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I physically sonically bilaterally hyperbolically curate you (2015)

I’ve been thinking about glacial simplicity and polysemous hyper-complexity.
1. Please make fists with both hands, inhale sharply and hold your breath for as long as you can.
2. Watch this link. The come back to this list.
3. Now please watch this link

4. Please think about my friend’s class on the life cycle of frogs being ruined because a kid ate the tadpoles.
5. Watch this link
6. And now this one

7. Place you hands over your ears and close your eyes, until you want to open them again.
8. Go here and take the vertical red line to your year of birth and look at what ever is there. If you were born before 1976, please type in ‘Butcher Dance 19..’ into google and see what comes up.
9. Please take a piece of paper and what ever pen or pencil is around. Listen to this and do what you want with the paper and pen.

10. Turn your paper over and leave the performance space.

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Four portraits (2015)

M

1. occasionally an accent of stretch via an anterior pelvic tilt, arching front line of torso, punctuating a period of exertion and sagittal focus; here attention is spread and scattered out, maybe perceptually
2. An inhale through teeth and mouth, audible, sharp and with a tilt of skull slightly down
3. Always long fingers hooked around rolling paper
O

1. Effervescent thoracic in speaking
2. Sharp, impulsive phrasing in gesture
3. End of phrase is an accent upwards and increasing of pressure
N

1. Levity, softness, tremulousness in gesture
2. Bouncy phrases, acceleration and ongoingness
3. Precision and care in attention to space
D

1. inner quality of stone
2. outer quality of stone
3. general quality of mirage

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Spatial considerations (2014)

1. Space is a hidden feature of movement and movement is a visible aspect of space – Rudolf Laban

2. Kinesphere, as defined by Rudolf Laban, is the maximum a person can reach around them in all directions, before taking a step beyond that. Though we can perceive movement and communicate beyond the reach space of our kinesphere, this word is handy in attempting to articulate the limbs to spine/core configuration of our human form. These spaces between legs and under arm-pits are of lymph nodes and glands, of openings and warmth.

3. The boundary my skin isn’t so distinct; pours let in and out. The vivacity of gesture, voice and thought emanate beyond kinesphere. Still, my kinesphere is my local level and what I have to play with through pathways, patterns, zones and reach space. The kinesphere starts inside the mover, not outside of them, and the use of objects means there is a kind of extension of this territory. Manufactured tools made from man’s span of hand and internal physics form apparatus for cleaving, operating and obtaining. Tools contribute heavily to the spatial play of matter swung, gripped and passed. The body now made extended by the tool: length of fishing rod, bike frame, comb. My body extended by costume; longer, pointier, faceless.

4. When we speak of space, we speak of relationship. Versions of space can be measurable, sure. But measurements are somewhat defined by the tools used to make their measurement. Similarly fallible, yet exquisitely rich is the experience and perception of spatial discord, coherence and antinomy from the personal, from the lived body-mind. Here we find a multitude of versions, and the ineffable. My movement as my kinespheric integer.

5. Human intervention on this wide earth created solid partitions from human scale and form. Relief for the eye to land on an edge. Edge creates duration and distance through spatial formations of landscape including object and dwelling. Land and water was and is brokered, divided, inhabited and abandoned. Through a landscape broken up by edges, distance offers duration and capacity for some anticipation – a survival necessity.

6. But between the two poles of togetherness and separateness is a rhythm of spatial formation, miniature maypoles drawing people around and together temporarily, before dispersing to the next real or metaphysical maypole. A rhythm of people, public and private, of environment, of core and periphery.

7. What is the distance, what does the distance do, what does it create, what mental gymnastics can I do to understand, how does my heart beat and temperature of skin inform the experience? When you ask me about space, I wonder which one you care about. Yours? Yours and mine? Yours with mine? Molecules in the air? What is it you wish to confirm or predict? Do you think you’ll go back there? Can you wait to see what emerges in the space between you? That shared context, in real time and place with real human bodies, breathing.

8. You can train proprioception. Dancers are not magical. They trained their perceptions and physical understanding of where their limbs and forms are in relationship to all their many parts of the whole, and in relationship to others. You can train coordination and greater sensitivity towards sensation and choose a greater degree of motion, composition, phrasing. Motion gives duration, memory of and in space, leaving trace forms, metaphorically, neurologically, in the mind’s eye, in the kinetic chains and pathways moved. Movement anticipated and becoming.

9. The space of me, my exhale comes from my inner space to outside of me. The island shares, even if it doesn’t want to. Something emits, something is absorbed.

10. Take your shoes off at my house. Leave the outside world before coming in.

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