Louise Potiki Bryant performs her latest work Tumutumu with Taonga Puoro played live by Richard Nunns and a recorded sound track by Paddy Free and Richard Nunns. The work also includes video design by Louise Potiki Bryant and Paddy Free.
The Tumutumu is a Taonga Puoro, a percussion instrument, which is made from various types of stone including pounamu, and other materials such as bone and wood. The tumutumu is common to southern New Zealand, used particularly in whare wananga (houses of learning) to accompany intoned learnings. Bryant's work takes inspiration from her relationship with a particular tumutumu made from Pohutukawa wood found on the West Coast.
Bryant presents her work as nine stages representing the cyclic nature of life, she titles as: Karanga, Letting Go - Part 1, Ipurangi/Birth, Becoming, Dying, Transforming, Shedding, Letting Go - Part 2 and Rebirth.
I have taken three of Bryant's workshops over the years, in which she taught aspects of her movement aesthetic that she describes as arising from Tāne-rore, the son of the sun, and Hineruhi, who ushers in the day at dawn. "Te Haka-a-Tānerore is the name for the shimmering of the air on a hot summer day. It is the mythical precursor for the wiri in dance and also of the poi." and Hineruhi "is the deification of the dawn light and the term ruhi which appears in her name may have some connection with Rūhī-terangi which is a small star that appears near Antares" (Charles Royal, 1998).
Bryant embodies Tane-rore and Hineruhi at different times through out her performance. Seeing her as Tane-rore makes me feel excited like when I discovered the character Starbuck from the sci-fi series Battlestar Galatica. These two women embody characteristics I wish to find within myself.
Bryant's performance appears other-worldly, with movement, lighting, set design and videography soundly bringing together the motif of the tumutumu.
I felt privileged to witness what seemed like such a deeply personal and spiritual journey. I believe it was the section titled Letting Go - Part 2, the oval video screen shows a Maori woman submerging from water up to her neck. She wipes the hair from face and performs a pukana. I couldn't describe how Bryant is moving in front of the screen at this moment however both video and movement seem like one. I found this moment intensely overwhelming (and had to cry to feel some sort of release).
After watching this performance I had a terrible sleep and have felt out of kilter all day. I realise I was a bit triggered by some memories of a Maori woman I used to know...I think perhaps the emotions surrounding the situation in which I knew this person are something I need to let go.
I apologise this review seems to be more about myself than Bryant's actual performance but I guess her performance made me reflect inwardly? I could try and describe the aesthetics and apparent meaning of each section however this performance is such a sensory experience I'm struggling to find the language to describe the movement and all that it entailed.
Friday, 22 June 2012
Wintering, Next Wave Festival 2012 (Review)
Wintering, choreographed by Aimee Smith, performed by Rhiannon Newton and Jenni Large. Original sound scape by kane Ikin, Craig McElhinney and Ben Taaffe.
Inspired by her visit to the Arctic, Smith explores themes surrounding the fragility and strength of an iced landscape.
Each component of the minimalist set is well thought out. The bleached blonde bops of the performers dressed in shades of grey, the stark white floor surrounded by black walls, the low white lighting, and an icy sound scape all created a chilling atmosphere (not to mention the freezing draft of the entrance I felt from my ushers chair).
For me I was most intrigued by the beginning at which point it took the dancers about 15 minutes to spiral (from the floor to standing and down again) and roll their way towards the audience. Strong and solid iceburgs slowly pushing their way through the ocean. I was also moved by the rigid, sharp movements that invoked images of icicles transforming as they melted into liquid.
Contrasts in time, quality and levels created a strong dynamic relationship between the two dancers. They moved cohesively together and demonstrated fluid partnering work. At times I lost interest as some elements were overly repetitive. I would love to see this work again after further development and editing.
Overall, the dancers appeared dehumanised into various ice formations; drifting, disintegrating, colliding, smaller parts breaking away, icicles melting, forever morphing, liquefying and freezing solid again only to drift off into blackness leaving behind a stark and chilling space.
Inspired by her visit to the Arctic, Smith explores themes surrounding the fragility and strength of an iced landscape.
Each component of the minimalist set is well thought out. The bleached blonde bops of the performers dressed in shades of grey, the stark white floor surrounded by black walls, the low white lighting, and an icy sound scape all created a chilling atmosphere (not to mention the freezing draft of the entrance I felt from my ushers chair).
For me I was most intrigued by the beginning at which point it took the dancers about 15 minutes to spiral (from the floor to standing and down again) and roll their way towards the audience. Strong and solid iceburgs slowly pushing their way through the ocean. I was also moved by the rigid, sharp movements that invoked images of icicles transforming as they melted into liquid.
Contrasts in time, quality and levels created a strong dynamic relationship between the two dancers. They moved cohesively together and demonstrated fluid partnering work. At times I lost interest as some elements were overly repetitive. I would love to see this work again after further development and editing.
Overall, the dancers appeared dehumanised into various ice formations; drifting, disintegrating, colliding, smaller parts breaking away, icicles melting, forever morphing, liquefying and freezing solid again only to drift off into blackness leaving behind a stark and chilling space.
Stamp Work Shop VI
Unfortunately I was sick for the fifth work shop. A fellow participant explained that in the fifth work shop there was a focus on sound and movement. Additionally, they reproduced the video of the performers from the 1931 Mexican Day of the Dead, then recreated their own version.
Following is a description of the sxith and final work shop with Brook Stamp. For more detailed descriptions of the exercises please refer to the post titled Stamp!
"Moving Blind with Observation"
We finished the way we had started the very first work shop. Brooke really encouraged us to use sounds, to use our breath to help produce sounds. To find sounds that are deep within us. I worked on this through out the exercise. I concentrated using breath and movement to push out sounds and I found my self-conciousness about doing this slipping away.
"This is an Action"
We began moving through the space in our own time in our own way but after a while we transitioned into a circle so we could share our dance with each other. Brooke bought the following words into the circle: replicate, compliment and contrast.
"Authentic Words" & "Directing"
We split into three groups and spent maybe five minutes writing down authentic words. Taking turns we called out (and wrote down) what ever word came to mind. One person from each group then read out the list of 'authentic' words to the rest of the group.
In groups of 4/5 we choose 10 words from all three lists. One group gave their list to another group to read out so they could move and respond to their own chosen words, ie one group performing and one group directing.
We then shortened our list to five words. We added three types of energies and three spatial elements. Again with one group moving/responding (performers), another group (directors) read out the performers new list. Brooke asked both performers and directors to be aware of the dynamics between the performers and make consciousness decisions about the words and/or combination of words to use, when to use them and to whom the words were directed at.
Brooke discussed how the above exercise can produce layer upon layer and at some point the director can begin to strip back once they realise the essential elements.
Following is a description of the sxith and final work shop with Brook Stamp. For more detailed descriptions of the exercises please refer to the post titled Stamp!
"Moving Blind with Observation"
We finished the way we had started the very first work shop. Brooke really encouraged us to use sounds, to use our breath to help produce sounds. To find sounds that are deep within us. I worked on this through out the exercise. I concentrated using breath and movement to push out sounds and I found my self-conciousness about doing this slipping away.
"This is an Action"
We began moving through the space in our own time in our own way but after a while we transitioned into a circle so we could share our dance with each other. Brooke bought the following words into the circle: replicate, compliment and contrast.
"Authentic Words" & "Directing"
We split into three groups and spent maybe five minutes writing down authentic words. Taking turns we called out (and wrote down) what ever word came to mind. One person from each group then read out the list of 'authentic' words to the rest of the group.
In groups of 4/5 we choose 10 words from all three lists. One group gave their list to another group to read out so they could move and respond to their own chosen words, ie one group performing and one group directing.
We then shortened our list to five words. We added three types of energies and three spatial elements. Again with one group moving/responding (performers), another group (directors) read out the performers new list. Brooke asked both performers and directors to be aware of the dynamics between the performers and make consciousness decisions about the words and/or combination of words to use, when to use them and to whom the words were directed at.
Brooke discussed how the above exercise can produce layer upon layer and at some point the director can begin to strip back once they realise the essential elements.
Stamp Work Shop IV
"This is an Action"
For a more detailed description of this exercise please refer to my post title Stamp!
We spent 20 minutes in action with Brooke often calling out "If you find yourself in a rhythm, begin again, begin again, begin again." After some time Brooke asked us to spontaneously form duets and continue - without necessarily indicating to our duet partner that we were dancing 'with' them. She then asked us to form a trio followed by a group dance.
Send and Receive: Brooke asked as to send and receive actions, without always being aware of who we were sending actions to and receiving actions from.
We were asked to form two parallel lines, some distance apart and 'communicate' with the person opposite us. With an image of being alien to each other. Our communication tool was movement.
Brooke asked the two groups to move from parallel lines into two groups/clumps while remaining opposite each other. Now instead of one individual communicating with another individual we were 'one' as a whole group communicating with another group. A more collective approach.
"Portraits"
Brooke instructed us to spend five minutes on our own to decide on three different portraits/shapes. We were asked to avoid obvious human gestures. As one large group Brooke called out gestures (1,2,3) and explored with the timing between each portrait change.
We then split into two groups and took turns at performing and observing. Each group was further divided into three colours: pink, green, blue. The first group to perform, the greens had to change every 5 seconds, pinks every 10 seconds and blues every 20 seconds. After a few minutes of this Brooke asked the greens to change every 10secs, pinks every 20secs and blues every 30secs.
The second group to perform were asked to be aware of the people in the group that were given the same colour and to change together at any point after any length of time. We were asked to make decisions on when to change portrait based on reading the whole group visually, e.g. in order to play with contrasting levels, to have moments of every one in stillness or in motion or contrasting between motion and stillness...
Thinking about time
We watched a you tube clip of three dancers during the Mexican Day of the Dead festival, 1931. Again Brooke asked us to think about time and performance. The video demonstrated repetitive, trance like movement. All three men performing the same short sequence over and over again but never in exact unison rather they were on their own individual time frame.
"Directing"
For a more detailed description of this exercise please refer to my post titled Stamp!
We split into two groups and one participant from each group lead the group with their own ideas based on the work shops thus far. The person that lead the group I was in lead a directing exercise of calling out three words and playing the order of the words, the combination of the words. He sometimes gave the whole group a word(s) or part of the group or an individual.
End of work shop discussion
Brooke encouraged us when leading such as exercise to provide words that indicate a certain state, to explore different combinations and sequences. She explained that at some point we would have to make decisions about combinations of words, the order of words and the length of performing each state.
Idea one:
I could give the whole group one over-arching word, 'collective unconsciousness'. To move as if their minds were connected, still individual in some respects but connected to each other on some level. I would ask the group to start very close together, and as a group explore the entire space at their disposal. The second word I would give is fractal, then the next three words would examples of fractals in nature.
Idea two:
Using the portraits exercise I could provide a three words to inspire three portraits such as: vanishing point, permeable and consumption. The portraits might be individual or in partners. I would use the portraits as starting points for further exploration. If I called out permeable, participants would move into that particular portrait hold for any length of time before exploring the word in action.
Gala and I came up with a list of words that we could play with:
perspective: vanishing point
break beat
collective unconsciousness
hood
disconnection
consumption
permeable
quality
For a more detailed description of this exercise please refer to my post title Stamp!
We spent 20 minutes in action with Brooke often calling out "If you find yourself in a rhythm, begin again, begin again, begin again." After some time Brooke asked us to spontaneously form duets and continue - without necessarily indicating to our duet partner that we were dancing 'with' them. She then asked us to form a trio followed by a group dance.
Send and Receive: Brooke asked as to send and receive actions, without always being aware of who we were sending actions to and receiving actions from.
We were asked to form two parallel lines, some distance apart and 'communicate' with the person opposite us. With an image of being alien to each other. Our communication tool was movement.
Brooke asked the two groups to move from parallel lines into two groups/clumps while remaining opposite each other. Now instead of one individual communicating with another individual we were 'one' as a whole group communicating with another group. A more collective approach.
"Portraits"
Brooke instructed us to spend five minutes on our own to decide on three different portraits/shapes. We were asked to avoid obvious human gestures. As one large group Brooke called out gestures (1,2,3) and explored with the timing between each portrait change.
We then split into two groups and took turns at performing and observing. Each group was further divided into three colours: pink, green, blue. The first group to perform, the greens had to change every 5 seconds, pinks every 10 seconds and blues every 20 seconds. After a few minutes of this Brooke asked the greens to change every 10secs, pinks every 20secs and blues every 30secs.
The second group to perform were asked to be aware of the people in the group that were given the same colour and to change together at any point after any length of time. We were asked to make decisions on when to change portrait based on reading the whole group visually, e.g. in order to play with contrasting levels, to have moments of every one in stillness or in motion or contrasting between motion and stillness...
Thinking about time
We watched a you tube clip of three dancers during the Mexican Day of the Dead festival, 1931. Again Brooke asked us to think about time and performance. The video demonstrated repetitive, trance like movement. All three men performing the same short sequence over and over again but never in exact unison rather they were on their own individual time frame.
"Directing"
For a more detailed description of this exercise please refer to my post titled Stamp!
We split into two groups and one participant from each group lead the group with their own ideas based on the work shops thus far. The person that lead the group I was in lead a directing exercise of calling out three words and playing the order of the words, the combination of the words. He sometimes gave the whole group a word(s) or part of the group or an individual.
End of work shop discussion
Brooke encouraged us when leading such as exercise to provide words that indicate a certain state, to explore different combinations and sequences. She explained that at some point we would have to make decisions about combinations of words, the order of words and the length of performing each state.
Idea one:
I could give the whole group one over-arching word, 'collective unconsciousness'. To move as if their minds were connected, still individual in some respects but connected to each other on some level. I would ask the group to start very close together, and as a group explore the entire space at their disposal. The second word I would give is fractal, then the next three words would examples of fractals in nature.
Idea two:
Using the portraits exercise I could provide a three words to inspire three portraits such as: vanishing point, permeable and consumption. The portraits might be individual or in partners. I would use the portraits as starting points for further exploration. If I called out permeable, participants would move into that particular portrait hold for any length of time before exploring the word in action.
Gala and I came up with a list of words that we could play with:
perspective: vanishing point
break beat
collective unconsciousness
hood
disconnection
consumption
permeable
quality
Thursday, 21 June 2012
Stamp Work Shop III
At the end of the the second work shop Brooke talked about time and temporality.We were shown the last few minutes of the film 'Stalker' directed by Andrei Tarkovsky to provoke our thoughts about how we work with action in and through time. Brooke also questioned the common framing of contemporary dance performance as an hour approx. show where audiences view only the end product of an often lengthy creative development period. She questioned how could the audience receive more insight into choreographic process? Such provocations have lead me to start thinking about time, in particular non-western and non-human centric perspectives of time. For instance, what is a plant's perspective on time and how can this inform choreography and performance?
Workshop three was held on the 10th May 2012:
"Shake Shake Shake"
Brooke asked us to shake for 15 minutes. By shake I mean shake our entire bodies in different ways, on different levels, in different parts of the room, while standing still or while moving. Brooke also gave us permission to use our voice while shaking. I allowed a little of my voice to come out, although I felt myself feeling rather self-concious. I don't want to be bothered by what the rest of group is doing but I did find it difficult to let my voice out when a large portion of the group remained non-verbal. Voice and movement is something I would like to explore more. Sometimes I feel like my throat constricts similar to when I'm intimate (too much information?), feeling anxious or sharing something deeply personal.
After shaking for 15 minutes the entire group came together in an embrace.
For a more detailed description of the following exercises please refer to my post titled Stamp!
"This is an Action"
We began this exercise differently than previous workshops - we started in a circle. Brooke stated we could enter in duets (although could be more or less). She called out provocations through words and instructions and invited participants to do the same. Provocations could be anything from the colour 'blue' to the instruction of 'compliment'. Occasionally when only one person was in circle in action Brooke would say, "This is your dance, this is your gift to us" and they would explore their dance in solo for a few minutes.
Near the end of this exercise Brooke was pushing us to "break" the space. I felt like she was challenging us to move away from safe modes of moving I perceived we had fallen into.
At the end Brooke asked as to take notice whether we tended to participate or observe. She emphasised that there is no right or wrong but rather an observation. I observed that I tended to observe more but still participate often. I never once called out a word or instruction.
I felt shy today. Observing all of the young, freshly trained and confident dancers. I felt like I had passed my expiry date and I'm only 33 years old! Later talking to Grace, a writer and performer (maybe in her 40s) who continues to explore ideas and formulate projects, I was reminded about my own philosophy and love moving with people of all demographics. Especially those who have not gone down the 'traditional' dance training path.
"Directing"
In groups of 4/5 we discussed "what it is to make". Brooke gave us one guideline, "This is not a therapy session". We then wrote a list of words that we felt came out of our discussion. Each group gave their list of words to another group (the directors) to call out as they moved and responded to the words. The directors could call a word out to the whole group or some of the group or an individual. They could also combine words that were on the list. The groups that were not 'performing' or 'directing' at the time sat and watched.
The participates appeared very relaxed; everyone seemed to open up, have fun and play with this exercise. Participates allowed themselves to be 'human' (as opposed to 'dancers'), including me!
Workshop three was held on the 10th May 2012:
"Shake Shake Shake"
Brooke asked us to shake for 15 minutes. By shake I mean shake our entire bodies in different ways, on different levels, in different parts of the room, while standing still or while moving. Brooke also gave us permission to use our voice while shaking. I allowed a little of my voice to come out, although I felt myself feeling rather self-concious. I don't want to be bothered by what the rest of group is doing but I did find it difficult to let my voice out when a large portion of the group remained non-verbal. Voice and movement is something I would like to explore more. Sometimes I feel like my throat constricts similar to when I'm intimate (too much information?), feeling anxious or sharing something deeply personal.
After shaking for 15 minutes the entire group came together in an embrace.
For a more detailed description of the following exercises please refer to my post titled Stamp!
"This is an Action"
We began this exercise differently than previous workshops - we started in a circle. Brooke stated we could enter in duets (although could be more or less). She called out provocations through words and instructions and invited participants to do the same. Provocations could be anything from the colour 'blue' to the instruction of 'compliment'. Occasionally when only one person was in circle in action Brooke would say, "This is your dance, this is your gift to us" and they would explore their dance in solo for a few minutes.
Near the end of this exercise Brooke was pushing us to "break" the space. I felt like she was challenging us to move away from safe modes of moving I perceived we had fallen into.
At the end Brooke asked as to take notice whether we tended to participate or observe. She emphasised that there is no right or wrong but rather an observation. I observed that I tended to observe more but still participate often. I never once called out a word or instruction.
I felt shy today. Observing all of the young, freshly trained and confident dancers. I felt like I had passed my expiry date and I'm only 33 years old! Later talking to Grace, a writer and performer (maybe in her 40s) who continues to explore ideas and formulate projects, I was reminded about my own philosophy and love moving with people of all demographics. Especially those who have not gone down the 'traditional' dance training path.
"Directing"
In groups of 4/5 we discussed "what it is to make". Brooke gave us one guideline, "This is not a therapy session". We then wrote a list of words that we felt came out of our discussion. Each group gave their list of words to another group (the directors) to call out as they moved and responded to the words. The directors could call a word out to the whole group or some of the group or an individual. They could also combine words that were on the list. The groups that were not 'performing' or 'directing' at the time sat and watched.
The participates appeared very relaxed; everyone seemed to open up, have fun and play with this exercise. Participates allowed themselves to be 'human' (as opposed to 'dancers'), including me!
Tuesday, 19 June 2012
Stamp Work Shop II
Wow it has been a month since my last blog! I think I can be forgiven since I moved back to New Zealand in that time. Moving countries is exhausting especially twice in 6 months. I have much to catch up on with my blog but considering I am now unemployed and a kept woman (thanks Gala honey) I'm sure I will have plenty of time!
Below is a description of the second workshop held by Brooke Stamp on the 03/05/2012:
"Group Sense Circle"
The beginning of the session involved the entire group standing in a circle holding hands. Brooke insists our circle is symmetrical and informs us she is particular about circles (cute). Anyway as we are holding hands we are asked to focus on our breath. Brooke then brings our attention to various aspects of space:
- to those in the circle we can see in our peripheral and central vision.
- to the space beyond the circle.
- to space in the centre of the circle, we focus on a spot on the floor.
- keeping our gaze on the spot on the floor we bring our attention to the 'potential energy' outside circle and then inside the circle. In physics potential energy is the stored energy of position possessed by an object (see http://www.physicsclassroom.com/class/energy/u5l1b.cfm).
- we bring our attention attention to our hand, the heat/energy created by holding hands with another.
- we focus on our inner body and the movements within our bodies: small muscular adjustments, digestion, breath and so on.
- we move our hands to the lower back of the person on either side of us and focus on the heat between our hands and the back.
- we bring our attention to the movements of the group as a whole: the adjustments, sways, twitches and so on.
For a more detailed description of the following three exercises please refer to my
previous post titled Stamp!
"Moving Blind with Observation"
This exercise is completed in the same way as the first workshop however this time the observer thinks of and remembers three words after observing the mover. We are asked not to put too much thought into the three words just what ever comes to mind. We don't discuss the three words with our partner but are asked to remember the words for later in the workshop.
"This is an Action"
We engage in 15minutes of individual action similar to the first workshop. We then develop upon the exercise with two more additions:
- The group splits in half, with half observing and the rest moving. Brooke asks us to start with an action and calls out 'change', 'change', 'change' to take us out of our immediate/habitual way of moving. After some time she calls out 'This is now your dance', we are asked to repeat the action, explore the action, do the opposite of the action. Then the group swaps roles.
- Again we start with an action and Brooke calls out 'change', 'change', 'change' and after some time 'this is now your dance'. Repeat, explore your action. STOP. Now do the memory of your dance. Then we swap roles. Brooke resists giving too much explanation for her instructions instead encourages us to individually interpret the instructions. My perspective on performing the memory of my dance is that of a ghost dance or the shadow, or an after thought...
"Directing"
This is where we bring back the three words from the Moving Blind with Observation exercise. The director calls out their three words for their group to respond to:
- The director begins by calling out the words in their chosen order. We swap until each person has been the director.
- The director then calls out their words in any order and can develop a pattern or a rhythm. Swap.
- We come together as a large group and label our words 1, 2, 3. With all groups performing in the same space the director from each group calls our their words in any order, developing a pattern/rhythm including stop. Swap. What I like about this part of the exercise is that the control the director had is taken away as their voices are drowned out by the other directors. Because all of the directors are calling out 1, 2, or 3 (which corresponded to the original words), the movers had to decide in the moment if they heard their director calling out or another director. Often the movers mistakenly react to directors from other groups, ignoring their own directors. The confusion and lack of control is a great consequence!
Below is a description of the second workshop held by Brooke Stamp on the 03/05/2012:
"Group Sense Circle"
The beginning of the session involved the entire group standing in a circle holding hands. Brooke insists our circle is symmetrical and informs us she is particular about circles (cute). Anyway as we are holding hands we are asked to focus on our breath. Brooke then brings our attention to various aspects of space:
- to those in the circle we can see in our peripheral and central vision.
- to the space beyond the circle.
- to space in the centre of the circle, we focus on a spot on the floor.
- keeping our gaze on the spot on the floor we bring our attention to the 'potential energy' outside circle and then inside the circle. In physics potential energy is the stored energy of position possessed by an object (see http://www.physicsclassroom.com/class/energy/u5l1b.cfm).
- we bring our attention attention to our hand, the heat/energy created by holding hands with another.
- we focus on our inner body and the movements within our bodies: small muscular adjustments, digestion, breath and so on.
- we move our hands to the lower back of the person on either side of us and focus on the heat between our hands and the back.
- we bring our attention to the movements of the group as a whole: the adjustments, sways, twitches and so on.
For a more detailed description of the following three exercises please refer to my
previous post titled Stamp!
"Moving Blind with Observation"
This exercise is completed in the same way as the first workshop however this time the observer thinks of and remembers three words after observing the mover. We are asked not to put too much thought into the three words just what ever comes to mind. We don't discuss the three words with our partner but are asked to remember the words for later in the workshop.
"This is an Action"
We engage in 15minutes of individual action similar to the first workshop. We then develop upon the exercise with two more additions:
- The group splits in half, with half observing and the rest moving. Brooke asks us to start with an action and calls out 'change', 'change', 'change' to take us out of our immediate/habitual way of moving. After some time she calls out 'This is now your dance', we are asked to repeat the action, explore the action, do the opposite of the action. Then the group swaps roles.
- Again we start with an action and Brooke calls out 'change', 'change', 'change' and after some time 'this is now your dance'. Repeat, explore your action. STOP. Now do the memory of your dance. Then we swap roles. Brooke resists giving too much explanation for her instructions instead encourages us to individually interpret the instructions. My perspective on performing the memory of my dance is that of a ghost dance or the shadow, or an after thought...
"Directing"
This is where we bring back the three words from the Moving Blind with Observation exercise. The director calls out their three words for their group to respond to:
- The director begins by calling out the words in their chosen order. We swap until each person has been the director.
- The director then calls out their words in any order and can develop a pattern or a rhythm. Swap.
- We come together as a large group and label our words 1, 2, 3. With all groups performing in the same space the director from each group calls our their words in any order, developing a pattern/rhythm including stop. Swap. What I like about this part of the exercise is that the control the director had is taken away as their voices are drowned out by the other directors. Because all of the directors are calling out 1, 2, or 3 (which corresponded to the original words), the movers had to decide in the moment if they heard their director calling out or another director. Often the movers mistakenly react to directors from other groups, ignoring their own directors. The confusion and lack of control is a great consequence!
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