….just letting the words keep flowing gently, hmmmm…

 

optional dress code: pink

 

OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or e-mail Antonio de la Fe (antonio.delafeguedes@gmail.com).

The sessions function in a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a £7 contribution for the 3-hour long sessions (‘Facilitated OL’ sessions).

Chisenhale Dance Space
64-84 Chisenhale Road
London
E3 5QZ

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OPENLAB session on Friday 21 October 2016: “The Pleasure of Making with our Bodies,” facilitated by Anne-Gaëlle Thiriot

Anne-Gaëlle facilitated this session and she brought in his project The Makers’ Space.

What I assume it to be a space one step further (at least) from the usual space that OPENLAB generally aims to hold.

We were asked to make something, or bring something already made and re-work on it… So many possibilities to reading those two possibilities. We were also invited to watch others making.

I watched and collected from others. At a point I was entertaining ideas about scores and tasks and so I asked for some tasks and here they are collected:


Thank you Tim, Gene, Elisabete, Thelma, Anne-Gaëlle and Thelma (again).

I look forwards to more making and using (or not) the collected tasks.

The end (or maybe… ).

After ‘White Canvas’ session on Friday 7 October 2016 (text by Paul Hughes).

three people are doing

A: What are you doing?
B: I’m not doing anything, I’m just doing.
A: Oh. When did you start it?
B: I didn’t. I was always doing.

a short pause

B: The only change was that I brought my awareness to it and stopped my judgement of it. It’s also to do with how I am feeling. How I am feeling, myself, and how I am feeling the world, the outside me.
A: So we’re always doing, it’s just that sometimes we’re conscious of it and sometimes unconscious of it?
B: No. No… no. No, I don’t like that binary. For example, actions aren’t just either voluntary or involuntary. There’re things in between. Avoluntary is also a thing.
A: Avoluntary?
C: Like when you’re walking but there’s a pain in your foot, so you walk like this. And then that might ending up causing a pain in your hip, too.
A: So the movement is coming from the pain? Or the body is aware of the pain and moving in relation to it?
C: More like the second one. It’s not a conscious thing in your head, but the body is aware and works around it. I was once in a yoga class where the teacher encouraged me to do a position, and my body knew it was the wrong thing, but I did it anyway, and I ended up injuring myself.
A: Can you use avoluntary movement to find out about pains you didn’t know about before? Or other things that our bodies might be doing in relation to?
B: That probably wouldn’t work. It’s more like: you just have to let go and forget about using avoluntary movement. Then you are just doing without trying and you might become aware of the avoluntary later on.
C: How is your doing?
A: Very good, thank you.

a pause  

B: I’m wondering what is awareness. Unconsicous awareness… maybe that’s a thing.

a pause

A: So we come together in rooms with flat floors in order to be doing.
B: I think a roof helps. My doing is better than if we were outdoors, on a hill, for example. But it’s not that this is blank. Pure white is impossible, even a white canvas has an off-colour

B starts to move stuff onto the floor

A: Would you like to swap our doing?
C: Sure.

a pause

A: I’m not sure it’s working. I feel like I’m just repeating the form of your doing, which is not the same thing. Maybe to swap something you have to be able to own it first, but I don’t think you can own ‘doing.’
C: My doing has changed though. Some movements have slowed down or stopped, and let other movements begin. Has your doing changed?
A: In some ways, yes. It was mostly happening over there before, and now it’s over here. So that’s a spatial change.

a pause

B: In lots of dance classes, they tell you to stop thinking, to just do, to get out of your head. Maybe to find a kind of ecstasy. But now, I’m in my head, but it is also good. Both are good.
A: Sometimes I think people say that being in your head is all the same – when travelling, at work, thinking about money. But there are very different kinds of being in your head.
B: I’m wondering about what it means to choreograph from people doing? Stillness is an action if their base, or their neutral, was doing?

Season 5, Session 4: “The Makers Space – The Pleasure of Making with our Bodies” – Facilitated OL w/ Anne-Gaëlle Thiriot.

clay-5

 

On Friday 21 October Anne-Gaëlle Thiriot will facilitate The Makers Space – The Pleasure of Making with our Bodies for OPENLAB at Chisenhale Dance Space – Research Studio, from 10AM to 1PM.

Anne-Gaëlle explains:

I am taking inspiration from Susan Rethorst’s practical approach to choreography – who states that ‘choreography is a sober passion,’ a working process –  and at Julia Bardsley’s approach to performance as a filtering of the inner child. The idea for this OPENLAB is to use the space to make something with our bodies and use the whole time as a space to be witnessed. And this is a space to use just as we did when we were children. A space to make something for our own pleasure and have the pleasure to then show it, and then keep it preciously or ditch it straight after.

Each participant-maker is invited to come into the session with something to work with. For example, each participant could come with an idea of something to be explored, whether by a group or individually. Participants could also come with nothing but the knowledge that something will be made by the end of the session. They could even bring something ready-made, maybe an already existing short piece to be re-worked, or any performative material they have already produced and would like to continue developing.

Each participant-witness is invited to come ready to engage with the function of witnessing (maybe with warm clothes and socks!).

What will be made by the end of the session will be nothing more than this.

We all take care of our own space and each other’s space, meaning that sound, movement and other levels have to be negotiated, but there is nothing that should be prohibited as a starting point.

At this stage, I see my role as a facilitator within this OPENLAB as to welcome people, facilitate a time structure in which we meet by making and playing and showing what we made to each other, and to treat them as equally performative; also to ensure a relaxed atmosphere and to make sure that people can really work at making and feel ok being witnessed. I will be making as well. Over time the structure may involve some cross-overs and interchanges if the group – or part of the group – feels like it.

OPENLAB sessions are open to any performers: dancers, musicians, actors and anyone interested in presence and awareness in performance.

The facilitators of OPENLAB are also participants “in” the session and participants can propose their ideas for a future session. If you’d like to know more about this, come to one of our sessions or e-mail Antonio de la Fe (antonio.delafeguedes@gmail.com).

The sessions function in a pay-what-you-can contribution basis to cover expenses and as an incentive for the facilitator of the session. We suggest a £7 contribution for the 3-hour long sessions (‘Facilitated OL’ sessions).

Chisenhale Dance Space
64-84 Chisenhale Road
London
E3 5QZ