In the summer I was working with Eva Recacha in the studio at The Place in London and one of the piano chairs had a sign on it:
We all have objects that are clearly not for choreographic purposes and so I had some stickers made:
They are 4.5” x 2.7” (11.43cm x 6.86cm) and are essential kit for any choreographer. If you just drop me a line I’ll send you one or a set of four (just let me know) for free.
I mentioned a couple of weeks ago that Katrina McPherson, Owa Barua, Natalia Barua and I had re-edited We Record Ourselves to screen on the MediaWall at Bath Spa University. Here’s an image by Katrina that gives a pretty good sense of the scale.
I’ve posted about interpretive dance as a cheap joke before, but here’s another example. It’s from The Age a couple of years ago, and check out the last line.
Image of Chisato Ohno dancing in Pause. Listen. in the Founders’ Studio at The Place, London. Image by Stacie Bennett.
Yes means no – David Byrne
The other day I happened across a very small notebook that had five pages of handwritten text in it. These were the first notes I jotted down for a work from 2008 called Gertrud. It was strange to see just how similar the outcome of the project was to these initial thoughts, as if the choreographic process was a matter of executing ideas.
Such knowing in the process of making choreography is in direct contrast to the work that Chisato Ohno, Jackie Shemesh and I are doing for Pause. Listen. Here, the project is constantly adapting and shifting, informed by different spaces or rooms, and changes in our interests and experience. It is much more a process of not knowing in which the work is constantly re-made for different environments and times. In the Founders’ studio at The Place in London it is a matter of finding different kinds of sensory frames – light, sound, space and movement – that might build on, in and around Chisato’s delicate, spacious and complex dancing.