And nor do I want others to be alone.
I want systems that support us being together, speaking together, even when we are not saying the same things.
I want to be influenced. And I want to acknowledge influence.
I want choices to be difficult. I want imagination to expand possibilities. I want to start again.
I’ve just written a review in which I touch upon 'real' and 'constructed' qualities of choreography (which is also relevant to any art).
Cue Positions: A Symposium by BELLYFLOP
Friday 22 November and Saturday 23 November 2013
CALL FOR PROPOSALS
I am a very jealous person. I very often experience professional envy. These are things about which I get jealous:
- an artist a bit like me gets a residency where I wanted one
- an artist a bit like me is presenting their work, or getting other opportunities, where I thought I could
I feel like a blindness is incurred when we talk about dance in this utopian, clear-cut, way. Asking ‘which is better?’ obscures ‘how could it be better?’
Writing doesn't take space. Writing makes space.
It's essentially an opener: of other thoughts, of other writings, of other doings. It makes room for things where before there wasn't. It can seem to tread on things but really it opens new paths.
I like this.
I wanted to address something that has been bothering me about The Experiment, organised by the Female Choreographers Collective (FCC) and performed last week at Laban.
Dance world and opinions is a tricky balancing act when we invest ourselves in the work we make and somewhere in the creative and production process, our egos mistake the work we make for us.
It’s 05.58am. I’m listening to Cherry-Coloured Funk by the Cocteau Twins under neon white light. I’ve napped a bit but there’s only so many ways a body can fit over two train seats without some limb or hip joint going numb. My eyes are not heavy but they know, in their stingy dryness, that they should have been shut for longer. The train is stopped in Plymouth.
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