tag:blogger.com,1999:blog-50763930414765463632024-03-05T07:55:57.913+00:00Siobhan Davies StudiosSiobhan Davies Studios is an investigative contemporary arts organisation, founded and led since 1988 by choreographer Siobhan Davies.
Watch this space for updates from our artists, curators, project coordinators and participants on a whole range of our projects.Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-5076393041476546363.post-67591022275833891622020-09-04T08:53:00.007+01:002020-09-07T10:52:46.561+01:00Building in Isolation: Photobooth Gallery<p></p><p style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.2px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span style="font-family: arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><p></p><p style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.2px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;"><span style="font-size: 11pt;">Part </span><span style="white-space: normal;"><span style="font-size: 14.6667px; white-space: pre-wrap;">Instigate Unknown's WebRes Building in Isolation. <a href="https://bit.ly/WebRes-InstigateUnknown" style="color: #888888; text-decoration: none;" target="_blank">Find out more here.</a></span></span><br style="font-family: -webkit-standard; white-space: normal;" /></span></p><p style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.2px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: center; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;"><span style="white-space: normal;">---</span></span></p><p style="background-color: white; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;"><span style="color: #666666; font-family: arial;"><span style="font-size: 14.6667px;">Before we started with online sessions, we took on creative challenges each week to develop the methodology we’ve named Problematic Props. </span></span></p><p style="background-color: white; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;"><span style="color: #666666; font-family: arial;"><span style="font-size: 14.6667px;">Cherilyn has been developing this practice for Instigate Unknown since late 2018. Problematic Props is about using objects in an unconventional way to create and inspire movement. </span></span></p><p style="background-color: white; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;"><span style="color: #666666; font-family: arial;"><span style="font-size: 14.6667px;">At the end of each episode you see a sequence of pictures from each company member posing with series of arranged objects. This is taken from Task 6 - Photobooth. This exercise was greatly inspired by some training Cherilyn had done with Visual Artist Priya Mistry based around the use of objects. </span></span></p><p style="background-color: white; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;"><span style="color: #666666; font-family: arial;"><span style="font-size: 14.6667px;">The dancers intentionally chose a location and arranged the objects in a starting position. From there, they got a member of their household or used a self-timer to countdown 10 seconds of which they had to arrange themselves amongst the objects. This was repeated in one go over the course of 2-3 minutes. </span></span></p><div style="background-color: white; border: 0px; direction: ltr; font-family: sans-serif; font-size: 15px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="" style="border: 0px; font-family: inherit; font-size: 1em; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: #666666; font-family: arial; font-size: 14.67px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Dancers were invited to think more structurally than narratively or twist the narrative and use the objects for what they are not. </span><br /></span></div><p style="background-color: white; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;"><span style="color: #666666; font-family: arial; font-size: 14.6667px;">Here are some of the images that came out of Task 6.</span></p><p style="background-color: white; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; widows: 2;"><span style="color: #666666; font-family: arial;"><span style="font-size: 14.6667px;"><br /></span></span></p><span style="color: #666666; font-family: arial;"><p></p></span><p></p>
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</div>Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-59317292069139696012020-08-25T16:13:00.004+01:002020-08-25T16:16:17.023+01:00dancing is a front for friendship<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEird4KIWtfbsjhyphenhyphenAfPuzrwSQ95BsLFtIHAhJ_mQFmPaTxb0Wf-zsJlX7f5ef3mN1ZhldgdGl26zk-H4cBprRnk0OTkim3GSNAoWOet1ttCQdpNfnwnXe_LxR6G0eui8BN2nWaV9G1jevxs/s1200/GILLIE+%2528GREEN%2529-12.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="670" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEird4KIWtfbsjhyphenhyphenAfPuzrwSQ95BsLFtIHAhJ_mQFmPaTxb0Wf-zsJlX7f5ef3mN1ZhldgdGl26zk-H4cBprRnk0OTkim3GSNAoWOet1ttCQdpNfnwnXe_LxR6G0eui8BN2nWaV9G1jevxs/s640/GILLIE+%2528GREEN%2529-12.png" width="640" /></a></div><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><p style="font-family: -webkit-standard; white-space: normal;"><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;"><span style="font-size: 11pt;">Part </span><span style="white-space: normal;"><span style="font-size: 14.6667px; white-space: pre-wrap;">Gillie Kleiman's WebRes 'Not Working.' <a href="https://bit.ly/WebResNOTWORKING" target="_blank">Find out more here.</a></span></span><br style="font-family: -webkit-standard; white-space: normal;" /></span></p><p style="font-family: -webkit-standard; white-space: normal;"><span style="font-family: arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div style="font-family: -webkit-standard; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center; white-space: normal;"><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">---</span></div><div><span style="font-size: 11pt;"><br /></span></div><div><span style="font-size: 11pt;">Yesterday my dear one, dancer Steph McMann, calls me. I use the term ‘dear one’ after my friend Tessa Parr, the actor and performance-maker, who often refers to her friends in that way. I like it. </span></div></span><span id="docs-internal-guid-4c254dbf-7fff-7398-1dc2-bf5b6b6e87d0"><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">I tell Steph that I’m thinking about friendship and we talk about it a bit. She says that our mutual friend, dancer Flora Wellesley Wesley, once said that she thought that dancing is a front for friendship. I don’t know if she said it or what the context was but I really love it and am holding it near to me, like a new dear one. I hold it near to another newish dear one, this extract from a text that I read out in a professional context yesterday:</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-left: 72pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Through friendship...we undo ourselves and become new, in potentially radical and dangerous ways. In this sense, friendship is at the root of freedom. (1)</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Today I am thinking about this question:</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">How can we mobilise our friendships - particular those with people whose working lives overlap our own - to be more genuinely dangerous to the status quo we need to overturn?</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><br /></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: arial;"><span style="font-size: 14.666666984558105px; white-space: pre-wrap;">------------</span></span></p></span><span id="docs-internal-guid-972802d2-7fff-802c-9c83-b8abbe0f1ded"><span style="font-family: Arial; font-size: 10pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">1. bergman, c. and Montgomery, N. (2017). </span><span style="font-family: Arial; font-size: 10pt; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Joyful Militancy: Building Resistance in Toxic Times</span><span style="font-family: Arial; font-size: 10pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">. Chico, Edinburgh and Portland: AK Press.</span></span>Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-4087295847124140712020-08-24T14:20:00.004+01:002020-08-24T14:20:57.288+01:00Thinking about Wages for Housework and thinking anew in the arts<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTepW7Rn9BEEG00JbVtP9LXoKpCUnfGPgPI0FIm6cRBtBztJITw3maWdv4mQ0FSMrIu3clJKTop7ZFkszhDBQMHnuUIt6bTNdppNgyHt9HIYzDJbK4WrEKMrvFEa7DCLNLicd3YXMkBs/s1200/GILLIE+%2528GREEN%2529-7.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="670" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTepW7Rn9BEEG00JbVtP9LXoKpCUnfGPgPI0FIm6cRBtBztJITw3maWdv4mQ0FSMrIu3clJKTop7ZFkszhDBQMHnuUIt6bTNdppNgyHt9HIYzDJbK4WrEKMrvFEa7DCLNLicd3YXMkBs/s640/GILLIE+%2528GREEN%2529-7.png" width="640" /></a></div><p><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;"><span style="font-size: 11pt;">Part </span><span style="white-space: normal;"><span style="font-size: 14.6667px; white-space: pre-wrap;">Gillie Kleiman's WebRes 'Not Working.' <a href="https://bit.ly/WebResNOTWORKING" target="_blank">Find out more here.</a></span></span><br style="font-family: -webkit-standard; white-space: normal;" /></span></p><p><span style="font-family: arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">---</span></div><p><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Every day - </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">every</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"> day - I am in conversation about the future of the arts. There is a constant pulling and pushing, to-ing and fro-ing. There is so much difficulty; I feel the tenderness and fear and sadness. There is so much </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">heart</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">. </span></p><span id="docs-internal-guid-41b6a5d0-7fff-70b5-8f97-6535be2a178c"><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">It’s not only that it is tough to work in the arts. Yes, there are total joys, and that’s part of why anyone works in the arts, but it is hard and we all misunderstand each other a lot, I think. Even in performance - the wild wet wash of that word meaning everything from the Royal Ballet to rural touring to commercial comedy to experimental performance art - we nudge against one another uncomfortably. I get the impression that everyone feels that they are speaking out of turn all the time, and that everyone else is, and it’s all a painful jumble based on care. Right now it is even more difficult, because the normal power relations are even more visible and somehow crumbling at the same time, with the divide between those who can and have and those who cannot and have not both being fought for and falling apart simultaneously.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">I have been thinking about the ways in which the Wages for Housework Campaign of around 1972-7 can help us structure our thinking to find different ways to understand one another. Big note: I’m not a feminist scholar, in that I’m not a scholar of feminism, so my interest in thinking through this can and should be understood from my point of view as a freelance artist trying to figure out how to do things differently, with others. Here goes.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Wages for Housework was a campaign by feminists in the US, Italy and beyond, which was created and communicated by groups of women working through self-published pamphlets, leaflets and other publications, as well as public demonstrations and other forms of activism. It sat alongside and intertwined with other organising happening at the time.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">The demand seems straightforward: wages for housework. Women do housework; they clean and they cook and they raise children and they shop and they take care of the home and of the people who live in it. This is work, the activists argued, and it should be compensated with monetary remuneration. It is socially productive labour without which no value can be created by the men who go out to be ‘economically active’. Housework should be exchanged for wages, just as any other work might be.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">But, as Kathi Weeks writes in </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">The Problem with Work</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">: ‘There is an interesting ambiguity in much of the wages for housework literature: Should the demand for wages be read literally or figuratively? Was it presented as a concrete policy objective or a critical ploy? Was it intended to be an end in itself or a means to other ends?’ (2011:128). I think we could place some of the same questions around some of the demands I am seeing discussed, published and both celebrated and trashed in the Zoom meetings and Twittersphere of which I am part. I am seeing calls for, variously, National Portfolio Artists, workers’ coops, local arts boards with only artists on them, the evacuation of venues of all paid workers in favour of DIY cultural production, state-funded salaries for an artist per ward, funders dictating the constitution of arts charities’ boards, salary caps, and so many, many other possibilities for bettering the way we organise ourselves in the subsidised arts. I am advocating for some of these and not others; I am interested in them all. But that’s not the point. I want to consider how these suggestions, often communicated as demands, might help provide a picture of what is happening and what is not happening in the experience of freelancers and others who are making these suggestions.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">In calling for wages for housework, women were ‘taking an opportunity to make visible, and encourage critical reflection on, the position of women in the work society...Toward this end, [the demand’s] promoters suggested that wages for housework could function as a force of demystification, an instrument of denaturalization, and a tool of cognitive mapping’ (Weeks 2011:129). I feel freelancers in my field doing this now, this act of demanding in order to map concerns. The sheer volume and variety of working groups, and the resultant collective ambivalence about whether to join forces, overlap, or back off, suggests that in making these demands we are learning about where soft and hard points of working in the arts - in whatever role and for whatever form of return - exist and perpetuate and progress and mould and fester and bloom and spread. We are learning how to make new forms of allyship which can fortify previously impossible vectors of communication between creative practitioners with different foci in mapping out our concerns and acting in solidarity as well as becoming clearer about who has a totally different understanding of what is at stake and how to go about making things better for everyone.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">I am fascinated mostly by this process of denaturalization that is currently available. As I feel I often want to state: I am so sad and angry about what is happening in terms of public health, governmental mismanagement, and blatant corruption, and the consequent effects on the material practices, processes and livelihoods within my working world. Nonetheless I am interested in and invigorated by the novel possibility of making alien the ways in which we work - mostly how power, agency and resource move around - in order that they become impossibly strange. This pointing at the problems and noticing the frankly weird ways in which the sector and its powerpoints are built allows us to think completely anew and allows us to step out of the annoying and unhelpful tinkering at the edges. It is by making these demands that seem horrifyingly impossible that we can see how odd and unnecessary some of our ways of being and doing are and enable us to refresh our imaginations. We can begin to attempt to defog our visions - fogged up by habit, teaching, and the belief that everyone has everyone else’s best interests at heart - and really name and tackle the places where that is no longer really the case.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">For me, Wages for Housework remains interesting in its imaginative potentials; I </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">like</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"> that it produces more questions than it solves. It shatters a dominating assumption and set of lived practices based thereon in such a way that </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">multiple</span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"> worlds and forms of life become imaginable. If we - societally, somehow - pay wages for housework, does that mean we can do the same for child-rearing? What would that do for the nuclear family? Would men start to choose that work instead? What does that mean for our understanding of gender? How do we organise who pays? What impact does that have for our conceptions of social value, of privacy, of even the idea of the public realm? How do we begin to describe creativity when more people or different people take on this work - or drop it? What is the role of the state, or of industry? What is retirement? There are many more questions, many more answers, many more worlds. I would like us to think this multiply and this openly about how we do artistic activities and see what we can collectively realise as a consequence of being as creative and practical as we have been trained to be, to attenuate the practical questions at the same time as diving into them and seeing what comes of them.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Wages for Housework is also an interesting gesture because it collectivises what might usually be a private matter; instead of individual women asking their husbands for more pin-money to act as proper remuneration for their daily toil, or discussing the possibility of reorganising domestic labours to do paid work outside of the home, women came together to campaign. One of the consequences of this is that it prevents a singular conversation in the private sphere which might temporarily solve some of the material and emotional difficulty of what was then an assumed status quo: perhaps the husband would give the wife more money, if they could afford it, and then the wife might be appeased. This doesn’t do much more than fortify the existing arrangement. It is for this reason that I do not think that, in the arts, paying freelancers more or establishing a way for freelancers to be remunerated as non-freelancers (like a National Portfolio Individual model) is whatsoever sufficient. It shifts resources but retains the same model of distributing those resources, getting in the way of more effective and powerful change.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">The Wages for Housework campaign was constituted as a set of actions that pointed to the fact that the system of relations between men and women - in the heteronormative model that was contentious even in the 1970s but is clearly not how we understand our families, relationships and sexualities now - was profoundly unjust. As I have written many times and will continue to write, we need to keep stepping back and reminding ourselves of the structures in which we work and how they necessarily demand a state of play that is misogynist, ableist, racist, ageist, classist, transphobic and activating other and intersectional oppressions. To change it does indeed mean that people will need to give things up, personally or institutionally. We will not be able to have ‘crown jewel’ organisations (also and forever dismantle the fucking monarchy wherever it appears). We will not be able to depend on meritocracy and social mobility (once again for those at the back: social mobility is a ruse). It will not be acceptable for some people who contribute to a place of work to earn six figures plus pension, holiday, sick and parental leave pay while others who also contribute scrabble around for minimum wage. It is hard to give things up when you’ve been told again and again that they are yours, or to take things on when you’ve been told that they’re nothing to concern yourself about. I imagine that partners of the women who were demanding wages for housework also felt misunderstood, undermined, and browbeaten. Of course these men also inherited a crappy system - a system that also disenfranchised them from responsibility from their own homes and distanced them from the joys of care. The patriarchy serves nobody well in the long run but it hurts some more than others.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Wages for Housework teaches us to demand the small things that seem impossible. It shows us the power of imagining other worlds through concrete proposals. It shows us how to step into and back from the personal at the same time, describing our experience and providing suggestions even when that would mean changing absolutely everything. It shows us how to work in a pluralist solidarity and to contest the systems that benefit those whom we might very well like or love, because we can see that those benefits hurt more than they help overall. Wages for Housework teaches us to hold on to what we’re asking for at the same time as remembering that we are determined in a direction for so much more.</span></p></span><br class="Apple-interchange-newline" />Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-19471130819463956352020-08-21T16:17:00.004+01:002020-08-21T16:18:07.947+01:00Not Working: Sabbath<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkBsEL8PtDhJhyNJUaGLU-DaOyDf-9wG6bD131V24KvkNXC8_rbECkdqOWYr0r3t3RP5rCeB8Pf-K32EYFhaKq1sg452ubWt53NqhmXucVxf8zwO-Zmwcb5a5jMIlFY2nWWT479rJnEOc/s1200/My+Post-27.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="670" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkBsEL8PtDhJhyNJUaGLU-DaOyDf-9wG6bD131V24KvkNXC8_rbECkdqOWYr0r3t3RP5rCeB8Pf-K32EYFhaKq1sg452ubWt53NqhmXucVxf8zwO-Zmwcb5a5jMIlFY2nWWT479rJnEOc/s640/My+Post-27.png" width="640" /></a></div><p></p><p><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><span style="font-size: 11pt;">Part </span><span style="white-space: normal;"><span style="font-size: 14.6667px; white-space: pre-wrap;">Gillie Kleiman's WebRes 'Not Working.' <a href="https://bit.ly/WebResNOTWORKING" target="_blank">Find out more here.</a></span></span><br style="font-family: -webkit-standard; white-space: normal;" /></span></p><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: arial; font-size: 11pt; white-space: pre-wrap;">---</span></div><p><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">This text will be published at around 6pm on a Friday. For me, even though I have grown up mostly in Britain in a secular family, it is my experience of being with my Jewish Israeli father’s family in Israel for big chunks of time that has most influenced my sabbatical feeling. Friday evenings are this special moment, a kind of closure, a suspension of time, so filled with a dusky excitement that even though I’m not doing anything particular this evening I feel something is still hovering around me.</span></p><span id="docs-internal-guid-f3ab1ec2-7fff-7624-a3bc-0f5670b24aa2"><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">The following fragments are from my </span><a href="https://www.gilliekleiman.com/project/phd/" style="text-decoration: none;"><span style="color: #1155cc; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; text-decoration-skip: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">PhD thesis</span></a><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">, which I also mentioned in yesterday’s text. They are commentary, a kind of lengthy theoretical notation to a description of a person, CJ, who was taking part in a choreographic project I was making, entitled </span><a href="https://www.gilliekleiman.com/project/recreation/" style="text-decoration: none;"><span style="color: #1155cc; font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; text-decoration-skip: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Recreation</span></a><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">. They have a more scholarly tone than what I’ve written so far in this residency. I’m not hiding the rest of the text and did consider simply publishing all of it, but it doesn’t seem necessary to what I’m asking myself today. (In any case you can read it from my website.) I hope the fragments can be something to swim in, to think with, even if that to which they refer is somewhat obfuscated. One day I’d like to write more about the sabbatical.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Today’s questions are something like these:</span></p><br /><ul style="margin-bottom: 0px; margin-top: 0px;"><li dir="ltr" style="font-family: arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">What might be produced if we understand our lockdown/pandemic limitation moment as a form of sabbatical?</span></p></li><li dir="ltr" style="font-family: arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">What would it be to create, deliberately, for ourselves and for others, sabbatical possibilities?</span></p></li><li dir="ltr" style="font-family: arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">What happens when artmaking arises out of sabbatical power?</span></p></li></ul><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">There are rituals to end and begin sacred moments, sacred timespaces in which other things can happen. This needn’t be the sacrality of religion—this timespace could be secular—but there are always certain things to be done, said, heard, smelt, moved, touched, and even tasted which mark the beginnings and endings of things which we might find important; political theorist Bonnie Honig describes this as ‘a dense cultural sensorial synagogue that acts to wrest humanity or sacredness from the creaturely world of the everday’ (2015:469). I don’t know what is done around Christian special days; I’m not and have never been a Christian. I know that in Judaism even many secular Jews will host some kind of special meal at the arrival of the Sabbath, maybe eating or saying or drinking special things. There is a parallel to the start and end of retreats in the Buddhist tradition in which I practice, where a dedication ceremony starts the period and a ritual, often involving a fire and ending in a chant, will close the events. These things are not exclusive to religious people. I wonder if a secular version might be a beer at the airport before going on holiday.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Giorgio Agamben’s writing on the sabbath is that which returns in bibliographies related to the term, and his writing begins with a Jewish take on the concept. For Agamben, the sabbath, the Jewish Shabbat or Shabbas, is not simply an extra bit of time added to the workweek, but a special time which exists in both continuity and heterogeneity with the six days that precede it in each cycle (2011:109). The sabbath sits in a ‘relationship of proximity and almost reciprocal immanence’ with work and inoperativity (110). The sabbath and inoperativity, that state which is the other side of the coin to potentiality (Prozorov 2014), are neither consequences nor preconditions for one another (Agamben 2011). Instead, inoperativity ‘coincides with festiveness itself in the sense that it consists precisely in neutralizing and rendering inoperative human gestures, actions, and works, which in turn can become festive only in this way’ (Agamben 2011:109). In this sense, inoperativity is connected to the kind of life that I am searching for in this chapter, in these accounts, a state that includes the potential for human endeavour without the necessity for its exercising, not a suspension of labour precisely, but a ‘temporary suspension of productive activity’, regardless of the realm of that productivity (economic, domestic, etc.) (Honig 2015:478). </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">It strikes me that the workshop is a way of practising the Sabbath, in the way that Honig suggests (2015). She proposes that there exists a sabbath-power which emerges from festive inoperativity, through which new forms of relation are possible. The sabbath-power is enacted through practice, a practice of the senses. In the workshop we use at least four of the five usual senses (taste is usually excluded), but also others: we use proprioception and balance, we feel one another’s body heat, and more mysterious things, like sensing another’s feeling of comfort or discomfort in coming into contact with them. Honig’s sabbath-power seems strong; a force. Thinking it in practice allows it to become much more subtle, it permeating, rather than charging, through a space and time.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Just as ‘[p]resents, gifts and toys are objects with use and exchange value that are rendered inoperative, wrested from their economy’ (Agamben 2011:111), so are these postures recuperated from a state of high charge. Their economy should be one of dance, their value coming from stage dance’s traditional values of poise, strength, skill, and virtuosity, but the dancerly frame drops out of operativity in this sense in favour of the sensorial. In the practice of sabbath-power choreography changes on a level of quality rather than shape. Just as the sabbath can contain the same tasks as the workweek, so can the choreography retain its normative values, but the alteration is visible as a result of the suspension of the productive. In movement this shows.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">A sabbatical texture is one of being in the present, mindful of what is happening and what is being done. The sabbath’s actions are not in preparation for any future or the fallout of any past, but are undertaken within the sabbath itself. Work, particularly project work, conducts itself always towards a future: a project is a projection (Bayly 2013; Wikström 2016). The projectness I experience is the busyness Agamben suggests is the human race’s answer to our very sabbatical nature: ‘[h]uman life is idle and aimless, but it is precisely this lack of action and aim which makes possible the incomparable busyness of the human race. Man has devoted himself to production and labour because he is in essence deprived of work, because he is above all a sabbatical animal’ (2007:138). </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">This is the true feeling of sabbath, this when actions that could be done anytime are done with a relationship to the productive potentials of work without realising those potentials. The activity of work—and even its site—has not changed, or not changed much, but this reframing of the space and time as one of a break—a sabbath or sabbatical—allows for ‘the liberation of the body from its utilitarian movements, the exhibition of gestures in their pure inoperativity’ (Lucian in Agamben 2011:111). This makes it possible, paradoxically, for something that could be called an important part of the rehearsal process to occur as part of a break. I think it is Recreation itself, its interests and agendas and methods, that allow this suspension to occur.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Agamben doesn’t use the common phrase ‘day of rest’ to describe the sabbath, but Honig, writing through Agamben’s work, does so several times in one article, even playing in her writing with rest and wrest as homophones. I don’t know where I stand on this. It seems to rather suppress Agamben’s assertions about the sabbatical as inoperative, as unrealised potential; is the potential still present when the being is only semi-conscious? I come to two thoughts: either rest, particularly sleep, is so personal as to not belong to the political project of the sabbath, which always involves others; or rest is still so associated with recuperation from the last workday and preparation for the next that it cannot be sabbatical proper.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">To my mind, this creation of a sabbatical landscape, a way of being together that suspends, as Agamben suggests, work and inoperativity in proximity to something festive like the sabbath, should be enough for anyone. CJ’s request represents the privilege of the sabbath, the fact that to take time out of the productive is not necessarily available to all people equally, however you cut it; there are material conditions in which people have to operate which prevent sabbaticals.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">The sabbath has its own ethics, its own political charge. This is not about making work better for the worker, but in coming into contact with productivism and seeing what else is there by stepping through it. Honig writes: ‘we see here a practice that has some family resemblance to the idea of the General Strike: a suspension of work that presupposes the productive power of workers, but also generates the generative powers that may open new and different orders of economic life’ (2015:474). I’m inclined to disagree, for a strike presents itself as a temporary state through which, indeed, economic imaginaries can proliferate and cause change, but ultimately the impact remains within that sector of human action. Sabbatical inoperativity, on the other hand, has the potential to open up other orders completely, ones where deeds and words occur for lifeful purposes unrelated to economics.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">---</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Honig writes that ‘[i]n the sabbatical state of exception all divisions are meant to disappear, rather than to be (re)inscribed’ (2015:473). In the conversation I am describing to the left our social divisions are becoming blurred. In conventional terms I am the boss and CJ is the worker; his asking to take time out of what is contracted work is a challenge to this relationship, to this instance of power and control. But CJ’s understanding of what is happening is that it is a form of sabbath, in which ‘the laws of social division are suspended and everyone is a king’ (Honig 2015:473). For us together to maintain our collective practice of the sabbath it was necessary for me to meet this challenge with what then felt like capitulation, and what now feels like a reasonable—and even desirable or ‘enchanted and enchanting’—pursuit of the sabbatical (Honig 2015:474).</span></p><br /><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">References</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Agamben, G. (2007). Art, Inactivity, Politics in Guerreiro, A. (ed). Criticism of Contemporary Issues: Politics. Porto: Fundação de Serralves. pp 127–141.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">__________. (2011) Nudities. Stanford, California: Stanford University Press.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Bayly, S. (2013). The End of the Project: Futurity in the Culture of Catastrophe. Angelaki: Journal of the Theoretical Humanities. 18(2) pp.161–177.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Honig, B. (2015). The Laws of the Sabbath (Poetry): Arendt, Heine, and the Politics of Debt. UC Irvine Law Review 5(463). pp. 463–482.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Prozorov, S. (2014) Agamben and Politics. Edinburgh: Edinburgh University Press.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Wikström, J. (2016) A Comment On Bojana Kunst’s The Artist at Work. Sarma Docs #2. </span></p></span><br class="Apple-interchange-newline" />Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-30685610820110951202020-08-20T16:50:00.003+01:002020-08-20T16:54:18.895+01:00Recapitulating hypocrisy: work and not-work in flow<p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ4uPFQcbCj4rcs4Dbhpi8IL3KOphpDMOu5BNi5qh4PwpsmpsuSaeJoS5VW721KSqRvJ0ZjvuJf4WHgOZNOwftNt7GMgZ-X9V9wHslRdRDVgcEXkS_N317Wb3O_AKwkynPtzHX3B8M4Q4/s1200/GK+POST+2+GK.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="670" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ4uPFQcbCj4rcs4Dbhpi8IL3KOphpDMOu5BNi5qh4PwpsmpsuSaeJoS5VW721KSqRvJ0ZjvuJf4WHgOZNOwftNt7GMgZ-X9V9wHslRdRDVgcEXkS_N317Wb3O_AKwkynPtzHX3B8M4Q4/s640/GK+POST+2+GK.png" width="640" /></a></div><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="caret-color: rgb(102, 102, 102); color: #666666; font-size: 11pt;">Part </span><span style="caret-color: rgb(102, 102, 102); color: #666666; font-size: 13.199999809265137px; white-space: normal;"><span style="font-size: 14.6667px; white-space: pre-wrap;">Gillie Kleiman's WebRes 'Not Working.' <a href="https://bit.ly/WebResNOTWORKING" target="_blank">Find out more here.</a></span></span><br style="caret-color: rgb(102, 102, 102); color: #666666; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.199999809265137px; white-space: normal;" /></span></p><div style="caret-color: rgb(102, 102, 102); color: #666666; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.199999809265137px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;"></span></p><div style="caret-color: rgb(102, 102, 102); color: #666666; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.199999809265137px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">---</span></div><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">I am noticing already that this process, this online residency, is a kind of unfolding of itself, an opportunity to make connections between things I know and things I think, and things I have known and things I have thought before. As I have written on my own blog, I am trying to manage a tone that is personal and political and thoughtful but not scholarly. I made a plan but have already veered off, each bit of something sending me to another place. In a sense, this is becoming a kind of diary of a week, with many things missing. Nonetheless, it is both a provocation to keep thinking, and a pretty good record of my preoccupations at this moment. These texts, then, are necessarily unrefined and unedited.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">---</span></p><p><span style="font-family: Arial; font-size: 12pt; white-space: pre-wrap;">Yesterday I tried really hard not to work. I had to take a work call, though, because the person just called me out of the blue, and it was something that needed sorting out. I also received WhatsApp messages about work-related matters, and had to make some work-related decisions. I did some reading for something that I consider to be work, some ongoing learning I’m doing as part of work time. I did manage not to turn my computer on. This has become a kind of rite of resistance, a way to prove to myself that my mind and body and spirit are not, on that one day, absorbed by work.</span></p><p><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">I have written about things that I do that are not work before, </span><a href="https://www.gilliekleiman.com/incomplete-reflections-on-being-an-amateur-in-public/" style="text-decoration: none;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; text-decoration-skip: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">, thinking mostly about a radio show (currently having a pause between series) that I have been making with my friend Marian. In this text I also write about other things I do and want to do, and share opinions. That text is part of today’s offer; a hyperlink is a knitting in.</span></p><p><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Today I am thinking about another blogpost I have written in the past few months, a post about my own hypocrisies, which you can read </span><a href="https://www.gilliekleiman.com/im-a-goddamn-hypocrite/" style="text-decoration: none;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; text-decoration-skip: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">here</span></a><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">. I’m weaving this together with the radio-related post and with yesterday’s writing by focusing on this paradox I hold within myself:</span></p><p><span style="font-family: Arial; font-size: 12pt; white-space: pre-wrap;">An artist is a worker and should use worker-organising methods to improve their conditions (e.g. unions)</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; white-space: pre-wrap;">Vs</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The category ‘professional artist’ should be dismantled so everyone can make stuff without it being a profession, with all the difficulty, exploitation, exclusion and creative stifling that that brings.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">---</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In attempting to create for myself a four-day week, I have had to try and become clear - albeit temporarily, provisionally - about what is work and what is not work. This is a tricky beast in both theory and practice. It also has some difficult consequences: it can easily make very spurious but dominant views about what is and isn’t worthy of such a term spin into my praxis. It makes domestic labour, so carefully, vigorously and clearly fought for as a work practice by feminists for over fifty years, occupy a non-work place in my life. It masks caring work and community work. It demands that I should decide which friends are friends and which friends are work-friends and asks that I divvy up my energies towards those people in peculiar ways.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">One of the texts that really interested me when I was in the reading phase of </span><a href="https://www.gilliekleiman.com/project/phd/" style="text-decoration: none;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration-skip: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">my PhD</span></a><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> was </span><a href="https://www.tandfonline.com/doi/abs/10.1080/1369118X.2013.763836?journalCode=rics20" style="text-decoration: none;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration-skip: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Work’s Intimacy</span></a><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> by Melissa Gregg (2011). Not only does this book provide fascinating insights, based on rigorous fieldwork, of how our work gets closer and closer to us, even when we might not want it to be so, through changes in technology and culture as well as the ongoing furling of neoliberalism, but also because it records a period of time, 2007-2009, where these changes felt new and unknown, and somehow even exciting (remember getting your emails on your smartphone for the first time? I do!). In 2011, Gregg couldn’t possibly have known how this trend would continue.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Nor would she have been able to predict - at least within the scope of her research - that the gig economy would bloom so spectacularly. Performing artists are, of course, the original gig economy workers; we do gigs. A few years ago I remember commenting that the rise and expansion of the gig economy might be helpful for artists; if more people are subject to these conditions, then there will be more attention on the particular forms of exploitation to which we are subjected, and we might be able to get better organised to resist and transform ways of working to make it so that we all live well. I have been somewhat disappointed; what I realise now is that really we should have already developed better tools for such worker organising, and there is very little there. Policies from arts-related unions and campaigning groups often focus on important but ultimately highly-specialised minutiae, like very tiny adjustment in payscales or the temperatures of rooms for this kind of rehearsal versus that kind of rehearsal. Though these are useful, and I think we each need to push in the ways we find most helpful, I wonder what it would mean to back off from these details to look at the bigger, more structural problems we experience in our places and times of work. Things aren’t working, and the pandemic has made that starker than ever; this is being well-recognised across the arts and we need to keep saying it to make sure we don’t forget.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In Gregg’s work, she demonstrates how the worker is so involved in a culturally coerced presenteeism that work encroaches upon every part of their being. This is entirely encouraged in the romanticisation of artists and arts workers: the dominant narrative of the artist is that we can’t do anything else because our hearts are artists’ hearts and we’ll get some kind of spiritual blueballs if that’s not what we do every day. I can see how that can seem like the truth sometimes, and even a rewarding place to be. It makes it seem like the rest of society has to support us, because we really have no choice, so please pity us and help us. I think that this is wildy unhelpful, and, moreover, untrue. There are many forces that make a person become an artist (including but not limited to a higher education pyramid scheme that convinces young people that they must have an undergraduate degree in </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">something</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and that there is a career available to them despite it all, if they just come </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">here </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">and work very hard). </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">We need this structure of identification in order to proceed along the lines of a worker unionising or lobbying; we need to show that there’s no way for us unless working conditions improve, because there’s nothing else that we could possibly do. I sometimes work in this way and will continue to do so, gathering together with other arts workers to improve conditions through campaigning and some version of industrial relations, trying to reshape what we’re doing to make it less harmful, even though the invocation of ‘industry’ and even ‘worker’ can have the stymying effects of having us all work in the same way, in projects or organisations that are themselves shaped by the strictures of late capitalism. It looks like we’re doing the right thing but it might be more a question of less wrong than more right.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The other option is to relinquish the role of artist, the role of arts worker, as a role in the world of work at all. That would be to soften the edges of things, to make more porous work and not-work, to let in. This does not undo the intimacy of work but frames it in new terms and textures; it lets me talk to my friend and not worry about who she is to me or what that conversation is doing work-wise but to appreciate the connection as just one thing unfolding before me that can be. This is liberty; to do the thing because it’s the thing I’m doing, not because it’s </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">for</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> something. As theatre director Jan Ritsema says, the way of being, as an artist, is that every day is a Sunday. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The thing is, I don’t want this just for me. I want this for everyone. I want everyone to be able to participate as fully as they like in whatever culture suits them. (In other terms, I want some form of </span><a href="https://culturaldemocracy.uk/cultural-democracy-now/" style="text-decoration: none;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration-skip: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">cultural democracy.</span></a><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">) I don’t want to have to wrap myself in the protective armour of the title ‘artist’ in order to fight for my right to survive and do this thing; I don’t want artmaking to separate me or make me seem special or make me seem that I think I’m special. Artists aren’t special, any more than anyone else is special. We don’t deserve a better time than anyone else. I think artists do a lot - measurable and immeasurable things - to make human life what it is. One of those things is that artists always and already constitute work’s intimacy in ways alternative to our capitalist reality. It’s not enough to just not be working, because not-working, as Gregg theorises and I have attempted to describe, is already so close to working that a firewall is both futile and unnecessary. It would be better to elaborate that intimacy in a softer way, in a way where we don’t need to worry so much about it. We don’t need to feel guilty, then; we know it’s all part of a flow. To do this we need to let other people enter that flow, be part of that flow, experience that flow - and that means we need to work together to reconstitute our activities </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">beyond</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> work and not-work, and give ourselves the possibility of doing so.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"> </p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 18.75pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: normal; font-variant-caps: normal; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">One suggestion, about which I will write more: UBI NOW.</span></p><p><br /></p>Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-34356602422719851162020-08-19T08:56:00.006+01:002020-08-19T10:28:19.517+01:00Not Working: I am not working.<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5yrReZ7E7swS99q4e_n3OBBtUigDH9JVe30RQiOPL6wl3OlBYH2Of0rlWIDzOkDsn5qKjD4sfsAU1uUmkZIivmA9bDnVxpWEqd9jU3Zizwy4HkbjsJDj135ETjpX5zrCoRJCwCNuKUn8/s1200/My+Post-26.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="670" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5yrReZ7E7swS99q4e_n3OBBtUigDH9JVe30RQiOPL6wl3OlBYH2Of0rlWIDzOkDsn5qKjD4sfsAU1uUmkZIivmA9bDnVxpWEqd9jU3Zizwy4HkbjsJDj135ETjpX5zrCoRJCwCNuKUn8/s640/My+Post-26.png" width="640" /></a></div><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Part </span><span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;">Gillie Kleiman's WebRes 'Not Working.' <a href="https://bit.ly/WebResNOTWORKING" target="_blank">Find out more here.</a></span></span><br /><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;">---</span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; white-space: pre-wrap;"><br /></span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: arial; font-size: 14.6667px; white-space: pre-wrap;">I am not working.
When this text is released I will not be working.
When this text is released I will not be working, because it is Wednesday, and on Wednesdays I do other things that aren’t work.
Specifically, today, the day that this text is released, the day after the today of the writing, I will be:
Buying vegan cinnamon buns for Carole and me from a bakery by the river
Fortified by the buns and aided by Carole, weeding the back garden, cutting down the rogue ash tree, and sorting out this year’s spent plants from the vegetable patch at the front
Hoovering the flat
No really, hoovering the flat, the whole flat, and mopping the kitchen and bathroom
No, definitely hoovering the flat, even if it means doing it at 9pm which is the latest I dare
Maybe meditating, maybe doing some yoga, maybe doing a Gaga class online and trying not to feel like I’m in an episode of Smack the Pony
Delivering food parcels in Walker for East End Women
Maybe changing the bedsheets
Answering some emails about Star and Shadow Cinema’s radio activities (not radioactivity)
Reading some texts in preparation for the Marrickville School of Economics session on Thursday, which is about kinship
Making a loaf of sourdough or maybe some flatbreads
I was talking to Andrew about why I want to only work four days a week. This is complicated and involves more than just me and my desires, but I will start there.
I don’t want to be my work. I want, when someone asks me what I do, to be able to say that I garden or deliver food parcels with the same force and sense of proximity and authority as when I say ‘I’m a choreographer’ or when I have said ‘I’m a university lecturer’. This is so close to Marx’s ‘hunt in the morning’ quote but isn’t quite that really, because we’re in a different time than Marx was. I don’t want to be any of it, any one, neat formula; I don’t want to be putting forth a tidy, refined narrative of my life. My life, maybe everyone’s life, is made of shaggier dough.
I want to make more space for myself to do things and not feel guilty about them. I already always feel guilty about things I’m doing or not doing, whether they be professional, domestic, voluntary, community-focused or leisurely. I will probably feel guilty if I don’t achieve the things on the list of non-work activities. But I want to alleviate a bit of it all by freeing myself from the burden of work just one day of the ‘working’ week.
This is already not working.
In the three weeks since I began this four-day week rhythm I have worked on one of the weekends. As I look ahead to the demands on my time for the next days I see that I will also work this weekend, probably not the whole time, but at least a bit. I don’t want to do this, but I have taken on quite a bit more work than I had realised, and something important came in last-minute that is time-sensitive and that I want to do. That wanting is complicated.
It’s not working, but it feels important to try. It feels important to sensitise myself to my own capacities, to know what is possible in what full-time employed people would call a 0.8 FTE contract, a contract I have only with myself, really. It is also important for me to feel out what it is to have three days a week where I am not working. This feels like three days of holiday but it’s not that, not really a break, because of course there are many things to which I am committed that have nothing to do with work. In the past I have tried to wrap these into work: I work from home so need to keep my home workplace-clean, or my volunteering gigs help me understand things or build connections for my choreography. I don’t want to do that any more: I don’t want to justify my life because it’s work. It can just be life. It’s fine like that.
I am aware that I can try to make for myself a more lifeful life partially because I am choosing so and partially because I have housing security and no dependents and, for the moment, I have enough work to keep myself professionally satisfied and financially afloat as long as I live an inexpensive life. This attempt is mine. But it, of course, sits against a broader context of struggle for less work and more other things, other things that are variously elaborated as family time, leisure, care, community participation, the cultivation of the commons, self-development, personal days and so on. Each of these can be critiqued fully, and have been, just as they have been fought for. In order for me to be able to get closer and more nuanced about what it is that I seek I need to practice it; I learn by doing. For me this is a choreography, a management of space and time and activity and relation, but a choreography that I effort hard not to be reduced to the work of a choreographer. As I said to Andrew, I want the things that are very much work adjacent - I <i>could</i> consider what I do with Star and Shadow, the few emails, the odd radio show, a meeting or two, as work, and I would feel justified in that even if there is no money earned - to not feel like work. This not working is as much feeling out, describing for myself what not-work feels like here, how and who I am by not working, as it is deprioritising work and deeply prioritising other things.
I am not working.
See you on Thursday, when I will be working.</span></div>Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-79585401266169928962020-07-16T17:45:00.001+01:002020-08-19T08:57:10.099+01:00Stimming as a Neurodivergent Performance Practice <span id="docs-internal-guid-3a154bf6-7fff-fb13-e8a0-4de19d56be36"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9dOMdK9voF-TRyCZ5YWnfNOldTqSD8881cyou_ZcpK8G8MXbcqIPHvMaIO05d6OKRGoraixBQw_cEQVw133GJDPeeTfiQJaEF2vZVW1c7_tvBBIR4mxyzpGOMlWz-k5Dm72Rrd-frHk/s850/Homepage_Stimming_1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Close up of the artists' mouth with their tongue out. They are licking their finger. Overlapping the image is the word stimming in capitals." border="0" data-original-height="565" data-original-width="850" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9dOMdK9voF-TRyCZ5YWnfNOldTqSD8881cyou_ZcpK8G8MXbcqIPHvMaIO05d6OKRGoraixBQw_cEQVw133GJDPeeTfiQJaEF2vZVW1c7_tvBBIR4mxyzpGOMlWz-k5Dm72Rrd-frHk/w640-h426/Homepage_Stimming_1.png" width="640" /></a></div><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: -14pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>
Intro
</b></span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; white-space: pre-wrap;">This piece of writing illuminates the role of stimming in my research and the development of my neurodivergent movement practice. I began writing it to explore my personal relationship with stimming and my pathway into working with it.. My research and thinking have led me to explore the value of stimming as “a political, aesthetic and metacommunicative act of embodied semiosis” (Nolan, & McBride. 2015, 1074), considering it within the context of the social model of disability. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: -14pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>My relationship with Stimming
</b></span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; white-space: pre-wrap;">When, at 25, I received my dyspraxia diagnosis. I, like my family and friends, was surprised. Dyspraxia (DCD) is a developmental disorder that affects coordination and movement, spatial awareness, visual processing and balance. Movement and dance had always been my way of inhabiting the world and expressing myself. Growing up, I excelled in dance, and when I received my diagnosis, I was studying a Masters degree in movement direction and teaching. My ambition was to spend the rest of my career co-ordinating bodies, relating to the world and creating meaning through movement. To be diagnosed with dyspraxia was a shock. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">However, as I begin to learn more about dyspraxia, I am able to make sense of my contradictory relationship with movement. Like autism, dyspraxia affects how sensitive individuals are to sensory stimuli from their environment: the world can be experienced as “too loud, too bright, too fast, and too tight” (ICD-11, 2018). </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As Aby Watson quoted “some dyspraxics seem to crave motion as a result of being undersensitive to vestibular input and may seek out extra movement experiences in an effort to fuel their central nervous system with meaningful information.” (Watson, 2020, quoting Patrick 2015: 49)</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I find myself constantly moving in order to get through every thought, feeling and task of the day. These fidget movements, known as stimming, are rhythmic and repetitive self-stimulatory and self-regulatory behaviours. They are a universal part of human behaviour, but are associated with neurodivergence, particularly autism, because of the differing sensory needs it creates. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Stimming is the way I rock myself to sleep at night, grinding my pelvis into the mattress in figures of eight. It’s the way I pick at trees, bushes and blades of grass to tear along the fibrous seams; my need to pick off the labels on each bottle I drink from; the way I shred plastic cups, fumble with keys in my pocket and fold my body up like a contortionist, until my limbs tingle. Often they are movements that I carry shame around because I feel that I shouldn’t do them, but I can’t help it. And once I start, I find it hard to stop. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Sitting still can make me feel like my body, and the room with it, is spiralling in on itself, twisting inside out and upside down. In hindsight, this explains why the time I attempted a mindfulness meditation practice, I felt so physically uncomfortable with sitting still, I thought I was going to have a panic attack. As such, my stimming movements ground me, enabling me to make sense of where my body is in three-dimensional space.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As a child, I would take myself off to a quiet corner of the house where I would pour out a jar of beads onto the floor. I would spend hours running these beads through my fingers, whilst I thought up stories, characters, costumes, houses and landscapes. The repetitive movement and tactile sensory input would enable me to focus on these visualisations. I remember feeling a need for it. It calmed me and allowed me to tease out and give space to the ideas forming in my chaotic and creative mind. My family called it “thinking-in-fiddle”. I would seek out this activity in different settings - at my grandparents' house there was a box of buttons, and on beach holidays I would separate myself from the rest of the family to sit quietly, repeatedly sifting sand through my fingers, whilst murmuring through my ideas. As a teenager I became embarrassed of this behaviour and gradually phased it out.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The replacement stim that dominated my adolescent years was that I endlessly combed through my hair with my fingers, tearing away at where I noticed the hairs splitting or breaking. I knew that it was antisocial, causing me to zone out of interaction and conversation with others, creating a curtain of hair over my eyes and in doing so, blocking out the world around me. Not only that, but it was ruining my hair. I did it anyway, I would turn to it during school work when I needed to think through a question or idea, but normally I would be so drawn into the mesmerising movement that my brain would leave the schoolwork behind. It occupied me on train and bus journeys, during family mealtimes, and contended with whatever film or TV programme I was watching. It became a constant battle as I hated myself for doing it but couldn’t stop myself. I knew it was off-putting to watch and it made me feel immature and alienated. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">During university, I turned away from dance because although I had loved it, I had struggled to learn the material for my ballet exams so much so that I gave up on it. At the time, I didn’t know I was dyspraxic and accepted it as a lack of talent. However, while studying English and Drama, I felt frustrated and disembodied. I realised that not dancing felt like not fully engaging with the world. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">After university, I started to explore contemporary and experimental dance practices in London. I found that in these rooms there was a culture of self-regulating and self-stimulatory movement that I could embrace, where people listened to what their bodies needed and would respond through rocking, tapping, swinging, pressing and bouncing. It taught me new ways to self-regulate and self-stimulate that helped me to leave behind my hair-splitting stim. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The dance class in which I found my footing was facilitated by Candoco Dance Company, a company for disabled and non-disabled dancers. This was a space in which I could enjoy movement without the judgemental and competitive mentality of other classes. New techniques were introduced slowly and broken down into small steps which liberated me to understand the movement fully. There was a huge emphasis on improvisation and opportunities to create our own movement scores individually or with others. It was a class in which I felt I could be in my element and celebrate the joy of moving with others in a way that was supportive and playful. It was a revelation and, of course, when I was diagnosed with dyspraxia a couple of years later, it made perfect sense that this was the environment that worked for me. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Studying movement direction for theatre has fuelled my fascination in observing people moving around me and I now use tube journeys to watch other people’s stimming. It captivates and mesmerises me to watch these repetitive movements in others and, in a way, this has developed into a new visual stim. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjll2zjjTI9CWUcToLTRQCHTYN8wv3Q9a1ig9rZ3s1-zZpR-zdB4gWYpV8GSgS6LBRyySGcOYg00PqEP9jJccTt1mA7MnGhphOhL5h_GPd8XSMbPerDP19AVj4m2UjBOohDnWxYueuZPac/s2048/Screenshot+2020-07-16+at+17.39.10.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Susanna, a white woman with blonde hair. She is looking down at her hands picking and playing with the ends of her hair." border="0" data-original-height="1141" data-original-width="2048" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjll2zjjTI9CWUcToLTRQCHTYN8wv3Q9a1ig9rZ3s1-zZpR-zdB4gWYpV8GSgS6LBRyySGcOYg00PqEP9jJccTt1mA7MnGhphOhL5h_GPd8XSMbPerDP19AVj4m2UjBOohDnWxYueuZPac/w640-h356/Screenshot+2020-07-16+at+17.39.10.png" title="HYPER-COMPLEX || HYPO-COMPLEX" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-72b0c1b8-7fff-8b03-8f63-7b35e3cf22c2"><span style="background-color: transparent; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
HYPER-COMPLEX || HYPO-COMPLEX</span></span></td></tr></tbody></table></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>Physical Language: discovering stimming within movement practice
</b></span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">While studying movement direction, I noticed that the concepts, processes and values cultivated in this field of practice, reflect notions of heightened sensory awareness and response. As Vanessa Ewan explains in </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Actor Movement,</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> “the actor must aim for a completely alive body which is sensitive to outside stimuli” (Ewan, 2015, 4). My role as a movement director is to guide the performer into this state of physical awareness.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In the field of psychology, neurodivergent sensory perception is problematised as a sticking point in childhood development: “children are expected to ‘grow out of’ more carnal, sensory and embodied ways of knowing to embrace, instead, the more rational and ‘adult’ world of signs and symbols.” (Nolan & McBride, 2015, 1071)</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 14pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">However, in performance practice, these “carnal, sensory and embodied ways of knowing” are understood and valued as a physical vocabulary, “the human’s original and inherent mechanism of communication”. (Ewan, 2015, 2) This is the language of spatial relationship, touch and the ability to listen and respond to sensory input. In </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Body, Space, Image, </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Miranda Tufnell and Chris Crickmay’s guide for improvisation, they instruct:</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 14pt; margin-left: 36pt; margin-top: 14pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“Listen to the voices of fingers/ toes/ where they want to go/ offer support from the rest of the body/ hand wrist elbow shoulder whole body… enjoy a dialogue between parts of the body and its surroundings” (Tufnell and Chrickmay, 2014, 63). </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 14pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Tufnell and Crickmay recognize the importance of sensory communication, a bodily dialogue -this way of seeing movement aligns with how people with autism have described stimming. In her YouTube video, </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In My Language, </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Amanda Baggs explains that “my language is… about being in a constant conversation with every aspect of my environment, reacting physically to all parts of my surroundings.” She then addresses how “failure to learn your language is seen as a deficit. But failure to learn my language is seen as so natural that people like me are described as mysterious and puzzling.” (Baggs, 2007)Bagg’s statement reveals her aliantation and deep sense of rejection and being misunderstood. However, I see, in this dilemma, an opportunity for artists like myself to overcome this language barrier and to engage creatively with stimming and neurodivergent ways of being in the world. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In Candoco dance classes, practising alongside people with autism and learning disabilities, I have become attuned to a spectrum of different stimming behaviours and practiced how to interact creatively with these through dance improvisation, taking the rhythmic and repetitive qualities of stimming movements, and working with them as choreographic principles on which improvisation can occur. Now I work in different contexts with adults with autism, learning disabilities and complex needs. I am learning how to meet people through their unique ways of engaging with the world, and enter into these sensory dialogues, exploring how these movements can take us through a process of stimulation to communication and connection. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This way of engaging with stimming movements parallels the practice of Intensive Interaction in the field of clinical psychology.In their book, </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Access to Communication, </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Nind and Hewitt define Intensive Interaction as an approach developed to open up “fulfilment and joy of human interaction” (Nind and Hewitt, 2005, 1) for students with learning disabilities at Harperbury Hospital School. They describe how “use of interactive games become Intensive Interaction when we give structure and deliberate progression to the interactive processes”. (Nind and Hewitt, 2005, 17)This way of developing an interaction adopts artistic modes of improvisation, working responsively “to excavate layers of experience, sensation… feelings that we normally rush through or suppress - to travel deeper and deeper into an ever enlarging and changing moment.” (Tufnell and Crickmay, 2014, 46) </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU2VeofB3_lWvdqcHr0z8pJM3nLdX-ucE4UO_8krvE2_X2qAaudcK0JBYrFckYDwPIn6EW3tiRnI5KYmwRznTiboJcHqzGvmijzryAY5tYodRH2fN8fuAG3T1Ph12ll28e67Lo9ccg9pM/s2048/Screenshot+2020-07-16+at+17.07.46.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Susanna in profile, sitting on the floor with her legs crossed. She is rocking on her sit bones and leaning back, mid-movement." border="0" data-original-height="1141" data-original-width="2048" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU2VeofB3_lWvdqcHr0z8pJM3nLdX-ucE4UO_8krvE2_X2qAaudcK0JBYrFckYDwPIn6EW3tiRnI5KYmwRznTiboJcHqzGvmijzryAY5tYodRH2fN8fuAG3T1Ph12ll28e67Lo9ccg9pM/w640-h356/Screenshot+2020-07-16+at+17.07.46.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span id="docs-internal-guid-7764dfde-7fff-095f-18a0-c0b4638e3f3d"><span style="background-color: transparent; font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
HYPER-VISIBLE || HYPO-VISIBLE</span></span></td></tr></tbody></table></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>Stimming R&D
</b></span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; white-space: pre-wrap;">Now, as I develop a new neurodivergent aesthetic in my choreographic practice, stimming has become both my subject matter and my method of exploration. Shedding the shame I have associated with it in the past, I now am now celebrating all that it is; mesmerising, stimulating, pleasurable, soothing, grounding, challenging and disruptive. I do this in order to integrate my experiences of neurodivergence within my artistic practice, but beyond that, I want to share the sensory dialogues of stimming with others, shifting from a position of stigma to one of curiosity and acceptance. As someone with dyspraxia, my stims are often less socially challenging than those of people with autism and developmental disorders. As such, I hope that my positionality as someone who occupies the space between disabled and non-disabled, I can serve to remind neurotypical people of the universality of stimming and create an appreciation for shared experience, whilst also opening up a greater understanding and tolerance for difference. </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: 700; vertical-align: baseline; white-space: pre-wrap;">Stimming for social change</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; white-space: pre-wrap;">“The social model demonstrates that the problems disabled people face are the result of social oppression and exclusion, not their individual deficits. This places the moral responsibility on society to remove the burdens which have been imposed, and to enable disabled people to participate.” (Shakespeare, 2010, 5) As such, we have a social responsibility to embrace stimming. As Nolan and McBride argue, “If ‘stimming’ was an acceptable and valued aspect of social and cultural behaviour, how might it be incorporated into design or social practices? Might the expressive and embodied behaviour of stimming benefit non-autistics, who are also similarly conditioned to resist such physical utterance?” (Nolan & McBride, 2015, 1075). They identify that to accept stimming as a semiotic praxis “also involves disrupting narratives of autism as deficit or disease and regarding it, instead, as an opportunity to realise more inclusive visions of sociality imagined by the neurodiverse. If we are to liberate sensory experience from a historicity of normative sensory” (Nolan & McBride, 2015, 1075). </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">As artists who work with physical and sensory vocabularies, I believe we can lead the way in this change, looking to the neurodivergent and learning disabled community to expand our ways of perceiving the world and expressing ourselves and experiences within it.
</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><b style="background-color: transparent; font-family: Arial; font-size: 12pt; white-space: pre-wrap;">Bibliography</b></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Baggs, A. 2007. </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In My Language</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. <a href="http://www.youtube.com/watch?v=JnylM1hI2jc">Link</a>. Accessed 28, June 2020.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Ewan, V., & Green, D. (2015). </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Actor movement: Expression of the physical being: A movement handbook for actors</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. London: Bloomsbury Methuen Drama.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">ICD-11 International Classification of Diseases 11th Revision (2018) 6A04 Developmental motor coordination disorder</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Nind, M., & Hewett, D. (1994). </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Access to communication: Developing the basics of communication with people with severe learning difficulties through intensive interaction</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. London: D. Fulton.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Nolan, J., & McBride, M. (2015). Embodied Semiosis: Autistic ‘Stimming’ as Sensory Praxis. In P. P. Trifonas (Author), </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">International handbook of semiotics</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> (pp. 1069-1078). Dordrecht: Springer.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Patrick, A. (2015) </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Dyspraxic Learner: Strategies for Success</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, London, Jessica Kingsley Publishers.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Shakespeare, T. “The Social Model Of Disability.” </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Disability Studies Reader</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Ed. Lennard, J. Davis. New York: Routledge, 2010, 266-73. Print </span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; padding: 0pt 0pt 14pt 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Tufnell, M., & Crickmay, C. (2014). </span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Body Space Image: Notes Toward Improvision and Performance</span><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Binsted, Hampshire: Dance Books.</span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Watson, A. (2020) Exchange Talk, the Royal Conservatoire of Scotland.</span></p><br /></span>Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-27921590893587388402020-03-04T17:47:00.002+00:002020-03-04T18:10:43.316+00:00Moving On | Hayley Miranda on her time as Communications and Production Assistant<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Hayley Miranda, our Communications and Production</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">s </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Assistant, is moving on to become an Assistant Producer at </span><a href="https://www.theplace.org.uk/" style="font-family: "helvetica neue", arial, helvetica, sans-serif;">The Place</a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. Congrats and good luck Hayley!</span></div>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br />As Communications and Production Assistant, Hayley has worked across teams to make SDS’ programme happen and ensure that people know about it. Digital communications have been central to her role, but she’s also managed and created print publicity. She’s worked closely with artists – particularly those taking part in our Open Choreography programme (now replaced by <a href="https://www.siobhandavies.com/work/percolate/">Percolate</a>) – helping with residencies and producing work-in-progress events.<br /><br />Before she goes (<a href="https://www.siobhandavies.com/vacancies/">and before the deadline to take up her role passes…</a>) we asked her a few questions about being Communications and Production Assistant at Siobhan Davies Studios.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>What have you enjoyed?</b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">My favourite thing about this role is its scope. Everything that goes on within the organisation is connected to or key to communications. I get to be a part of the internal and external programme, the hires, the building… anything and everything that goes on inside and outside of Siobhan Davies Studios! I have also really appreciated the independence my colleagues have given me, whilst also guiding me when I need it. <br /><br /><b>The most important thing about it?</b><br />The most important thing I would say is building relationships with artists and audiences. I am constantly in touch with so many people both within and outside the building, and it is important to represent Siobhan Davies Studios well. This is also one of the best parts of the job!</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;">Isaac Ouro-Gnao, Open Choreography Performance Evening, November 2019. Photo: Hayley Miranda.</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Proudest moment?</b><br />Making a DELICIOUS chocolate and strawberry pavlova (picture below) for the summer BBQ… does that count!?<br /><br /><b>What are you doing next?</b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I’m going on to be Assistant Producer (Producing and Touring) at <a href="https://www.theplace.org.uk/">The Place</a>. <br /><br /><b>A final word of warning for your successor...?</b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">No warnings! The team is so lovely and care about your development. The building is a beautiful place to work and it is the perfect role to figure out where your interests lie.</span><br />
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<tr><td class="tr-caption" style="text-align: right;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;">Photo: Hayley Miranda.</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Applications are open for the Communications and Production Assistant role until Monday 9 March. Find out how to make application on our website's <a href="https://www.siobhandavies.com/vacancies/">Vacancies</a> page.</span></div>
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Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-46956957958711320802020-02-26T17:29:00.000+00:002020-02-27T16:46:49.095+00:00Moving On | Matt Hudson on his role as Studios & Events Manager<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Matt Hudson (pictured on the right), at Next Choreography 2018. Photo: Gorm Ashurst. </span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Matt Hudson, our outgoing Studios and Events Manager, reflects on his time working at Siobhan Davies Studios.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">As Studios and Events Manager, Matt manages all commercial hires, from thinking about advertising to the delivery of events. Mat also supports studio users (residencies, rehearsals or events) in the building as a technician. Importantly, with the rest of the housekeeping team, he looks after the practical maintenance of the building.</span></div>
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<tr><td class="tr-caption" style="text-align: right;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Photo: Marianne Chua</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This role has really allowed me
to explore my strengths and weaknesses and has grown along with me. I have
enjoyed learning new skills and developing professionally. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The most important thing
about it?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">My role is to keep the building
ticking. I help bring in the money to support the building and make sure it
doesn’t fall down in the process. That seems pretty important right? <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Proudest moment?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I have worked hard to increase
the hires income to support the increasing costs of the building. I am proud of
the progress we have made as a team over the last year and to be leaving behind
a strong foundation for the future. Plus, I have had the pleasure of working
some amazing weddings. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhlJV2btRKQdRpe4kQDIHm5btxBGoIDIWHdYxu3-w4i9PXUxIYim05YcBLfaLooGbeO2yuHi2l2Zkw5m612svchSusLsHgt2VDKpEkl0erItPi__GVgCEhadcXP0KC6SE10oT829R3Bkk/s1600/DmitriyEllie-354_100.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="455" data-original-width="683" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhlJV2btRKQdRpe4kQDIHm5btxBGoIDIWHdYxu3-w4i9PXUxIYim05YcBLfaLooGbeO2yuHi2l2Zkw5m612svchSusLsHgt2VDKpEkl0erItPi__GVgCEhadcXP0KC6SE10oT829R3Bkk/s640/DmitriyEllie-354_100.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: right;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Photo: Dmitriy Ellie</span></td></tr>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">What are you doing next?<o:p></o:p></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I am going on to be the Deputy
Building Manager of an immersive theatre company. <o:p></o:p></span></div>
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">A final word of warning for
your successor...?</span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Make sure that you keep on top
of things and don’t put anything off longer than necessary, events come around
quickly and odd DIY jobs can turn into larger problems if not dealt with. Plus, people will keep reminding you it's broken! <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">You need to be good at wearing
different hats whilst juggling various tools (figuratively obviously). Don’t
worry though I have left a handover document to help start you off.</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguZbzIkw0e95TEWlo71I2IIoynmI6vPlye84jtlIfOrZhhl3lacuZMoX7FI1Pzw_EPVJUp3RjQtkB2YSKHsGjUhViiDW9oCje85gaxd_j2cu3o-VTVyqjfp3VhWg7sYV3sxnYr5ZWiGr0/s1600/DmitriyEllie-388+%2528ladder+removed%2529_100.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="455" data-original-width="683" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguZbzIkw0e95TEWlo71I2IIoynmI6vPlye84jtlIfOrZhhl3lacuZMoX7FI1Pzw_EPVJUp3RjQtkB2YSKHsGjUhViiDW9oCje85gaxd_j2cu3o-VTVyqjfp3VhWg7sYV3sxnYr5ZWiGr0/s640/DmitriyEllie-388+%2528ladder+removed%2529_100.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: right;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Photo: Dmitriy Ellie</span></td></tr>
</tbody></table>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">There are currently </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">three job roles </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">open at Siobhan Davies Studios. Find out more on how to make application on our website's <a href="https://siobhandavies.com/vacancies/">Vacancies</a> page.</span></div>
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Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-76782118398516359222020-01-15T17:08:00.000+00:002020-03-09T17:16:43.058+00:00Towards A Creative Curriculum<span style="background-color: white; color: #666666; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px;">CHERYL MCCHESNEY<br /><br /></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="mso-fareast-font-family: "Times New Roman";">Recently we were invited to contribute workshops at the
<a href="https://www.barbican.org.uk/whats-on/2020/event/towards-a-creative-curriculum">Towards a Creative Curriculum</a> conference held at the Barbican. The event was
co-produced by <a href="https://www.rsc.org.uk/education/">Royal Shakespeare Company Education</a> and <a href="https://www.gsmd.ac.uk/youth_adult_learning/creative_learning/">Barbican GuildhallCreative Learning</a>.</span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">It was a hugely enriching and empowering day which
highlighted the current situation for the arts and creativity in education and
what steps we can all take to tackle the issues and celebrate successes.</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">There were fascinating key notes speakers, panel discussions and a 'market
place' of best practice settings, all incredibly useful in illustrating both
the problems and potential solutions. The </span><a href="https://www.globalteacherprize.org/person?id=4090" style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Global Teacher Prize winner AndriaZafirakou</a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">'s key note speech was an absolute highlight of the day - her passion,
heart, love and wisdom about teaching and the sharing that it is, was
wonderfully inspiring. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Our SDD workshop sessions were about enabling and supporting teachers and artists to explore, experiment, learn and develop through movement and choreography. We received some wonderful feedback from these sessions (see the pictures below)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipPR4MmVhLlCe8zjz-5MLTjGB-IY6mT3Yr3ZhKProuqlJ7IUo7Fso8YiSGh6MxDCpJzWEAsaqY60Qd7IC4ryUHCoOqBMMKM7uSWFtxdXr3tDy1M5cnTyUPUe51AEC4tpbrPqMyyvQBZL4/s1600/arts+in+education+workshop+feedback+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="592" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipPR4MmVhLlCe8zjz-5MLTjGB-IY6mT3Yr3ZhKProuqlJ7IUo7Fso8YiSGh6MxDCpJzWEAsaqY60Qd7IC4ryUHCoOqBMMKM7uSWFtxdXr3tDy1M5cnTyUPUe51AEC4tpbrPqMyyvQBZL4/s640/arts+in+education+workshop+feedback+2.jpg" width="472" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPm0y7ovpN27i1SpviRvzsLij4NUjgdvUP34_pS7sQdJ2BbqNZPj540zncMfE17vQ35jVwSd_JaysRY3GuKvLEDyIFFJjLI5BBmSApkxbfhbPK1psfomwch56Mb84Gn_hBYPDUlWWdyn4/s1600/arts+in+education+worshop+feedback.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPm0y7ovpN27i1SpviRvzsLij4NUjgdvUP34_pS7sQdJ2BbqNZPj540zncMfE17vQ35jVwSd_JaysRY3GuKvLEDyIFFJjLI5BBmSApkxbfhbPK1psfomwch56Mb84Gn_hBYPDUlWWdyn4/s640/arts+in+education+worshop+feedback.jpg" width="480" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">What seems very clear is the need for accessible, appropriate and quality CPD dance provision in schools which can offer confidence, skills and understanding to teachers. Being physically creative is a fabulous learning tool which is adaptable, energising and enabling. It gives opportunities to explore and develop ideas, celebrate different outcomes, practice finding solutions and recognise the power of movement and non verbal communication.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The day was full of recognition that our creativity is the conduit for expressing our humanity and indeed </span><a href="http://bobandrobertasmith.co.uk/" style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Bob and Roberta Smith</a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, the wonderful visual artist and another contributor to the day, aligned the arts with some of the 50 UN Rights of the Child. He also instigated his own </span><a href="https://www.theartnewspaper.com/news/the-constitution-of-the-arts-because-art-is-in-all-of-us" style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Constitution for the Arts</a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> to motivate a political recognition of the importance of every child's right to be able to access and experience an enjoyment of high quality arts provision. Our challenge is how to, </span><span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">through effective research and evaluation, </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">fully capture and highlight the benefits of being physically creative, in order to prove what we already know to be true.</span></div>
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Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-15277831624294412622019-04-14T12:00:00.002+01:002019-12-10T13:40:40.789+00:00KATE BROWN – VERBLIST FROM SARA PARETSKY EXCERPT P.3KATE BROWN<br />
<br />
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To come<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To make<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To run<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To scream<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To hurl<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To lunge<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To grab<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To pry<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To stick<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To roar<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To fling<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To fire<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To spray<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To break<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To hurl</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-69914242592556041282019-04-14T12:00:00.001+01:002019-12-10T13:39:44.852+00:00KATE BROWN – VERBLIST FROM SARA PARETSKY EXCERPT P.2KATE BROWN<br />
<br />
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To fall<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To fire<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To begin<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To crack<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To slither<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To grasp<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To twist<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To flop<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To bounce<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To float<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To manage<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To grasp<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To use<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To pull<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To brace<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To heave<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To swing<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To fire<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To shove<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To turn<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To steer<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To shrink<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To slosh<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To bang<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To carry<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To knock<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To grab<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To fall<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To manage<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To straddle<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To connect<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To go<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To rise<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To own<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To turn<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To see<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To come</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-41865894130476012922019-04-14T12:00:00.000+01:002019-12-10T13:38:37.590+00:00KATE BROWN – VERBLIST FROM SARA PARETSKY EXCERPT P.1KATE BROWN<br />
<br />
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To duck<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To begin<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To run<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To shout<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To shout<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To scream<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To crash<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To risk<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To turn<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To prickle<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To expect<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To step<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To pull<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To swerve<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To crash<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To flail<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To propel<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To appear<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To stop<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To fall forward<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To pull<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To churn<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To try<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To stand<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To begin<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To slide<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To crack<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To break<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To stretch<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To manage<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To slide<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To splinter<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To see<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To run<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">To grab</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-23529806968370408592019-04-10T12:00:00.000+01:002019-12-10T13:37:11.544+00:00THE MATERIALITY OF WORDS – AN UN-MANIFESTOANDREA ROBINSON<br />
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">Words come easily. Flow. Words flow
and dip and swim and swing. Words dance in the air cold air, air currents on
wings they fly out like a swallow in a Russian proverb. Words disguise words
hide in the currents, words hide in language. Words and language become
conflated; are not the same.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">What happens to words when we share
them? We mark the words to our steps to our breath to our heartbeats; our
breath and our bodies take on the words, are the shape of the words. We speak
in shared footsteps, we speak and we do not understand what we are saying even
when we have met the words before. We take the words that once belonged to
other mouths. We take them and we let them inhabit our mouths, travel down and
settle in guts. We spit them, sing them, whisper.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">Use these words to tell, to teach, to
bind. Use them anyway we want, they still hold their own meaning and keep it
hidden. Take a word, take a phrase, hear it said, repeat it, roll each sound
around your teeth and across your tongue. Take the words and try them out like
a three year old building a first vocabulary. Listen as they change and take on
new meanings.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">But these are the words that are
spoken, read out loud, sung. And these, these are the words that are written
once as they flow from my unedited thoughts to my hand to the pen to the page.
And which stage of this process is the writing, the act of writing or is it all
a moment a section of thought an unexpurgated free fall that has no context
other than to land in symbols on a white page and become a system – part of a
system – that is learned, given and received. What if a character enters this
set of symbols – a protagonist or antagonist, an actor in the pattern of the
signs and sines and symbols – are they absent receiver, the present do-er,
distant. Are they the flow or in the flow? What if the actor is Austin, telling
me to read it again, telling me not How To Do Things With Words but How Words
Do Things To Me?<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">What if it is Acker telling me I read
her wrong, placed too much imagined meaning on what were only other people’s
words, repurposed. What if there is no materiality other than this borrowed pen
and the blank page. And the coffee cup drained of coffee and my notes of all
the words we’ve read and talked about so far. And what if I am the character
and this isn’t a story and my character is struggling to understand because
this language only looks like their own language and it becomes increasingly
opaque as it is written (and typed up and rewritten) and sometimes the only
reason for the action of writing the words is to fill the blank
page</span><span style="color: #323944; font-family: "helvetica" , sans-serif; font-size: 12pt;"> and when it is written
and if it is typed then it is no longer about the blank page and the actuality
of it, the material ink on the page becomes the original act, (the art?) and
the transcription, the rewritten, this is the re-action, the next action, the
changing meaning, the version, the punctuation, the reading back for sense and
spelling, the edit (but not the final edit).</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-36744004757243246632018-10-16T12:00:00.000+01:002019-12-09T17:52:40.546+00:00ASSUMING NOTHING – KATYE COE, A SMALL THOUGHTKATYE COE<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRQRogS_h7IeGHMO0ykA15xsFqh8UujVUonfDmPcs8v1hS4tKPyMRmTM1lOJ_QYGmLKfwy_gZLzb-eBsg11Q0-0Pdj_MW4s2gaU47kiFd8URTgZuH9Tm021KROLsS7seXbxJAddfFt4qY/s1600/16+October+2018+Image+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="427" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRQRogS_h7IeGHMO0ykA15xsFqh8UujVUonfDmPcs8v1hS4tKPyMRmTM1lOJ_QYGmLKfwy_gZLzb-eBsg11Q0-0Pdj_MW4s2gaU47kiFd8URTgZuH9Tm021KROLsS7seXbxJAddfFt4qY/s320/16+October+2018+Image+1.jpg" width="213" /></a><br />
<br />
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="background-color: #eeeeee; color: #323944; font-family: Helvetica, sans-serif; font-size: 10pt;">Photo by Anne Tetzlaff Choreographer: Florence Peake Performers:
Lizzy Lequesne, Eve Stainton and Katye Coe</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="background-color: transparent; color: #323944; font-family: Helvetica, sans-serif; font-size: 12pt;">Being SDD’s first
Torchlight Artist is giving me an opportunity to think about dancing </span><span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">in a different way. My Torchlight
time is focused on investigating two themes, Surrender and Afterwards,
which are my anchors but not necessarily linked.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Dancing does something that makes me
more attuned to others and to my own sense of sentience. There has been a lot
of talk of empathy and awareness in recent years. I go further. I want to bring
attention to the deeply felt histories and unspoken knowing that attentive and
skilled dancers have. It is important and urgent today.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">These feelings are not exclusive to
dancers. I like to imagine that all beings share these things deep down. These
senses are often buried because we don’t necessarily use them so often in the
every day. Maybe this is to do with the way that we are encouraged to make
sense of everything, maybe it is because we no longer pay attention to
intuition or to gut feelings. Our attention is split between so many different
things all of the time. I believe that there are huge benefits to giving a
different value to these intuitive or gutsy intelligences and that we are
missing out by not doing so.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Performing dancing is also always
relational … in relationship to. And in a world where the individual experience
is being given such enormous emphasis, performing dancing is an important
resistance corps because it is always an enacting with.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Surrender is something I experience
when performing dancing – it is necessary to enter into the world of others, of
the choreographer and the other performers I am working among. It is an act of
great generosity. It comes from a place of quiet choice where agency is given
space to materialise. It has nothing to do with submission in my experience.
But there is for sure a letting go that is necessary.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">And the afterwards … what dancers and
others go through following a dance performance is complex and full of feeling
and thought. My experience and in speaking to others, is that this afterwards
is often experience alone and not given a place where it can be discussed and
shared. I would like to change this.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">None of this is about knowing. And it
isn’t about answering questions or proving a point. I’m not interested in those
things because if I go towards knowing then I go towards something fixed or
finished. The kind of experience that I’m pointing at doesn’t answer questions
or tick boxes. It does something else.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I found this quote earlier this week
and it moves me and makes me remember why this is so important. I re-found this
quote today and it is quite simply YES.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">They are some words by Rosemary
Butcher that were published in London Dance, about Gill Clarke shortly after
Gill’s death in 2011. They were two amazing change makers who taught me so much
about dancing and dancing practice.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">“Gill’s passionate belief was that
the dance practice she and her colleagues are involved in, has strongly
embedded ethical values that are fundamental and timely; readiness, openness,
curiosity, embracing individual enquiry, working co-operatively to find
solutions, creating situations where learning can happen, embracing
uncertainty, ambiguity and specificity, and “tuning” ones “skills of
attention”. What better approach to our time and place.”<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">So perhaps what I am learning, and
what I would like to shine this light on, is that the intelligence that dancers
apply in their work, could bring vitality to many other situations outside of
the world of performing dancing. In torchlight events I am inviting people to
contribute who attend to situations where this kind of information or these
kinds of intelligences are also visible. People like midwives and those who
care for people at the end of life.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I also intend to bring alliances to
things that each and every one of us experience. Falling asleep, orgasm, grief
…<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">let’s see.</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-49637336392149457252018-07-31T12:00:00.000+01:002020-03-09T16:02:48.643+00:00FIONN DUFFY and TATE N LYLE RESIDENCY<span style="font-family: inherit;">FIONN DUFFY and TATE N LYLE </span><br />
<br />
<br />
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<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">We’re very excited for our residency
at Siobhan Davies Dance. Here’s some of what we’ve been doing to prepare:<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">Skyping one another.<br />
Applying to Arts Council England for funding to pay ourselves for our time
there, and some ‘experts’ (friends we want to drink beer with) to visit us.<br />
Talking to each other about whiteness, about somatic dance, about institutions,
about buildings.</span></div>
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<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">
Listening to John Giorno’s Everyone is a complete disappointment on
repeat.<br />
Asking some friends if they’d like to share some work on our online radio
broadcast, Radio Play (Tuesday 31st July, 6pm – till late).</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">
Listening to the work they’ve sent along so far and been THRILLED.<br />
At the encouragement of a curator, applying the work we’ll be making to a
festival taking place in February 2019, despite not having yet made it or
knowing much at all about what it’ll be. (We said it’ll be a sound installation
and then described a previous work we had made).</span></div>
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<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">
Preparing for a lush sunny London: selecting sunglasses, summer frocks and tank
tops; considering best beer and berries picnic fare; practicing our best dances
for a sun-drenched studio with all the windows thrown open.</span></div>
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<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">
Editing together the sounds of our laughter. Have a listen here (isn’t it
gross?).<br />
On hearing that Ed Sheeran has been accused of plagiarism, listening back to
our work ~ on the tube.</span></div>
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<span style="color: #323944; font-family: "helvetica" , "sans-serif"; font-size: 12.0pt;">
Waiting to hear back from the Arts Council.<br />
Writing this blog post.</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-40551362533324265252018-07-16T12:00:00.000+01:002019-12-09T17:46:40.526+00:00MY WEEK OF WORK EXPERIENCE AT SIOBHAN DAVIES DANCE BY ROSIE LOWNDESFIONAC<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK_FlVTgarYtwb1iblOEEx8TXHs49G0T6AOo-4xUMEhC9m9zqXJDDO0_iZUgZrg_v40NajEdhX6mTAhiOy98_akgFqf20IxMh6Mw1lF8J9dL7grp0ceR5IxqVuKExmiFI_Xru1KOxtHuE/s1600/16+July+2018+Image+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="467" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK_FlVTgarYtwb1iblOEEx8TXHs49G0T6AOo-4xUMEhC9m9zqXJDDO0_iZUgZrg_v40NajEdhX6mTAhiOy98_akgFqf20IxMh6Mw1lF8J9dL7grp0ceR5IxqVuKExmiFI_Xru1KOxtHuE/s320/16+July+2018+Image+1.jpg" width="213" /></a></div>
<br />
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">My name is Rosie and I am in the
middle of my work experience placement at Siobhan Davies Dance. I had visited
the building a few times before when I was younger, but on the Monday morning
that I started, as I walked up to the front entrance, I was overwhelmed by
waves of nerves and anxiety. I was ridiculously nervous, and as a result, all
the way through my initial tour. I could genuinely only manage to smile and
nod. I smiled and nodded a lot, to the extent that I had a headache and my face
hurt. My nerves were relaxed after a while however, and I settled into a
routine of filing press clippings. The people working here are genuinely lovely
and very friendly, which was a huge relief.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">My second day was quite low-key,
which was very enjoyable. I had my first taste of office work, with my job of
researching potential wedding bloggers. I had fun with this, and got into a
swing after a while. I also realised that I would be working quite a lot with
Excel Spreadsheets, which was unexpected for me. I had had an idea of the job
being mainly physical, but it made me realise how different elements of life
are often intertwined, especially with modern day technology. You can’t really
have one without the other, because technology and human physicality combined
make all things work-wise so much easier. Only the second day and I was having
a revelation. Wild.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The third day of work was really
busy. On Monday my supervisor had come to me with a detailed spreadsheet of my
week ahead, and I was impressed with her organisation skills (-here’s to you
Fiona!). Wednesday by far was the busiest day. In the morning I used social
media and wrote about dance and art, and filed some more press clippings, and
had an early lunch. After that I attended an informative copywriting workshop
with the rest of the office, and I got to know a few my ‘co-workers’ .I am
currently looking forward to what the next couple of days will bring.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: 18.0pt;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">I am glad that I managed a work
experience here for a lot of reasons. The people working here are really
interesting and fun to talk to and in general it has a warm and inviting
atmosphere, mainly because it is quite relaxed and informal. In the future
other work experience-es will also like working here, especially if they were
allowed to sit in on a performance, or maybe even be involved in the process of
creating it.</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-35445762833502214352018-05-15T12:00:00.000+01:002019-12-09T17:43:43.104+00:00WALLACE COLLECTION LATEDEMSEY LEGRAND<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMu-FDK4tCydSI3j3uFZ5ifF1QXHE5wjvgUlzQ_gq4kVITajA8Szo-6ShF-wvkYVWJajAfW3vWaZQW57xd0FZCkTjFnTU6vP2NoRGXidFXAtrSfRZTqZ3yUA3eErtMB1rga1meLRw6o-c/s1600/15+May+2018+Image+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="330" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMu-FDK4tCydSI3j3uFZ5ifF1QXHE5wjvgUlzQ_gq4kVITajA8Szo-6ShF-wvkYVWJajAfW3vWaZQW57xd0FZCkTjFnTU6vP2NoRGXidFXAtrSfRZTqZ3yUA3eErtMB1rga1meLRw6o-c/s320/15+May+2018+Image+1.jpg" width="240" /></a></div>
<br />
<br />
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Engraving
by Francois Boucher after Antoine Watteau, Woman on swing seen from the back,
1728<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">On the warm evening of 20 April,
I had the chance to facilitate a workshop during the Late event of the Wallace
Collection in Marylebone.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The specific theme of the night
was <em><span style="font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Europe : A Bridge to the Continent. </span></em>All the
activities and performances were bearing a connection with Europe, which
mirrored the collection.<o:p></o:p></span></div>
<br /><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAS1R5e6_aSj3NETrLpnwm6pQeES3-Y-5ZEIN9czVMvPYn2nCnVSjxRMGJFFyXX6y7rj-izc7kAQ5PpnF9mrY4NBKPCpoxgEtvi5fjGotF3aH3J2FpKFvVA7kx8uHrTI-7iMAJ7K2YNvA/s1600/15+May+2918+Image+3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="543" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAS1R5e6_aSj3NETrLpnwm6pQeES3-Y-5ZEIN9czVMvPYn2nCnVSjxRMGJFFyXX6y7rj-izc7kAQ5PpnF9mrY4NBKPCpoxgEtvi5fjGotF3aH3J2FpKFvVA7kx8uHrTI-7iMAJ7K2YNvA/s320/15+May+2918+Image+3.jpg" width="294" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxcFv3f9Yz18p_LLP_TpvHCVpMCm45ZURaeAfE2YBj9QwqH3h9FOt8q65ZcxvSTcEONGCb427POdDbWFDiSH3sfBKiFd74FgDLFmgNST1lXUEoWiOhmqW5iLrNSzt_xyP-0ejfamkEkOs/s1600/15+May+2018+Image+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="542" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxcFv3f9Yz18p_LLP_TpvHCVpMCm45ZURaeAfE2YBj9QwqH3h9FOt8q65ZcxvSTcEONGCb427POdDbWFDiSH3sfBKiFd74FgDLFmgNST1lXUEoWiOhmqW5iLrNSzt_xyP-0ejfamkEkOs/s320/15+May+2018+Image+2.jpg" width="295" /></a></div>
<div>
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<div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">I soon came up with the idea of a
creative writing activity. I have had a keen interest in linguistics for a long
time and learning new words is a constant thrill and one of my most
enjoyed <em><span style="font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">mental food</span></em>.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">I also wanted to offer an
activity where participants would feel free to write whatever was coming
through their pencil and from where they would leave with <em><span style="font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">something: </span></em>a
new word, but also hopefully a little sense of thrill and calm after a few
minutes of simply indulging into writing.</span></div>
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<span style="background: white; color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The event took
place in the landing of the gallery’s staircase, within a striking architecture
and bathing into a soft light.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The activity was based on
European words with no direct translation into English (around 50). The
participants were invited to pick a paper where a word – in one of the many
languages from Europe – was written. From there, they could create a personal
piece of writing. The words were written vertically so that the participant
could write an acrostic – where each letter of one word forms one letter of
each line.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">This allowed the <span style="font-family: Helvetica, sans-serif;">merging</span> of
words from other European languages with English words. The choice of acrostics
is the reason why the workshop was called </span><em><span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;">Am
Stram Gram Pic & Pic Acrostic, </span></em><span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">which is
a <span style="font-family: Helvetica, sans-serif;">play on words</span> in France, just like </span><em><span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;">Eenie
Meenie Miney Mo.</span></em></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8rkpsY6m514709ljdOdy0jYnsSD6vlXjd2mnQOU_71bR96XoWDEqT4PtGie8mDZO_0gkA82qp02SU11mqL11McTaRaknxW8OVFshGh36JH9kolXyXSI0C1L0pp2dm-LazmZBH6JB0JpA/s1600/15+May+2918+Image+7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="472" data-original-width="351" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8rkpsY6m514709ljdOdy0jYnsSD6vlXjd2mnQOU_71bR96XoWDEqT4PtGie8mDZO_0gkA82qp02SU11mqL11McTaRaknxW8OVFshGh36JH9kolXyXSI0C1L0pp2dm-LazmZBH6JB0JpA/s320/15+May+2918+Image+7.jpg" width="237" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOG2RJF2uaLJgLX3NumSmptmb8KEdH6CLtv9OxkJmE53NoFrWSWMoldtTIgsUNwn9E2-wRWPmh_qMxIXm8-7Im1PRvpcLM4t9T9yp1LfUtfXC8B4Z9sGxMccWU1LGfU90scqkdVf8tYic/s1600/15+May+2918+Image+6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOG2RJF2uaLJgLX3NumSmptmb8KEdH6CLtv9OxkJmE53NoFrWSWMoldtTIgsUNwn9E2-wRWPmh_qMxIXm8-7Im1PRvpcLM4t9T9yp1LfUtfXC8B4Z9sGxMccWU1LGfU90scqkdVf8tYic/s320/15+May+2918+Image+6.jpg" width="320" /></a><em><span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman"; mso-fareast-theme-font: major-fareast;"><br /></span></em></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSkUX2BubF7WWMrig-OnU8LBW1etGHyds36tWBFXIPMqFO2RmIBpTgmi8O7kX0tE8u3ZXA5n_K5a-5WN6q81O2y4heKiBR1nPbjDNYxubcK5T84siLcTj_vWGbMwL-tvm5fCwbz7xvZ38/s1600/15+May+2918+Image+8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="97" data-original-width="409" height="73" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSkUX2BubF7WWMrig-OnU8LBW1etGHyds36tWBFXIPMqFO2RmIBpTgmi8O7kX0tE8u3ZXA5n_K5a-5WN6q81O2y4heKiBR1nPbjDNYxubcK5T84siLcTj_vWGbMwL-tvm5fCwbz7xvZ38/s320/15+May+2918+Image+8.jpg" width="320" /></a></div>
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<span style="background: white; color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Also, I had
displayed cards with details of works of art from the Wallace Collection, from
which the participants could draw inspiration, if necessary.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIzp4dqh5teUitiKpBfOdTYdpkSoglzJ_mtUqEcQDMGgclqY4XZBMdEViGj_ckvMIHxcMizlcDPKFq0NTMCxqxdfblF_VaNsZs-ZfeNFb030eMUvO39Y1exSYfRFo__7thK0GYXxShyb4/s1600/15+May+2918+Image+10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIzp4dqh5teUitiKpBfOdTYdpkSoglzJ_mtUqEcQDMGgclqY4XZBMdEViGj_ckvMIHxcMizlcDPKFq0NTMCxqxdfblF_VaNsZs-ZfeNFb030eMUvO39Y1exSYfRFo__7thK0GYXxShyb4/s320/15+May+2918+Image+10.jpg" width="320" /></a></div>
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<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">I was grateful to present the
activity with my friend Kelly Roberts, who is a drama facilitator, spoken words
artist, poet and part of the Shut Down Collective. She shares the same passion
for words as I do and is always keen to engage in workshops that bring people
into a creative zone.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">We were lucky to receive so many responses
and eager to read each of them. It was indeed a beautiful sight when people
were unfolding their paper, discovering the word, having a seat and taking the
time and the headspace to compose, pouring their ideas and then being open to
share it with us.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The pieces were displayed
throughout the evening on a screen and I have been collecting all of them into
a book. I am currently finalising the editing.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Segoe UI Symbol","sans-serif"; mso-bidi-font-family: "Segoe UI Symbol";">📖</span><span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;"> Coming up soon!<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">I am also hoping to facilitate
this activity again in another context, gathering a variety of written pieces
and sharing a privileged moment of creativity.<o:p></o:p></span></div>
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<span style="background: white; color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">
</span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Finally, I would simply
like to thank Nancy Ncube (L&P producer of SDD) for her constant support
and her attention to my project, as well as Rosemary Cronin (artist and curator
of the event) for her feedback and for offering me a chance to share my
practice.<o:p></o:p></span></div>
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Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-20632341221409447122018-02-19T12:00:00.000+00:002019-12-09T17:30:06.059+00:00WORKSHOP WITH MATTHIAS SPERLING – 1ST FEBRUARY 2018KATIE HAGAN<br />
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<br />
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">‘What will change when science
discovers exactly how our bodies give rise to our minds?’<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">This is the central question that
we were working with a couple of weeks ago during Matthias Sperling’s workshop.
The workshop was divided into two sections; in the first half, we discussed his
work Now That We Know and in the second half we participated in Loop Atlas,
which featured in the larger body of work at Siobhan Davies Dance, material /
rearranged / to be in 2017.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Sperling’s two pieces of work
inform one another. Now That We Know is a performance lecture piece which
imagines that science has proven the relationship between the mind and the
body. In a similar strain, Loop Atlas focuses on the idea of looping. Looping
is a movement process pioneered by Deborah Hay which lets your body be your
movement mentor rather than your mind. In this blog post I’ll be looking at
Loop Atlas as I found that its content gave me a lot of food for thought!<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Loop Atlas uses different
choreographic approaches to investigate the mind-body dichotomy. In Matthias’s
workshop we as dance artists were given a space to experiment with this idea.
The workshop unearthed some ambitious questions not just about choreography but
embodied experience at large. Will there ever be a time when our bodies are
truly in sync with our minds? Or is there a time when our bodies take charge?
When I’m walking to a familiar destination, when I am a pedestrian, my body is
leading me there. My mind is indulging itself somewhere else; it is listening
to music or zoning out at whether that is a pigeon or a boot in the distance.
My body’s activity brings a lot of shame to my languid mind.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">But when we’re in a dance studio
this relationship changes in some instances. Dancers are trained to be aware of
every body part’s function, from their neck to their right toe. And we engage
our minds to do this – our mind is the puppeteer and the body is the puppet.
However, there is always an opportunity to let our mind and body forget what we
have been rehearsed to believe. Although it sounds unusual, it generates a
really productive and fresh outlook as you become a blank canvas for
experimentation.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">In unconventional performance
spaces, I would say that both the mind and body are working cooperatively
towards creating and producing movement in new areas. During Matthias’s
workshop, I had a heightened awareness of my mind and body where I was very
focussed on the activity of each. But, as much as movement is about bodily
awareness, it is also to do with forgetfulness and solitude. In a workshop such
as this, we need to forget that the philosopher Descartes said the body cannot
think without the mind. You really have to detach yourself from the philosophy
that the two are separate. For me, I have a dance background, but I also have a
lot of experience in the Early Modern and the Renaissance period. This might
seem an odd combination, but the two have refreshing links which I stumbled
upon unexpectedly. Matthias’s preposition (that I present at the top of this
post) that the body gives rise to the mind resonated with me a great deal.
Early Modern philosophy is pre-Descartes and it is rooted in the idea that the
mind and body are one. In very general terms, the experience of the mind is the
experience of the corporeal body. With this in mind, has history come full
circle where we have returned to this viewpoint? During Matthias’s
choreographic tasks, I remember moving on bodily impulse. Barely can I remember
changing my movement because my mind thought it was time to. I will admit that
there were odd moments when I could sense my mind overtaking, but I would just
suppress the urge and let it go. I became quite comfortable in letting my body
do the work and this kind of hypnosis was cleansing and relaxing.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">When I walk a familiar route, my
mind gives rise to my body. Unfamiliar spaces have a tendency to reinstate the
mind’s control. And of course, this is the reason why as Next Choreography
students we are always moving around the studio to find different spaces to
work in so we can see what limitations they pose on the body and the mind. We
are always debating the very nature of movement; whether it is detached from
consciousness, or whether it thrives on bodily impulse, and it was great to
participate in a workshop which really got us thinking about the origins of
movement.</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-76432191758409654742018-02-05T12:00:00.000+00:002019-12-09T17:27:54.951+00:00GOING LOOPYLEONIE ROUSHAM<br />
<br />
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<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">NEXT CHOREOGRAPHY: Notes from
Matthias Sperling’s Loop Atlas</span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">These are my notes taken from the
Atlas Loop workshop: the session was SO informative, I want to share it
with you.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Focusing on the relationship
between body and mind as a way of realising a sci-fi fictional reality.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The Loop, the cycle, the circle,
that is constantly expanding- it is not fixed, stagnant motion.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The body as teacher and the
knowledge that you gain from your surroundings around you.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The feedback that is taken from
your bodies imprint on the floor; how does your body alter and adjust to the
surroundings that enclosed around you.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">“What lights up?” the central
question; asking your body what it knows of itself. How can it adjust and
explain to you, your minds thoughts, your movements in a particular space?<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Equip with the vail of
sunglasses, which acts as a mediator between the inside and outside of your
body and the different spheres surrounding you. By allowing these fictional
becoming, growing from the power of the loop we are able to really consider its
power.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Cycles drive evolution,
generative growth, its opposition is singularity.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The task made me think about
reproduction a lot; about dissemination and the limits produced by a repeated
process.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">How does this meditate process of
producing loops hark back to ideas of the solar system, of constellations, of
iconography, of communication- of entrails (mediating between inside the body
and exterior environments to this?<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Where does the loop take you
next, how does it shift?<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">It told me a lot about the forms
of the space I was in, it made me consider the ceiling- the feedback of my body
in relation to this; the feedback of technology in relation to my body. All of
these things are part of an expansive cycle of circling.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">You think of yourself, in that
workshop, performing- communicating. Using the basis of communication, body
language, to create a new society, through repetition.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">My movement was mimicked and
imitated by my own shadow below me. This effect made me really think about- the
space, my singular movements within that, but also its very relational quality,
the way that each of us where circling, creating a specific force and energy
that was shared. Be that, through a similar rhythm, movement or actual
closeness.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Is the line of a loop (1) is it
singular, or is it made up of multiple components? There is no sense of time
within this looping process and the loop allows you to completely go inside,
like a black hole. Once you come out of this, you feel the physical force of
leaving the balancing process of body and mind as one. As well as the balancing
and sharing information of other loops surrounding you; it is chatty, expansive
and inclusive.<o:p></o:p></span></div>
<div style="background: white; margin-bottom: 18.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm;">
<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">How will science change the
source of dance’s power, is the central question that we returned to following
this workshop. How is knowledge consumed and where does intuition and impulse,
ritualistic and fundamental motions exist within the rubric that science would
demonstrate.</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-38221644207648554312018-01-31T12:00:00.000+00:002019-12-09T17:24:45.077+00:00DAGUERROTYPESDEMSEY LEGRAND<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWSfC0u8yhdxDEuTHe9mrFGA5js_PPMRrPki1HMaR4EMQ0NpPCwYz1QYqo61-teoEFcw0x3C4KHh7IykkML_ZZtXFVHGicAX8eWRawa8dRhO4GqSkcmU0FGvL2te-m8Dx6eDIceZ4Tv3U/s1600/31+January+2018+Image+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="100" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWSfC0u8yhdxDEuTHe9mrFGA5js_PPMRrPki1HMaR4EMQ0NpPCwYz1QYqo61-teoEFcw0x3C4KHh7IykkML_ZZtXFVHGicAX8eWRawa8dRhO4GqSkcmU0FGvL2te-m8Dx6eDIceZ4Tv3U/s1600/31+January+2018+Image+1.jpg" /></a></div>
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<span style="color: #323944; font-family: "helvetica" , sans-serif;">Last week, I randomly came across a French movie by Agnes Varda,
from 1975. I found some aesthetic and conceptual qualities close to my
interests in choreography, which is why I wish to share it on our blog.<o:p></o:p></span></div>
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<em><span style="color: #323944; font-family: "helvetica" , sans-serif;">Daguerreotypes </span></em><span style="color: #323944; font-family: "helvetica" , sans-serif;">is a series of intimate portraits of the shopkeepers from the
Rue Daguerre in Paris, where Agnes Varda used to live in the 70s. The pun in
the title emphasises the unicity and at the same time typicality of each person
introduced in the movie.<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTcDP2OTvNMhjbqvnUhwlezpMyukRWEggXve8JChKmP0tF0IfuAzv9WjARaOgKrJ6YqNjq5U_9PYG_bpBrfuV7P8oJHeum1Jpg-UEM0JnUL7qUFnAUEOMrEoLABtluXY3B1hzwHVjh7Ps/s1600/31+January+2018+Image+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="541" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTcDP2OTvNMhjbqvnUhwlezpMyukRWEggXve8JChKmP0tF0IfuAzv9WjARaOgKrJ6YqNjq5U_9PYG_bpBrfuV7P8oJHeum1Jpg-UEM0JnUL7qUFnAUEOMrEoLABtluXY3B1hzwHVjh7Ps/s320/31+January+2018+Image+2.jpg" width="247" /></a></div>
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<span style="color: #323944; font-family: "helvetica" , sans-serif;">We first get acquainted with Mrs and Mr “Chardon Bleu”, so
called after the name of their haberdashery and perfume shop, open since 1933.
The contemplative attitude of Mrs Chardon Bleu conjugates with the quietness of
the place, lost in repeated and desperately resembling days. We then meet the
hairdressers, the butcher and his wife and daughter, the grocer and his son,
the plumber, the baker, the concierge…</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfZQZ8wrwIjfceyWrJF3fZQZHOZMrc4nR1nD-DMVbQlZqbJR1h_SMJLC7_sIXhLgNMbWGjU48Dte5dfpa7hJjdAMtScQvqH_-MNK_3KS4O_MvvYgsSa7CfU02MD4gaZv0_qyrtnu1lH5I/s1600/31+January+2018+Image+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="345" data-original-width="460" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfZQZ8wrwIjfceyWrJF3fZQZHOZMrc4nR1nD-DMVbQlZqbJR1h_SMJLC7_sIXhLgNMbWGjU48Dte5dfpa7hJjdAMtScQvqH_-MNK_3KS4O_MvvYgsSa7CfU02MD4gaZv0_qyrtnu1lH5I/s320/31+January+2018+Image+3.jpg" width="320" /></a></div>
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<span style="background: white; color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">The
daguerreotype process was invented in France and was the first practicable
method of obtaining permanent images. Using a silver-plated copper sheet
primarily polished and fumed to make it light sensitive, the surface would
be exposed in a camera and chemically treated, rinsed and dried.
The resulting image would be sealed behind glass in a protective enclosure, appearing
either positive or negative, depending on the viewing angle and on the
light. Daguerreotypes were very delicate and fragile objects, but also unique,
due to their irreproducibility.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3sd6Auc5oIfG8SDXi787sFKAbFjJJgDfMymGD8wPplW1a7sbhzt9TmeViYuF4hStFjCJuU9e-9jFTdDBny94zYfwxDRi8SBhzjhkkKMb0V2_0VgepqJLsi14KaL3caEYG8zUU13YBX2M/s1600/31+January+2018+Image+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="306" data-original-width="400" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3sd6Auc5oIfG8SDXi787sFKAbFjJJgDfMymGD8wPplW1a7sbhzt9TmeViYuF4hStFjCJuU9e-9jFTdDBny94zYfwxDRi8SBhzjhkkKMb0V2_0VgepqJLsi14KaL3caEYG8zUU13YBX2M/s320/31+January+2018+Image+4.jpg" width="320" /></a></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Likewise, each portrait in
Varda’s movie is intrinsically individualised. The composure and focus of each
craft as well as the consideration of the light and the decisive camera angles
mirror the daguerreotypes’ characteristics.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">In the first phrase, the artisans
are filmed during the opening and closing of their shops, choreographed by
their duties, in their casual conversations and regular activities. Soon the
movie offers a repertoire of gestures. These appear as if natural and inherent
to the bodies, through reiteration and practice. Each person then speaks facing
camera about where they come from and when they arrived in Paris, their voices
and accents adding another nuance and depth to the portraits.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">In the second phrase, we are
introduced to the prestidigitator Mystag, having a show in the café down the
street. Each trick visually coincides with the recorded motions of the hands
and tools of the shopkeepers. In an allegorical way, the dramatic tone of the
magician narrating these movements lead to the glorification and highlighting
of their expertise and their value for the neighbourhood.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">By the end of the movie, Varda
slowly unfolds a sequence of fixed traditional portraits, overtly absorbing the
quality of daguerreotypes and merging all the layers which repeated actions can
bring to expressions, bodies and faces.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">Ultimately, this movie felt like
a popular tale, based on a resolute attention to simple daily gestures and a
musing pace, which triggered my interest the most.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">I would be keen to probe these
aspects, in the same way as Varda, calling herself a <em><span style="font-family: "Helvetica","sans-serif"; mso-bidi-font-family: Helvetica;">daguerreotypesse</span></em>…</span></div>
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Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-60985982596522531312017-11-20T12:00:00.002+00:002019-12-05T18:33:28.951+00:00CHOREO-GRAPHYKATIE HAGAN<br />
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">the maker is<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">an extension of bodies<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">not<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">the vehicle for expression<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">a transient<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">aspirational process<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">for framed intention<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">a site for experience</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-41330772688341851272017-11-20T12:00:00.001+00:002019-12-05T18:32:10.399+00:00REFLECTIONS 15/11/17KATIE HAGAN<br />
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">As we move into the fourth week I thought I’d take a moment to
reflect on the first few sessions as Next Choreography<em><span style="font-family: "Helvetica",sans-serif;">. </span></em>The last three weeks
have laid the foundations for this course; in the first session we had an
in-depth discussion on the definitions of choreography, and in the second
session we created choreography scores in groups, taking inspiration from the
methods Joseph Burrows used to devise <em><span style="font-family: "Helvetica",sans-serif;">Speaking
Dance </span></em>(2006). Notation, or dance scores, can be a great method
to trace and translate choreographies, and it was very insightful to see how
each group built on Burrows’ principle to develop unique rhythmic structures.
We shared our work with each other towards the end of the session, providing an
opportunity to take on honest feedback for our own development as
choreographers.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">At the end of last week’s session, we were all invited to
participate in the work <em><span style="font-family: "Helvetica",sans-serif;">OK
Future</span></em> by dance artists, Lucy Suggate and Connor Schumacher.
The work has toured the UK and Europe where every performance space has been
different. Different participants, different settings, different movements.
This idea, in part, points towards one of the questions <em><span style="font-family: "Helvetica",sans-serif;">OK Future</span></em> probes
at. How do social environments control behaviour? In what ways can movement and
consciousness be manipulated by the presence of unpredictable, human activity?
Why do we let other people mediate the way we want to move when, paradoxically,
we can’t be certain how they will move themselves? <em><span style="font-family: "Helvetica",sans-serif;">OK Future</span></em> looks at
the inner anxieties that bodies experience when we feel socially exposed. The
work challenges the existence of social etiquettes by creating an alternative
performance space which does not let us conform to predetermined, behavioural
codes. Very exciting stuff!<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">I would like to share some of my personal reflections just here.
I don’t really want to divulge too much information about the piece, so if you
haven’t seen it then please read past this bit. My very rough, post-performance
notes include:<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "Helvetica",sans-serif;">The illusion of the inflated silver balloon… what was it doing?<br />
At what point did you stop caring or feel unawkward?<br />
The role of music in the piece – its trance-like, somatic purpose.<br />
How did other people react to my movement?<br />
Did we have full agency in the piece? What was the role of the voice-over?<br />
Party? Release? Bonding?<br />
What is the boundary between dancer and spectator?</span></div>
Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-30161973658816020962017-11-20T12:00:00.000+00:002019-12-05T18:20:46.034+00:00MOVING LIGHTLYCHERYL MCCHESNEY<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi45J91yr188mbFmQAjSNNZnhyphenhyphen-wohM78-A2WbdR1XQOE9XFj2OQKk4hkDrW21ZfGDaQg3k0Mt00dj2iJ8UG8gQ__gj4ED1wYF0mzNoQpXVp3s7PLiMiOwPOony7gGcaTKr071Kp0rzKsg/s1600/20+November+2017+Image+1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="700" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi45J91yr188mbFmQAjSNNZnhyphenhyphen-wohM78-A2WbdR1XQOE9XFj2OQKk4hkDrW21ZfGDaQg3k0Mt00dj2iJ8UG8gQ__gj4ED1wYF0mzNoQpXVp3s7PLiMiOwPOony7gGcaTKr071Kp0rzKsg/s320/20+November+2017+Image+1.jpeg" width="320" /></a></div>
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<span style="color: #323944; font-family: "helvetica" , sans-serif;">The first term of our Saturday morning Children’s Classes are
whizzing by, designed with fun and creative tasks to encourage new movement
awareness, skills and confidence. Also to provide a supportive and welcoming
environment for children (and their adults) to explore and question how we feel
when we’re moving and notice connections between our brain and body.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "helvetica" , sans-serif;">Initially the 5 senses were inspiration for discovery and we
used different sights, sounds, spatial props, smells and tastes to promote and
explore possibilities. ‘Light’ has now become our focus as the bright autumn
sunshine fades and days turns darker towards the mid-winter – fireworks,
colours, reflections and shadows offer thoughts and ideas for movement
adventures.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "helvetica" , sans-serif;">The very youngest children, who are 2-3yrs, enjoy the freedom
offered by the beautiful roof studio to dance with their parents and carers,
extending their natural movements with feathers, balls, bubbles, balloons,
ribbons, parachute. It is delightful to see them feeling so safe to move in the
space, gaining confidence and trust in their co-ordination and physicality.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "helvetica" , sans-serif;">For the 4-7yr olds, amongst other things, we have experimented
with onomatopoeic firework words such as – pop, whoosh, boom, crackle, whizz,
fizz, bang, zoom – to create and order movement actions with different
qualities inspired by the children’s imagination.<o:p></o:p></span></div>
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<span style="color: #323944; font-family: "helvetica" , sans-serif;">The 8-11yr olds are abstracting ideas to develop choreographic
skills, making choices and decisions using their own responses. The children
played with ribbons representing firework light trails and then created their
own ribbon pictures to inspire and design movement pathways.<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIoHgHYeCcwTSjPox8PEaZ97o4eKVfUMiQJw-qK47thC6EfN_PqQAjTC4xLTyyanJeTrjrnhC7ITj1rBB40dqoLUD2z3puWW_jAsQ855vhQIh3KLXSv59926pfsVy7L2oW3liVCL9cVeo/s1600/20+November+2017+Image+2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="525" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIoHgHYeCcwTSjPox8PEaZ97o4eKVfUMiQJw-qK47thC6EfN_PqQAjTC4xLTyyanJeTrjrnhC7ITj1rBB40dqoLUD2z3puWW_jAsQ855vhQIh3KLXSv59926pfsVy7L2oW3liVCL9cVeo/s320/20+November+2017+Image+2.jpeg" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwS9t7cEwW6otyzNmfS0w1mIf_FEvlZW8bagJ0STMcSQAQ3blwxafForykjoxaPYhWrJTz-M9Q7XQmEH_M0v1BBszt3_KM5sIyMOU5bKUBVeYg-1UxNA6J4aaL0koK2-gjUUar2jsUG5U/s1600/20+November+2017+Image+3.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="525" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwS9t7cEwW6otyzNmfS0w1mIf_FEvlZW8bagJ0STMcSQAQ3blwxafForykjoxaPYhWrJTz-M9Q7XQmEH_M0v1BBszt3_KM5sIyMOU5bKUBVeYg-1UxNA6J4aaL0koK2-gjUUar2jsUG5U/s320/20+November+2017+Image+3.jpeg" width="240" /></a></div>
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Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.comtag:blogger.com,1999:blog-5076393041476546363.post-52087265478346240172017-11-07T12:00:00.000+00:002019-12-05T18:16:34.884+00:00WELCOME TO NEXT CHOREOGRAPHY 2017/18LAURA A<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">We are DELIGHTED to welcome 13 curious, creative choreographers to Next Choreography 2017/18.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />Check out this blog across the year as the group experiment, discover, craft and tinker with choreography.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />Here they are with artist and course facilitator Amy Bell.</span><br />
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<br />Siobhan Davies Dancehttp://www.blogger.com/profile/01384486240398560536noreply@blogger.com