In late 2006 early 2007 I had a chunk of Australia Council funding to research and develop a new performance installation called Crevice. The project was with Cormac Lally (video), David Corbet (sound), Shannon Bott (dramaturgy) and Kristin Green (architect). It was ambitious for sure, and I was never able to get the money together to do any more development beyond stage 1 (or perhaps I never tried).
The design looked like this (and we built and tested this design):
And here’s a little snippet of video (that I don’t think was ever used) that Cormac Lally shot and edited, and that I stumbled across the other day as I went through some old files. The filename was crevice16_viola sunrise_25%.mov.
Tara Brach is a psychotherapist and meditation teacher based in Washington DC. I was listening to a podcast episode of hers last night called The Sacred Art of Listening. In it she quoted Mark Nepo’s understanding of the nature of listening:
To lean in softly with a willingness to be changed by what we hear.
That willingness to be changed bit is remarkably beautiful and, speaking personally,(!) probably quite rare. I wonder what it would be like to work in an environment in which willingness to change was valorised at the expense of staking claims, protecting territory, and competitive ambition.
I happened across a poem by Wendell Berry because of a newsletter delivered by Riverford Organic Farmers with our vegetables. The poem is called Manifesto: The Mad Farmer Liberation Front and in it there is a line that I like very much:
So, friends, every day do something that won’t compute.
Dancehouse is a venue in Melbourne, Australia. It began as an artist-led space in 1992 but now is slightly more conventional in how it is organised, funded and run as a ‘dance centre’. As part of Dancehouse’s 21st anniversary celebrations in 2013 they asked a bunch of people who had danced and made work there over the years to tell a story and maybe even do a dance.