An object. Does it make sound? Does it move me? Does it shake? Does it rub? Does it combine its movement with my own? Tonight during the Movement Jam organized by the Anthropologists, we explored how objects make sound, and how those sounds inspire creation. I left with many things, but with one that I want to share: give performers and object, and let them play with it, to learn its music, its feel, its life. In the final improvisation I was resting my chin on a bottle as I laid belly down on the ground. As I watched the other group, the bottle sat right in front of me. It became my bottle, my friend, my tool, my instrument. It watched with me. Tonight I gained respect for the possibility of one simple thing outside of myself presenting me with a constant stream of gifts to give and take. One paragraph here, a gift to the artists who organized this evening. I defy you to make me carriage return. Take this object, and see what sounds it makes. Tonight we went one two three four, sound was our focus, and creativity crawled out of our sleeves. Great fun. Rest now. We are magicians, and a grand time we had!
Tuesday, April 27, 2010
Musings on sound from Robert Colpitts
Our Monday 4/26 jam explored object work and sound. Here are some observations that jammer Robert shared with us:
- Robert
Tuesday, March 2, 2010
The first jam session of 2010!
Our constellation of dance plays - For the Love Of... - just closed and now we are back and ready to being Jam Sessions again!
In 2010 we'll be trying something new.
First, we're meeting on Monday nights in Spring of 2010. We found that weekend days weren't always the best solution for scheduling jam sessions. So we're going to try a weeknight format. With that in mind, we're going to shorten the schedule.
7-7:30PM OPEN STUDIO SPACE
We hope that our fellow artists and colleagues will take advantage of this time to do additional self-directed warm-ups or to work on a specific project and exploration. The idea is to create a bunch of "mini-studios" inside the rehearsal space during this half-hour where artists and practitioners can work on their own or have extra time to transition into the jam session.
7:30-9:30PM JAM SESSION
These sessions are based in movement and physical exploration and we also venture into voice and song. They are generally led by Artistic Director Melissa F. Moschitto. Other company members and/or artists may be invited to lead exercises or full sessions.
Are you new to jam sessions? Read our primer here.
The first jam of 2010 will be on Monday, March 15 from 7-9:30PM. Please RSVP so we know to expect you. We respectfully ask for a donation of $5 to help cover space costs, but no one will be turned away.
For those who will be returning to jam sessions, we're curious to know what you'd like to work on. Character development? Gestural choreography? Group song? Improvisational techniques? Let us know in the comments section!
In 2010 we'll be trying something new.
First, we're meeting on Monday nights in Spring of 2010. We found that weekend days weren't always the best solution for scheduling jam sessions. So we're going to try a weeknight format. With that in mind, we're going to shorten the schedule.
7-7:30PM OPEN STUDIO SPACE
We hope that our fellow artists and colleagues will take advantage of this time to do additional self-directed warm-ups or to work on a specific project and exploration. The idea is to create a bunch of "mini-studios" inside the rehearsal space during this half-hour where artists and practitioners can work on their own or have extra time to transition into the jam session.
7:30-9:30PM JAM SESSION
These sessions are based in movement and physical exploration and we also venture into voice and song. They are generally led by Artistic Director Melissa F. Moschitto. Other company members and/or artists may be invited to lead exercises or full sessions.
Are you new to jam sessions? Read our primer here.
The first jam of 2010 will be on Monday, March 15 from 7-9:30PM. Please RSVP so we know to expect you. We respectfully ask for a donation of $5 to help cover space costs, but no one will be turned away.
For those who will be returning to jam sessions, we're curious to know what you'd like to work on. Character development? Gestural choreography? Group song? Improvisational techniques? Let us know in the comments section!
Thursday, January 28, 2010
Jam Session in Albuquerque
I recently got back from Albuquerque where I was participating in the Buran Summit that Adam Burnett, artistic director of Buran Theatre Company (www.burantheatrecompany.com), had put together. It was a truly wonderful and re-invigorating experience overall and I came away with many experiences and thoughts to mull over. One huge experience was that of leading a Jam Session! Not only had I never led one before, but I was leading one with people entirely new to what we do (sans Adam of course). It was awesome to share how we work and train with new people - especially to see how they processed the information - and to see the similarities and differences to how the Anthro's processed the information. It's inevitable (I think) for a group to create its own patterns and I realized how important a new perspective is to shake a group out of its patterns (which is one reason why a jam is so great-- we're always adding new artists to the mix!).
It was also really exciting to just get to lead a jam!! Melissa is always encouraging us to lead a session, but it's been very daunting so I never have. But leading a session made me realize how important it is for everyone to do so. First, you have to think about what exercises you want to do, what exercises work well with each other and in what order to put them all in! Then, the real challenge comes when you have to set the pace! You have to get a sense of what the group is feeling, what they need to keep them on the 'right track', what information they need, and (the hardest part) when to end what it is they're doing!!!
Listening to the feeling of the room and of whats going on onstage (where the actors are mentally especially) is very different when sitting on the outside looking in. After leading the jam I realized that exercising this skill as a sort of super-audience member is a vital element for the performer! It leads to having an heightened awareness and deeper understanding of the audience perspective. I would love to work on this more! Esepecially because I hope this will make my choices as a performer more effective and allow me to communicate whatever I'm trying to say (or whatever ideas I have) in a more focused way.
Ergo, lesson of the day: actively sitting on the outside is just as important as playing on the inside!!! :)
It was also really exciting to just get to lead a jam!! Melissa is always encouraging us to lead a session, but it's been very daunting so I never have. But leading a session made me realize how important it is for everyone to do so. First, you have to think about what exercises you want to do, what exercises work well with each other and in what order to put them all in! Then, the real challenge comes when you have to set the pace! You have to get a sense of what the group is feeling, what they need to keep them on the 'right track', what information they need, and (the hardest part) when to end what it is they're doing!!!
Listening to the feeling of the room and of whats going on onstage (where the actors are mentally especially) is very different when sitting on the outside looking in. After leading the jam I realized that exercising this skill as a sort of super-audience member is a vital element for the performer! It leads to having an heightened awareness and deeper understanding of the audience perspective. I would love to work on this more! Esepecially because I hope this will make my choices as a performer more effective and allow me to communicate whatever I'm trying to say (or whatever ideas I have) in a more focused way.
Ergo, lesson of the day: actively sitting on the outside is just as important as playing on the inside!!! :)
Monday, January 25, 2010
What's Your Movement Style?
Yesterday we finally had our workshop with Paloma! After two years of thinking about it and several months of preparation it was well worth the wait. This post is mostly a series of observations from my experience in the workshop. I hope other workshop participants will continue the conversation in the comments section.
The workshop was invigorating and renewing. From the start, I felt like I was being re-introduced to my body and how it could move. Perhaps that feeling was amplified by the fact that we've been in rehearsal and working with our own distinct process and preferences since November. The change in perspective was welcome!
My most striking self-observation:
As a mover/dancemaker, I realized that I most often deal with the vertical or being in a standing position vs. on the floor or in the horizontal. (Maybe this is residue from years of figure skating?) It is my new goal to explore the floor & different centers of gravity.
At the end of the workshop, Paloma asked everyone to take a moment to write down a description of their personal movement style. I found this very difficult despite the four hours of movement work! I didn't want to share mine, but when I told Paloma after the workshop, she begged me to. So now I'm going to be very honest. The first word that popped into my head:
Ok, I admitted it! Now it's your turn!
The workshop was invigorating and renewing. From the start, I felt like I was being re-introduced to my body and how it could move. Perhaps that feeling was amplified by the fact that we've been in rehearsal and working with our own distinct process and preferences since November. The change in perspective was welcome!
My most striking self-observation:
As a mover/dancemaker, I realized that I most often deal with the vertical or being in a standing position vs. on the floor or in the horizontal. (Maybe this is residue from years of figure skating?) It is my new goal to explore the floor & different centers of gravity.
At the end of the workshop, Paloma asked everyone to take a moment to write down a description of their personal movement style. I found this very difficult despite the four hours of movement work! I didn't want to share mine, but when I told Paloma after the workshop, she begged me to. So now I'm going to be very honest. The first word that popped into my head:
constipated
Ok, I admitted it! Now it's your turn!
Saturday, December 19, 2009
Master Text & Movement Workshop in January 2010
We are pleased to announce that we are hosting our next Master Workshop! This January, The Anthropologists will host Moving Memory, a text & movement workshop led by choreographer Paloma McGregor. The workshop is an exploration into the weaving together of text and movement and we're so psyched that Paloma is able to teach this between touring with Urban Bush Women.
I met Paloma two summers ago at a weekend intensive workshop offered by the Laban Bartenieff Institute of Movement Studies. During a break one day, we got lunch and I got to know more about Paloma and her impressive and eclectic background. Originally trained as a journalist, Paloma later became a dancer and choreographer. She also works with youth groups creating original movement-based performance that has roots in social justice. At that very lunch we discussed the Moving Memory workshop. So this only took two years in the making to come to fruition!
The Anthropologists believe in a strong foundation of training in order to propel our craft to the highest possible level so we are absolutely thrilled to be able to learn from Paloma in 2010.
What a great way to start the new year!
If you'd like to find out more information or to register, please email info@theanthropologists.org. Space is limited so don't delay!
***************
I met Paloma two summers ago at a weekend intensive workshop offered by the Laban Bartenieff Institute of Movement Studies. During a break one day, we got lunch and I got to know more about Paloma and her impressive and eclectic background. Originally trained as a journalist, Paloma later became a dancer and choreographer. She also works with youth groups creating original movement-based performance that has roots in social justice. At that very lunch we discussed the Moving Memory workshop. So this only took two years in the making to come to fruition!
The Anthropologists believe in a strong foundation of training in order to propel our craft to the highest possible level so we are absolutely thrilled to be able to learn from Paloma in 2010.
What a great way to start the new year!
If you'd like to find out more information or to register, please email info@theanthropologists.org. Space is limited so don't delay!
***************
MOVING MEMORY
Master Text & Movement Workshop
led by Paloma McGregor
Hosted by The Anthropologists
Sunday January 24, 3-7PM * Cost: $55
Register early! Space is Limited!
To register email info@theanthropologists.org
Workshop Location: A.R.T./NY
520 8th Avenue, 3rd FL, New York, NY 10018
Registration closes Jan 21, 2010
Moving Memory, led by choreographer Paloma McGregor, investigates the crossroads of movement and text. Participants will learn tools for creating and developing a personal movement vocabulary along with exercises for crafting evocative writing. Techniques include Bartenieff Fundamentals, Liz Lerman’s Toolbox and Paloma's Rooted/Reaching movement approach and more. This workshop is designed for performers, directors, writers, multi-disciplinary and self-generating artists. No formal dance/writing training is necessary, just a willingness to explore, create and have fun.
Paloma teaches around the country, specializing in workshops that explore and deepen the connections between writing and dance, using those forms to unearth personal voice, build community and animate vision.
Paloma McGregor’s choreography has been presented throughout New York, including at The Kitchen and Tribeca Performing Arts Center as well as across the country. As a dancer, Paloma has performed at City Center, the Joyce Theater, the Kennedy Center, BAM and the United Nations. Since 2005, she has toured internationally with the critically acclaimed Urban Bush Women dance company. Paloma co-founded Angela's Pulse, a performing arts company, with her sister Patricia McGregor.
Master Text & Movement Workshop
led by Paloma McGregor
Hosted by The Anthropologists
Sunday January 24, 3-7PM * Cost: $55
Register early! Space is Limited!
To register email info@theanthropologists.org
Workshop Location: A.R.T./NY
520 8th Avenue, 3rd FL, New York, NY 10018
Registration closes Jan 21, 2010
Moving Memory, led by choreographer Paloma McGregor, investigates the crossroads of movement and text. Participants will learn tools for creating and developing a personal movement vocabulary along with exercises for crafting evocative writing. Techniques include Bartenieff Fundamentals, Liz Lerman’s Toolbox and Paloma's Rooted/Reaching movement approach and more. This workshop is designed for performers, directors, writers, multi-disciplinary and self-generating artists. No formal dance/writing training is necessary, just a willingness to explore, create and have fun.
Paloma teaches around the country, specializing in workshops that explore and deepen the connections between writing and dance, using those forms to unearth personal voice, build community and animate vision.
Paloma McGregor’s choreography has been presented throughout New York, including at The Kitchen and Tribeca Performing Arts Center as well as across the country. As a dancer, Paloma has performed at City Center, the Joyce Theater, the Kennedy Center, BAM and the United Nations. Since 2005, she has toured internationally with the critically acclaimed Urban Bush Women dance company. Paloma co-founded Angela's Pulse, a performing arts company, with her sister Patricia McGregor.
Thursday, December 10, 2009
Voice In Action
This past jam all participants were invited to bring in a classical monologue to use.
After doing floorwork to focus on breathing and playing on a virtual vocal playground (everything from a piano to the curtains were used to experiment with vocalizations) we spent some time exploring the concept of Sats.
Sats, developed by Eugenio Barba, is eloquently described like so in his book The Paper Canoe: the energy can be suspended.
It is the moment just before you are compelled to move, to speak or to act. A useful example is found in the Viewpoints book where they talk about an archer pulling back her bow; the milisecond before the arrow is let go - that is Sats.
Another useful piece of information from Barba:
In the jam, we split up into groups to do some open improvisations but always with the idea of Sats in mind to help propel us from one state to the next.
The most striking result of this was that as we progressed, we noticed a shift in the improvisations. The jammers became more constrained in when they moved. That is to say, they showed restraint, moving only when necessary. They held on to their energy for longer periods of time, stayed with one gesture or movement or shape for increased durations. Thus, when they did change states, the impact was felt all the more strongly.
I look forward to hearing your thoughts on this. Please continue the conversation in the comments section.
After doing floorwork to focus on breathing and playing on a virtual vocal playground (everything from a piano to the curtains were used to experiment with vocalizations) we spent some time exploring the concept of Sats.
Sats, developed by Eugenio Barba, is eloquently described like so in his book The Paper Canoe: the energy can be suspended.
It is the moment just before you are compelled to move, to speak or to act. A useful example is found in the Viewpoints book where they talk about an archer pulling back her bow; the milisecond before the arrow is let go - that is Sats.
Another useful piece of information from Barba:
The Greek word enirgbeia means just that: to be ready for action, on the verge of producing work.I like that phrase: on the verge of producing work.
In the jam, we split up into groups to do some open improvisations but always with the idea of Sats in mind to help propel us from one state to the next.
The most striking result of this was that as we progressed, we noticed a shift in the improvisations. The jammers became more constrained in when they moved. That is to say, they showed restraint, moving only when necessary. They held on to their energy for longer periods of time, stayed with one gesture or movement or shape for increased durations. Thus, when they did change states, the impact was felt all the more strongly.
I look forward to hearing your thoughts on this. Please continue the conversation in the comments section.
Monday, November 30, 2009
Voice Part 2: Space Change
An update from the land of jam!
We'll be meeting at a new location this weekend:
Sunday, 12-3PM
Dance Theatre Workshop
219 West 19th Street (btwn 7th & 8th)
To attend, please RSVP to melissa@theanthropologists.org.
Will we see you there?
We'll be meeting at a new location this weekend:
Sunday, 12-3PM
Dance Theatre Workshop
219 West 19th Street (btwn 7th & 8th)
To attend, please RSVP to melissa@theanthropologists.org.
Will we see you there?
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