Five Eye Practices
Closed Eyes:
internal seeing; rest; refresh
Peripheral Seeing:
soft focus; seeing from the corner of the eyes
Infant Eyes:
seeing before naming
Looking Between Things:
the space "between"; negative space
Direct Looking:
investigate; study; absorb
Sunday, January 27, 2008
The Long Wave Solo Quad
Monday 1/21 D/D notes – Damaris
MLK Day
Miriam, Bobby and Eliza absent
No outside gaze
The Long Wave Solo Quad
Evening Format:
6:30 – 7:30 Sitting and Personal awareness practice
7:30 – 9:00 AUNTS making
9:00 - 10:00 Housekeeping/Discussion
Solo Quad with Lights, Candles and Rocks
The evening’s Aunts making was devoted to a long wave (45 minute) solo quad. Introduced into the prop list were five clip lamps and a box of votive candles (also specifically set out by BD were the rocks). No specific menu was given, yet it seemed that all evolutions happened organically. Especially lovely were periods of time with no one in the space. Initially the Quad was started with the usual Soundscore but was eventually turned off.
Lighting seemed to highten the atmosphere and set up some expectations – things were more theatrical. Light was seen as framing and character, but most often as object or performer. EB noted that lights were the dominant theme of the Aunt.
DW wonders, in the “director-less” situation of the quads, what are the signals in our culture that it’s time to stop boycotting influence and allow for over all design choices and duets?
BD requests that next week we return to this solo Quad Aunt with maybe at points someone else being in the director’s chair. CR had stimulus to create some new Aunts using some of this material. Or, what are the components today that we’re going to bring forward, not recreate the Aunt in it’s entirety. Are there little structures that could be dropped in to squeeze it? “Call Backs” from moments of old Aunts (or units that we could all recognize just as we recognize what the request to flock is, could we recognize named sections or units of Aunts for later retrieval? What has made it into our mythology?).
Talk of feedback and critique/ post AUNT discussion
We did not formally offer any feedback or critique on the solo quad, not have we been regularly giving feedback. Some voices noted that there is a desire for that, personally and on an overall compositional view level:
CR talks about the edge of staying slow and developing the culture. For the enjoyment of doing it? Or to compose something for an audience?
BD reminds that according to the manifesto the Aunt is temporally finished, BUT it may excite us to do something more.
EB wonders what would the criteria be for giving critique? To what end are we giving feedback?
KK declared that she needed feedback from time to time. TR suggests that “one” could ask the group specific questions on what “you” need feedback on.
Housekeeping
* Sunday 1/27 is a dinner at Barbara’s from 6-8pm
* The little jobs list needs to be revisited for the semester
* We agreed to expand the invitation of the Gaze to include the arts faculty in the building and all alumni as well as personal friends. Personal friends would reserve a sign up through their dd member, alumni would email Bobby.
MLK Day
Miriam, Bobby and Eliza absent
No outside gaze
The Long Wave Solo Quad
Evening Format:
6:30 – 7:30 Sitting and Personal awareness practice
7:30 – 9:00 AUNTS making
9:00 - 10:00 Housekeeping/Discussion
Solo Quad with Lights, Candles and Rocks
The evening’s Aunts making was devoted to a long wave (45 minute) solo quad. Introduced into the prop list were five clip lamps and a box of votive candles (also specifically set out by BD were the rocks). No specific menu was given, yet it seemed that all evolutions happened organically. Especially lovely were periods of time with no one in the space. Initially the Quad was started with the usual Soundscore but was eventually turned off.
Lighting seemed to highten the atmosphere and set up some expectations – things were more theatrical. Light was seen as framing and character, but most often as object or performer. EB noted that lights were the dominant theme of the Aunt.
DW wonders, in the “director-less” situation of the quads, what are the signals in our culture that it’s time to stop boycotting influence and allow for over all design choices and duets?
BD requests that next week we return to this solo Quad Aunt with maybe at points someone else being in the director’s chair. CR had stimulus to create some new Aunts using some of this material. Or, what are the components today that we’re going to bring forward, not recreate the Aunt in it’s entirety. Are there little structures that could be dropped in to squeeze it? “Call Backs” from moments of old Aunts (or units that we could all recognize just as we recognize what the request to flock is, could we recognize named sections or units of Aunts for later retrieval? What has made it into our mythology?).
Talk of feedback and critique/ post AUNT discussion
We did not formally offer any feedback or critique on the solo quad, not have we been regularly giving feedback. Some voices noted that there is a desire for that, personally and on an overall compositional view level:
CR talks about the edge of staying slow and developing the culture. For the enjoyment of doing it? Or to compose something for an audience?
BD reminds that according to the manifesto the Aunt is temporally finished, BUT it may excite us to do something more.
EB wonders what would the criteria be for giving critique? To what end are we giving feedback?
KK declared that she needed feedback from time to time. TR suggests that “one” could ask the group specific questions on what “you” need feedback on.
Housekeeping
* Sunday 1/27 is a dinner at Barbara’s from 6-8pm
* The little jobs list needs to be revisited for the semester
* We agreed to expand the invitation of the Gaze to include the arts faculty in the building and all alumni as well as personal friends. Personal friends would reserve a sign up through their dd member, alumni would email Bobby.
Thursday, January 17, 2008
Heaven Earth and Man
Preparation for Creative Work
HEAVEN, EARTH, AND MAN from CTR’s Dharma Art book
HEAVEN
‘Before we produce anything at all....’ we need space. Space which
accommodates all...lots of room, freedom, and wakefulness.
EARTH
1. Absence of neurotic mind
2. Thorough relaxation and wholesomeness
3. Absence of laziness
MAN
1. Freedom from subconscious gossip
` 2. Absence of regret
FOURTH PRINCIPLE
Body an mind work together harmoniously. Mind is open and peaceful
and body is without speed and agression.
HEAVEN, EARTH, AND MAN from CTR’s Dharma Art book
HEAVEN
‘Before we produce anything at all....’ we need space. Space which
accommodates all...lots of room, freedom, and wakefulness.
EARTH
1. Absence of neurotic mind
2. Thorough relaxation and wholesomeness
3. Absence of laziness
MAN
1. Freedom from subconscious gossip
` 2. Absence of regret
FOURTH PRINCIPLE
Body an mind work together harmoniously. Mind is open and peaceful
and body is without speed and agression.
David Bohm (physicist, philosopher, & mystic)
"At present, people create barriers between each other by their
fragmentary thought. Each one operates separately. When these barriers
have dissolved, then there arises one mind, where they are all one
unit, but each person also retains his or her own individual awareness.
That one mind will still exist even when they separate, and when they
come together, it will be as if they hadn't separated. It's actually a
single intelligence that works with people who are moving in
relationship with one another. . . . If you had a number of people who
really pulled together and worked together in this way, it would be
remarkable. They would stand out so much that everyone would know they
were different."
~David Bohm (physicist, philosopher, & mystic)
fragmentary thought. Each one operates separately. When these barriers
have dissolved, then there arises one mind, where they are all one
unit, but each person also retains his or her own individual awareness.
That one mind will still exist even when they separate, and when they
come together, it will be as if they hadn't separated. It's actually a
single intelligence that works with people who are moving in
relationship with one another. . . . If you had a number of people who
really pulled together and worked together in this way, it would be
remarkable. They would stand out so much that everyone would know they
were different."
~David Bohm (physicist, philosopher, & mystic)
THE FOUR PROPERTIES OF WHOLE, NATURAL, COMPLEX AND LIVING SYSTEMS
THE FOUR PROPERTIES
OF WHOLE, NATURAL, COMPLEX
AND LIVING SYSTEMS.
(based on handout from Roger Dorris - Jan 05)
1) Systems are integrated wholes whose properties cannot be reduced to
those of smaller units....
If ‘desolate/delight’ is a system then it is a whole and we are the
parts?
These systems are interrelated in reciprocal and mutual
relationships...if we look at a 'part' we can't understand the 'whole'.
-If we just look at/study the cells of the body we can't understand
how the whole human body works.
-If we fixate on one group of people as the problem, will never
understand how the whole field need to function to integrate the
marginalized group or issue they represent.
When I enter the room to begin ‘d/d’ practice, I am a part of a larger
system. By just observing 'me' I can't know the whole field. It helps
me to observe and exchange with others to increase my understanding of
the group-field.
2) Natural systems maintain themselves in a changing environment.
'Despite continual flow-through of matter-energy both from within and
outside the system, open systems maintain their balance. They
self-regulate. This is called 'homeostasis' - the way a system
maintains its functional operational nature. It can be called
'self-stabilizing feedback'. This is how a group-field knows how to
return to it's established ways of being after a disturbance (a death,
fight, arrival of new members, new imput).
What are the established ways of being of the ‘d/d project?
When I'm in the field of the 'Now' and energy and matter are flowing
through me how do I self-regulate? Do I modify my homeostasis and
adapt to a new way of functioning?
Are we, as a group-field, open to changing the homeostasis?
When change is introduced into the system, there will always be some
energy to try and return to its original configuration of relationship
and power dynamics. Homeostasis principal can be positive or negative,
helpful or harmful.
3) Natural systems create themselves in response to the challenge of
the environment.
Is ‘d/d’ always creating itself each time we begin?
Open systems evolve in complexity. When challenged they can fall apart
or adapt by reorganizing around more responsive norms. This can create
a new homeostasis or a 'runaway' system when the deviation is amplified
until the system goes out of control. Example is cancer cells, the
Salem witch trial where hysteria escalated until people were burned at
the stake. War and environmental devastation are also examples of
unchecked deviation-amplifying feedback.
Does the art of improvisation model a form of adaptation in an ever
changing and challenging environment?
If the system handles the changes or continues to survive during the
chaos and moves 'far from equilibrim' then a new way of being is
created. This is called 'emerging properties' or 'novelty'. This is
how evolution happens. Something new emerges. And the system 'self
organizes'.
Emergence is all we've got. So tolerating chaos allows for novelty and
change to happen.
When the group field goes deeply into it's own process and reaches a
state of 'far from equilibrium' - some kind of chaotic and disruptive
activity - it will self-organize around a new way of conducting itself.
For instance after a fight with one's family, lover, friend and it
feels like the whole thing is coming apart. If it holds together there
is always a new sense of the relationship, a new way of accommodating
one another. Often there is deeper intimacy and sense of connection.
4) Natural systems are coordinating interfaces in nature's hierarchy.
Every system is both a whole in it's own right, comprising subsystems,
and simultaneously an integral part of a larger system. This is a
'holon' or 'nested hierarchies' - systems within systems, circuits
within circuits, fields within fields. A system self-generates from
spontaneously adaptive cooperation between parts, in mutual benefit.
Order and differentiation go hand in hand, components diversify as they
coordinate and invent new responses. This is what the phrase 'order
emerges out of chaos' is about.
Also means the seeds of the solution are contained in the field from
which the conflict arose.
A Psychosystemic View of the World
By Larry Graham
Kinship of all things. Each moment of experience draws its content
from its environment. And the environment is in turn shaped by what
has contributed to bringing it forth.
Concrescence process speaks of the smallest units of experience as
actual entities or droplets of experience. They coalesce to form the
universe in all its variety. These units of reality are indeterminate
electrical patterns rather than small particles of matter.
The basic point is that whatever is metaphysically true at one level in
the universe is also true for all other realities in the universe. And
there is room for novelty and mutual influence in the universe.
The struggle for actualizing values becomes a crucial struggle in
determining what the world will actually become. The past, God, and
the subject itself supply value-laden options to be concretely
realized. In its own freedom, the emerging subject struggles to
combine the powerful influence of the past with God's aim and with it's
own aim. In this struggle, the emerging subject chooses what it will
become.
The dimension of 'contextual creativity'.
There is a capacity for self-determinination in the context of multiple
influences. The past world - history and the environment - do not
completely determine the present. Individuals have 'contextual
creativity' - they exist by establishing relative independence within
community. Persons and context create, reflect, and transcend one
another.
Because of multiple realities contending for influence in the universe,
it is recognized that nothing comes into being without struggle,
conflict, and loss. There is a great risk that choices will be made
for the worse rather than for the better. The exact from of the future
cannot be predicted or controlled.
The Organization
First and most basic structure is the actual occasion of experience -
droplets of experience or actual entity.
OF WHOLE, NATURAL, COMPLEX
AND LIVING SYSTEMS.
(based on handout from Roger Dorris - Jan 05)
1) Systems are integrated wholes whose properties cannot be reduced to
those of smaller units....
If ‘desolate/delight’ is a system then it is a whole and we are the
parts?
These systems are interrelated in reciprocal and mutual
relationships...if we look at a 'part' we can't understand the 'whole'.
-If we just look at/study the cells of the body we can't understand
how the whole human body works.
-If we fixate on one group of people as the problem, will never
understand how the whole field need to function to integrate the
marginalized group or issue they represent.
When I enter the room to begin ‘d/d’ practice, I am a part of a larger
system. By just observing 'me' I can't know the whole field. It helps
me to observe and exchange with others to increase my understanding of
the group-field.
2) Natural systems maintain themselves in a changing environment.
'Despite continual flow-through of matter-energy both from within and
outside the system, open systems maintain their balance. They
self-regulate. This is called 'homeostasis' - the way a system
maintains its functional operational nature. It can be called
'self-stabilizing feedback'. This is how a group-field knows how to
return to it's established ways of being after a disturbance (a death,
fight, arrival of new members, new imput).
What are the established ways of being of the ‘d/d project?
When I'm in the field of the 'Now' and energy and matter are flowing
through me how do I self-regulate? Do I modify my homeostasis and
adapt to a new way of functioning?
Are we, as a group-field, open to changing the homeostasis?
When change is introduced into the system, there will always be some
energy to try and return to its original configuration of relationship
and power dynamics. Homeostasis principal can be positive or negative,
helpful or harmful.
3) Natural systems create themselves in response to the challenge of
the environment.
Is ‘d/d’ always creating itself each time we begin?
Open systems evolve in complexity. When challenged they can fall apart
or adapt by reorganizing around more responsive norms. This can create
a new homeostasis or a 'runaway' system when the deviation is amplified
until the system goes out of control. Example is cancer cells, the
Salem witch trial where hysteria escalated until people were burned at
the stake. War and environmental devastation are also examples of
unchecked deviation-amplifying feedback.
Does the art of improvisation model a form of adaptation in an ever
changing and challenging environment?
If the system handles the changes or continues to survive during the
chaos and moves 'far from equilibrim' then a new way of being is
created. This is called 'emerging properties' or 'novelty'. This is
how evolution happens. Something new emerges. And the system 'self
organizes'.
Emergence is all we've got. So tolerating chaos allows for novelty and
change to happen.
When the group field goes deeply into it's own process and reaches a
state of 'far from equilibrium' - some kind of chaotic and disruptive
activity - it will self-organize around a new way of conducting itself.
For instance after a fight with one's family, lover, friend and it
feels like the whole thing is coming apart. If it holds together there
is always a new sense of the relationship, a new way of accommodating
one another. Often there is deeper intimacy and sense of connection.
4) Natural systems are coordinating interfaces in nature's hierarchy.
Every system is both a whole in it's own right, comprising subsystems,
and simultaneously an integral part of a larger system. This is a
'holon' or 'nested hierarchies' - systems within systems, circuits
within circuits, fields within fields. A system self-generates from
spontaneously adaptive cooperation between parts, in mutual benefit.
Order and differentiation go hand in hand, components diversify as they
coordinate and invent new responses. This is what the phrase 'order
emerges out of chaos' is about.
Also means the seeds of the solution are contained in the field from
which the conflict arose.
A Psychosystemic View of the World
By Larry Graham
Kinship of all things. Each moment of experience draws its content
from its environment. And the environment is in turn shaped by what
has contributed to bringing it forth.
Concrescence process speaks of the smallest units of experience as
actual entities or droplets of experience. They coalesce to form the
universe in all its variety. These units of reality are indeterminate
electrical patterns rather than small particles of matter.
The basic point is that whatever is metaphysically true at one level in
the universe is also true for all other realities in the universe. And
there is room for novelty and mutual influence in the universe.
The struggle for actualizing values becomes a crucial struggle in
determining what the world will actually become. The past, God, and
the subject itself supply value-laden options to be concretely
realized. In its own freedom, the emerging subject struggles to
combine the powerful influence of the past with God's aim and with it's
own aim. In this struggle, the emerging subject chooses what it will
become.
The dimension of 'contextual creativity'.
There is a capacity for self-determinination in the context of multiple
influences. The past world - history and the environment - do not
completely determine the present. Individuals have 'contextual
creativity' - they exist by establishing relative independence within
community. Persons and context create, reflect, and transcend one
another.
Because of multiple realities contending for influence in the universe,
it is recognized that nothing comes into being without struggle,
conflict, and loss. There is a great risk that choices will be made
for the worse rather than for the better. The exact from of the future
cannot be predicted or controlled.
The Organization
First and most basic structure is the actual occasion of experience -
droplets of experience or actual entity.
Wednesday, January 16, 2008
DIVERSITY = PRODUCTIVITY
Monday 1/14 D/D notes – Damaris
Cara and Christa absent
No outside gaze
DIVERSITY = PRODUCTIVITY
Evening Format:
6:30 – 7:00 Sitting and Personal awareness practice
7:00 – 7:30 reconnoiter
7:30 – 7:40 Break
7:40 – 9:30 AUNTS making
9:30 - 10:00 Housekeeping/Discussion
Reconnoiter –verb (used with object)
1. to inspect, observe, or survey (the enemy, the enemy's strength or position, a region, etc.) in order to gain information for military purposes.
2. to examine or survey (a region, area, etc.) for engineering, geological, or other purposes.
–verb (used without object)
3. to make a reconnaissance.
[Origin: 1700–10; <>
BD would like us to review the “performance options” available to su in the upcoming month and decide if we want them and what we would want from them. BD had an idea of perhaps we could diversify around these, that individual members could “take on” the producing of a specific event. Using their director’s eye. An idea of maturing something:
What do individuals want from this second semster?
March???: (could be the Monday of Spring Break) Contemplative Festival
April: May? Denver Art Museum
April 3: Faculty Concert
April 25 & 26 Our advertised last showing (and Katherine’s 50th birthday!)
We reviewed the mission statement and the Aunts manifesto for inspiration and grounding.
Erika B shared an inspiration from a review of a book that she read (I went on line and found (I think) a similar article:
http://www.nytimes.com/2008/01/08/science/08conv.html?ex=1357880400&en=e0eff70095b6eb8c&ei=5088&partner=rssnyt&emc=rss
“Diverse groups of people bring to organizations more and different ways of seeing a problem and, thus, faster/better ways of solving it.
People from different backgrounds have varying ways of looking at problems, what I call “tools.” The sum of these tools is far more powerful in organizations with diversity than in ones where everyone has gone to the same schools, been trained in the same mold and thinks in almost identical ways.
The problems we face in the world are very complicated. Any one of us can get stuck. If we’re in an organization where everyone thinks in the same way, everyone will get stuck in the same place.
But if we have people with diverse tools, they’ll get stuck in different places. One person can do their best, and then someone else can come in and improve on it. There’s a lot of empirical data to show that diverse cities are more productive, diverse boards of directors make better decisions, the most innovative companies are diverse.”
Flick and Flack Menu, Barbara and Bobby discuss from director’s eye, Katherine, Eliza and trio of Laurie, Erika and Tyler
BD’s image of trying to work with time. Figuring out duration? Three separate layers:
1. KK is observed finding her place in space where she will take a sleeping posture for the entirety of the event
2. 2. EL will build on bell, stool, bird call and go into almost animal hibernation and then activated, then settles
3. Trio working with distal initiation, proximal strength and imitation (slow, but then sudden abrupt activity, maintain relaxed and wholesome.
Amid & post AUNT discussion
This was a unique situation as BD and BR were set in the audience making their observations and thought pattern transparent from the director’s eye chair. This meant the gaze as well as the performers could hear the commentary during the Aunt. Miriam felt the discussion fro the area of the gazers was very disturbing, and made the suggestion that BD and BR move to a place on the stage which then made it easier for the audience to hear. Before that MW felt that their comments were infringing on the interpretation she had of the improv she was watching.
DW felt it might be more focused if BD and BR only spoke aloud the observations relating to a particular theme (in this case time), perhaps in this case we would could hear the development of that “experiment” relating to time and not feel our individual experience of the improv was being dictated by the vocalized commentaries of the directors.
The intention is to be open and transparent to the audience, the concern is commentary helping them settle down and see specific things (like at an art gallery – you have your subjective experience of a painting, and then you can hear the art comments the guide makes and see the composition more deeply, sometimes to the detriment of your personal experience and sometimes to it’s enhancement.
Miriam & Tyler’s Five Rocks, Eliza, Laurie, Katherine, Erika, Bobby
Five people enter the stage stagerred. Each one finds a “still” location as a rock. Time passes. Each rock has a specific movement to complete prior to re-arranging in space. Individuals rearrange again in the movement, but only one may move at a time
Post Aunt Discussion
This was the second Aunt in a row that had two people sharing the director’s chair!
EB was reminded of the Zen Rock Garden exercise – truly an investigation of time and space “Taking your rock position and inhabiting it fully, so it becomes a cellular experience, opening the senses.” EL commented on how her imagination is activated in seeming inactivity.
There was a general interest in re-visiting this Aunt embodying a houseplant, aquarium or fallen soldier, etc
Housekeeping
Sunday 1/27 is a dinner at Barbara’s from 6-8pm
Cara and Christa absent
No outside gaze
DIVERSITY = PRODUCTIVITY
Evening Format:
6:30 – 7:00 Sitting and Personal awareness practice
7:00 – 7:30 reconnoiter
7:30 – 7:40 Break
7:40 – 9:30 AUNTS making
9:30 - 10:00 Housekeeping/Discussion
Reconnoiter –verb (used with object)
1. to inspect, observe, or survey (the enemy, the enemy's strength or position, a region, etc.) in order to gain information for military purposes.
2. to examine or survey (a region, area, etc.) for engineering, geological, or other purposes.
–verb (used without object)
3. to make a reconnaissance.
[Origin: 1700–10; <>
BD would like us to review the “performance options” available to su in the upcoming month and decide if we want them and what we would want from them. BD had an idea of perhaps we could diversify around these, that individual members could “take on” the producing of a specific event. Using their director’s eye. An idea of maturing something:
What do individuals want from this second semster?
March???: (could be the Monday of Spring Break) Contemplative Festival
April: May? Denver Art Museum
April 3: Faculty Concert
April 25 & 26 Our advertised last showing (and Katherine’s 50th birthday!)
We reviewed the mission statement and the Aunts manifesto for inspiration and grounding.
Erika B shared an inspiration from a review of a book that she read (I went on line and found (I think) a similar article:
http://www.nytimes.com/2008/01/08/science/08conv.html?ex=1357880400&en=e0eff70095b6eb8c&ei=5088&partner=rssnyt&emc=rss
“Diverse groups of people bring to organizations more and different ways of seeing a problem and, thus, faster/better ways of solving it.
People from different backgrounds have varying ways of looking at problems, what I call “tools.” The sum of these tools is far more powerful in organizations with diversity than in ones where everyone has gone to the same schools, been trained in the same mold and thinks in almost identical ways.
The problems we face in the world are very complicated. Any one of us can get stuck. If we’re in an organization where everyone thinks in the same way, everyone will get stuck in the same place.
But if we have people with diverse tools, they’ll get stuck in different places. One person can do their best, and then someone else can come in and improve on it. There’s a lot of empirical data to show that diverse cities are more productive, diverse boards of directors make better decisions, the most innovative companies are diverse.”
Flick and Flack Menu, Barbara and Bobby discuss from director’s eye, Katherine, Eliza and trio of Laurie, Erika and Tyler
BD’s image of trying to work with time. Figuring out duration? Three separate layers:
1. KK is observed finding her place in space where she will take a sleeping posture for the entirety of the event
2. 2. EL will build on bell, stool, bird call and go into almost animal hibernation and then activated, then settles
3. Trio working with distal initiation, proximal strength and imitation (slow, but then sudden abrupt activity, maintain relaxed and wholesome.
Amid & post AUNT discussion
This was a unique situation as BD and BR were set in the audience making their observations and thought pattern transparent from the director’s eye chair. This meant the gaze as well as the performers could hear the commentary during the Aunt. Miriam felt the discussion fro the area of the gazers was very disturbing, and made the suggestion that BD and BR move to a place on the stage which then made it easier for the audience to hear. Before that MW felt that their comments were infringing on the interpretation she had of the improv she was watching.
DW felt it might be more focused if BD and BR only spoke aloud the observations relating to a particular theme (in this case time), perhaps in this case we would could hear the development of that “experiment” relating to time and not feel our individual experience of the improv was being dictated by the vocalized commentaries of the directors.
The intention is to be open and transparent to the audience, the concern is commentary helping them settle down and see specific things (like at an art gallery – you have your subjective experience of a painting, and then you can hear the art comments the guide makes and see the composition more deeply, sometimes to the detriment of your personal experience and sometimes to it’s enhancement.
Miriam & Tyler’s Five Rocks, Eliza, Laurie, Katherine, Erika, Bobby
Five people enter the stage stagerred. Each one finds a “still” location as a rock. Time passes. Each rock has a specific movement to complete prior to re-arranging in space. Individuals rearrange again in the movement, but only one may move at a time
Post Aunt Discussion
This was the second Aunt in a row that had two people sharing the director’s chair!
EB was reminded of the Zen Rock Garden exercise – truly an investigation of time and space “Taking your rock position and inhabiting it fully, so it becomes a cellular experience, opening the senses.” EL commented on how her imagination is activated in seeming inactivity.
There was a general interest in re-visiting this Aunt embodying a houseplant, aquarium or fallen soldier, etc
Housekeeping
Sunday 1/27 is a dinner at Barbara’s from 6-8pm
Monday, January 7, 2008
deSoLAte/deLigHT project initiates a year-long investigation into the creation of performance art based in the establishment of a culture. The culture will commit to creative processes that are enhanced by contemplative art practices, such as sitting meditation practice, instructions from the Dharma Art teachings of Chogyam Trungpa Rinpoche, and images from general systems theory. From this culture will arise an expression that represents the combined myths and stories of this moment-in-time. We will re-member, re-create and un-fold surprise.
The project was first explored during the ‘dance.art.lab’ in May 2007 on the Nalanda campus of Naropa U. During these 5 days/6 hours a day, disciplines and values came into focus. The new performance art form ‘AUNTS’, which invites immediate, direct, and complete expression from those present is the instigator. Waiting for the space to tell us what to do sets the tone both for embodied disciplines and mutual engagement with our shared conversations through movement, text, sound and silence.
AUNTS Manifesto
(based on an email announcement for a performance party in Brooklyn NY, sept 2006
AUNTS is about having dance happen. The dance you've already seen, that pops into your head, that is known and expected and unknown and unexpected. Dance that seeps into the cracks of street lights, subway commotion, magazine myth, drunk nights at the bar, the family album, and the couch where you lay and softly glance at the afternoon light coming in through the window. AUNTS constantly tests a model of producing dance/performance/parties. A model that supports the development of current, present, and contemporary dancing. A model that expects to be adopted, adapted, replicated, and perpetuated by any person who would like to use it. Where performing can last five seconds or five hours; never a "work in progress." Where the work of performing is backed by the "land of plenty" rather than "there is not enough." Where the work of AUNTS defies the regulation of institution, capitalism, and consumerism. AUNTS is about being gracious in this world.
Thank you.
www.myspace.com/aunts
AUNTS is about having dance happen. The dance you've already seen, that pops into your head, that is known and expected and unknown and unexpected. Dance that seeps into the cracks of street lights, subway commotion, magazine myth, drunk nights at the bar, the family album, and the couch where you lay and softly glance at the afternoon light coming in through the window. AUNTS constantly tests a model of producing dance/performance/parties. A model that supports the development of current, present, and contemporary dancing. A model that expects to be adopted, adapted, replicated, and perpetuated by any person who would like to use it. Where performing can last five seconds or five hours; never a "work in progress." Where the work of performing is backed by the "land of plenty" rather than "there is not enough." Where the work of AUNTS defies the regulation of institution, capitalism, and consumerism. AUNTS is about being gracious in this world.
Thank you.
www.myspace.com/aunts
Wholesome and Relaxed with Rigor 6/1/7
DAY TWO Friday 6/1/7
MORNING
“WHOLESOME AND RELAXED WITH RIGOR”
Beginning Structure: meditation, personal awareness practice, open space.
Solo Quads – Same as Previous day: Quadrants Exercise w/ Eric Lacossa soundscape
All ensemble
Space divided into four equal quadrants (ensemble seated in proscenium format)
A participant can choose to enter and take a solo in a quad w/ beginning middle and end declared by solo performer (optional working w/ others influence). Soloists entering and exiting must do so along the edge of the playing space
A quad may be left empty
A soloist may choose to read or recite text, but with no movement. There may be two quads with active text at a time.
Quadrants may be done with a pre-recorded sound-scape.
At the end of the quads AUNT ensemble gives a ‘one-clap.
Exercise Two
Return to solo quads with the same sound environment as yesterday. Only 10 minutes w/ Victoria, Katharine, Laurie, Christa, Barbara
Q What is the line of self-consciousness? Keeping solos important.
Carol’s Quadrants Variation Two Menu, w/ Eric Lacossa soundscape
All
Solo quads, same rules as Barbara introduced including the option of text and the same sound score. (Idea: perhaps starting the sound score at a different place.)
If you enter to join in a quad, establish spatial relationship and duet; two or more people in one quadrant the 2nd mirroring, deeply influenced by the 1st.
Only one quad at a time can have multiple people
AFTERNOOON
“WAITING AWAKE”
Mary’s Roe Sham Bo Menu,
All
Imagine a circle diameter 10 to 15 feet
Two people in the circle, task in circle is to play rock/paper/scissors or trivial pursuit, you may enter and exit. The rest of the space is mapped in US/DS diagonals, one must experience a “shift” in energy when passing through the circle, otherwise in the circle you may use levels, line and shape, you may choose to be influenced by the game played in the circle. Everyone can enter and exit and play with tempo as in duration of performance
Feedback forum from the inside and the intention from the creator of the AUNT.
KK A question about staying w/in the form
CK Negotiation between giving an impulse expression and/or letting be what’s there.
BD Playing enjoyable exploring possibilities in the structure, the length of time. How long does it take for an AUNT to get dressed?
CR Always kind of thrown when a rule gets broken
MLB I assume a rule is there to be broken
Victoria’s Devotion Duet Menu,
Chung Fu, Damaris
Duet in the whole space
One person solos, a second person DSR is established, but waits t feel the impulse to join, and then mirrors One as much as possible
AUNT ends when either one or two feels devotion
A comment about boredom and waiting – waiting for the space to tell us what to do. If you’re really gonna mine, then you’ve got to stay and what’s there.
BD A value of the culture through dharma art may be to allow you to take criticism in a way that self love can allow you to take what you need and let the rest go.
No regret says “Oh yeah, that being (me) back then was more primitive…” First thought best thought – primordial thought- sense that in the middle of chatter. The vast place of the unknown can pop out. A vast net to narrow down is a process of discrimination. Everyone in this culture will find their own metaphors. Nothing becoming something.
Ringing the bell is a way to press the pause button
Barbara’s Three Views Menu – BD coached as it progressed
Joan, Katharine, Christa, Reagan
Each of the three hold umbrellas to the right above you, walk from one foot to another- balance as you go along diagonal parallel corridors. Umbrellas changing hands is OK.
Maintain an energetic palm of the hand, eyes moving away from the palm, focus 2/3rds on palm, eye and umbrella, 1/3rd on the pedestrian activity of going from foot to foot.
REAGAN does a solo behind the parallel corridors using repetition, levels and stillness. Also she can accept influence from others in trio.
MARY will enter with a soliloquy about death.
The trio begins to slowly cross to Mary.
Reagan now on a chair, strike levels
Modeling different styles of directing. On the edge of decorum
Cultivating the group mind, culture, trust
Renunciation,
Present,
Engaged
Now return to previous AUNTS, their creators have first dibs at do-overs.
Katharine revisits Katharine’s The Most Excellent Heart Sutra of Longmont Menu, Katharine calls beginning, middle & end
Carol and Laurie
Same two predetermined pieces of text physically stayed on stage for reading in the center – Operator’s choice of volume control; speaking voice as a desperate loud whisper, but also with any voice you can tell two stories; how you’re doing or some kind of mundane pedestrian instruction
Work with up and down
Soft and hard
Spiral and circle
Don’t use the wall
Victoria revisits Christa’s Desire Menu, Victoria calls beginning, & end
Joan, Mary Christa, Laurie
W/ two objects of desire: Noah and Chung Fu
Space split in two sections (SL & SR)
One side, two performers, fear or resistance of desire
The other side, two performers, desire
Interacting with your desire image, finding moments to cross over to the “other side”
Working with accepting/not accepting influence from others. The pause bell may be used.
MORNING
“WHOLESOME AND RELAXED WITH RIGOR”
Beginning Structure: meditation, personal awareness practice, open space.
Solo Quads – Same as Previous day: Quadrants Exercise w/ Eric Lacossa soundscape
All ensemble
Space divided into four equal quadrants (ensemble seated in proscenium format)
A participant can choose to enter and take a solo in a quad w/ beginning middle and end declared by solo performer (optional working w/ others influence). Soloists entering and exiting must do so along the edge of the playing space
A quad may be left empty
A soloist may choose to read or recite text, but with no movement. There may be two quads with active text at a time.
Quadrants may be done with a pre-recorded sound-scape.
At the end of the quads AUNT ensemble gives a ‘one-clap.
Exercise Two
Return to solo quads with the same sound environment as yesterday. Only 10 minutes w/ Victoria, Katharine, Laurie, Christa, Barbara
Q What is the line of self-consciousness? Keeping solos important.
Carol’s Quadrants Variation Two Menu, w/ Eric Lacossa soundscape
All
Solo quads, same rules as Barbara introduced including the option of text and the same sound score. (Idea: perhaps starting the sound score at a different place.)
If you enter to join in a quad, establish spatial relationship and duet; two or more people in one quadrant the 2nd mirroring, deeply influenced by the 1st.
Only one quad at a time can have multiple people
AFTERNOOON
“WAITING AWAKE”
Mary’s Roe Sham Bo Menu,
All
Imagine a circle diameter 10 to 15 feet
Two people in the circle, task in circle is to play rock/paper/scissors or trivial pursuit, you may enter and exit. The rest of the space is mapped in US/DS diagonals, one must experience a “shift” in energy when passing through the circle, otherwise in the circle you may use levels, line and shape, you may choose to be influenced by the game played in the circle. Everyone can enter and exit and play with tempo as in duration of performance
Feedback forum from the inside and the intention from the creator of the AUNT.
KK A question about staying w/in the form
CK Negotiation between giving an impulse expression and/or letting be what’s there.
BD Playing enjoyable exploring possibilities in the structure, the length of time. How long does it take for an AUNT to get dressed?
CR Always kind of thrown when a rule gets broken
MLB I assume a rule is there to be broken
Victoria’s Devotion Duet Menu,
Chung Fu, Damaris
Duet in the whole space
One person solos, a second person DSR is established, but waits t feel the impulse to join, and then mirrors One as much as possible
AUNT ends when either one or two feels devotion
A comment about boredom and waiting – waiting for the space to tell us what to do. If you’re really gonna mine, then you’ve got to stay and what’s there.
BD A value of the culture through dharma art may be to allow you to take criticism in a way that self love can allow you to take what you need and let the rest go.
No regret says “Oh yeah, that being (me) back then was more primitive…” First thought best thought – primordial thought- sense that in the middle of chatter. The vast place of the unknown can pop out. A vast net to narrow down is a process of discrimination. Everyone in this culture will find their own metaphors. Nothing becoming something.
Ringing the bell is a way to press the pause button
Barbara’s Three Views Menu – BD coached as it progressed
Joan, Katharine, Christa, Reagan
Each of the three hold umbrellas to the right above you, walk from one foot to another- balance as you go along diagonal parallel corridors. Umbrellas changing hands is OK.
Maintain an energetic palm of the hand, eyes moving away from the palm, focus 2/3rds on palm, eye and umbrella, 1/3rd on the pedestrian activity of going from foot to foot.
REAGAN does a solo behind the parallel corridors using repetition, levels and stillness. Also she can accept influence from others in trio.
MARY will enter with a soliloquy about death.
The trio begins to slowly cross to Mary.
Reagan now on a chair, strike levels
Modeling different styles of directing. On the edge of decorum
Cultivating the group mind, culture, trust
Renunciation,
Present,
Engaged
Now return to previous AUNTS, their creators have first dibs at do-overs.
Katharine revisits Katharine’s The Most Excellent Heart Sutra of Longmont Menu, Katharine calls beginning, middle & end
Carol and Laurie
Same two predetermined pieces of text physically stayed on stage for reading in the center – Operator’s choice of volume control; speaking voice as a desperate loud whisper, but also with any voice you can tell two stories; how you’re doing or some kind of mundane pedestrian instruction
Work with up and down
Soft and hard
Spiral and circle
Don’t use the wall
Victoria revisits Christa’s Desire Menu, Victoria calls beginning, & end
Joan, Mary Christa, Laurie
W/ two objects of desire: Noah and Chung Fu
Space split in two sections (SL & SR)
One side, two performers, fear or resistance of desire
The other side, two performers, desire
Interacting with your desire image, finding moments to cross over to the “other side”
Working with accepting/not accepting influence from others. The pause bell may be used.
The One Clap and Other Mudras 5/31/7
Thursday 5/31/7
MORNING
“THE ONE CLAP AND OTHER MUDRAS”
Beginning Structure: meditation, personal awareness practice, open space. Introductions and structure set up. Handout AUNTS manifesto.
Quadrants Exercise w/ Eric Lacossa soundscape
All ensemble
Space divided into four equal quadrants (ensemble seated in proscenium format)
A participant can choose to enter and take a solo in a quad w/ beginning middle and end declared by solo performer (optional working w/ others influence). Soloists entering and exiting must do so along the edge of the playing space
A quad may be left empty
A soloist may choose to read or recite text, but with no movement. There may be two quads with active text at a time.
Quadrants may be done with a pre-recorded sound-scape.
At the end of the quads AUNT ensemble gives a ‘one-clap.
Discussion
Q What are the values of the culture that have been established so far?
Listening, internal eye, stillness, personal response, enter space in silence, lab structure, breath, softness, focus, self aware, presence, patience, not afraid to leave space empty, alone/together, playfulness, proscenium viewing, support, beauty, influence is optional, process is fore-fronted to product, listening to the space and responding; letting space tell you what to do. Being present and connected with each other, following the stream of your internal impulse/freedom, rigor.
Q What are the disciplines that allow fir the broadest freedom for research – an honorific.
The way space is shaped determines where energies are formed. Both permission and specific instructions.
Aesthetic of indeterminate sound score – Cageian. A collage aesthetic.
Meditation is a support for being alone/together. What values will allow us to co-create performance.
Length of performance five hours; well that allows for a shamanistic type temporal shift.
Learning to wait.
AFTERNOOON
“SPACE IS FULL OF STORIES”
Or “If Everyone Wasn’t Here, These Things Wouldn’t Have Arisen”.
Joan’s Three Umbrellas Menu w/ music score
Laurie, Barbara, Damaris performers
Two people each with a parasol
Formatted in lines or diagonal, no curves
Open and close parasol carefully
Laurie’s Faces Menu, Laurie calls beginning, & end
Victoria, Joan, Mary, Damaris, Carol
Five on a grid
Walking or stillness
Happy or sad facial expressions ONLY
Christa’s Desire Menu, Christa calls beginning, & end
Laurie, Mary, Victoria
Space split in two sections (SL & SR)
One side, two performers, fear or resistance of desire
The other side, two performers, desire
Interacting with your desire image, finding moments to cross over to the “other side”
Working with accepting/not accepting influence from others
Barbara’s Porte-au-bras Menu w/ sound score ballet music/gypsy music
Katharine, Joan, Christa,
Barbara and Mary w/ text
Parallel corridors on diagonal 3, 4 or 5 performers
Slow motion going from one foot to another
Strong palm of the hand open, gaze is away from the palm of the hand
An open space for a movement solo, facing us, describing or telling about a dream
Barbara calls beginning, middle & end
Katharine’s The Most Excellent Heart Sutra of Longmont Menu, Katharine calls beginning, middle & end
As many participants as showed up – but not round robin 1 – 10 folks
Two predetermined pieces of text physically stayed on stage for reading in the center – you can read them as you like.
Work with up and down
Soft and hard
Don’t use the wall
Mary’s Smelly Time Menu w/ Barbara Dilley on piano, Mary calls beginning, middle & end
Katharine, Victoria, Chung-Fu
Three performers
Using grid, diagonal and half circle
Formal and extremely informal
Occasionally a whiff of a very bad smell
Props: one push broom, one book
Someone can be inspired to play the piano
Perhaps an idea to put brackets around your AUNT if you would prefer to not have others work on it further before you do.
For tomorrow – the slow motion or pause bell
Three views- director, witness, inside, Gift economy – this is a lab, not a workshop
MORNING
“THE ONE CLAP AND OTHER MUDRAS”
Beginning Structure: meditation, personal awareness practice, open space. Introductions and structure set up. Handout AUNTS manifesto.
Quadrants Exercise w/ Eric Lacossa soundscape
All ensemble
Space divided into four equal quadrants (ensemble seated in proscenium format)
A participant can choose to enter and take a solo in a quad w/ beginning middle and end declared by solo performer (optional working w/ others influence). Soloists entering and exiting must do so along the edge of the playing space
A quad may be left empty
A soloist may choose to read or recite text, but with no movement. There may be two quads with active text at a time.
Quadrants may be done with a pre-recorded sound-scape.
At the end of the quads AUNT ensemble gives a ‘one-clap.
Discussion
Q What are the values of the culture that have been established so far?
Listening, internal eye, stillness, personal response, enter space in silence, lab structure, breath, softness, focus, self aware, presence, patience, not afraid to leave space empty, alone/together, playfulness, proscenium viewing, support, beauty, influence is optional, process is fore-fronted to product, listening to the space and responding; letting space tell you what to do. Being present and connected with each other, following the stream of your internal impulse/freedom, rigor.
Q What are the disciplines that allow fir the broadest freedom for research – an honorific.
The way space is shaped determines where energies are formed. Both permission and specific instructions.
Aesthetic of indeterminate sound score – Cageian. A collage aesthetic.
Meditation is a support for being alone/together. What values will allow us to co-create performance.
Length of performance five hours; well that allows for a shamanistic type temporal shift.
Learning to wait.
AFTERNOOON
“SPACE IS FULL OF STORIES”
Or “If Everyone Wasn’t Here, These Things Wouldn’t Have Arisen”.
Joan’s Three Umbrellas Menu w/ music score
Laurie, Barbara, Damaris performers
Two people each with a parasol
Formatted in lines or diagonal, no curves
Open and close parasol carefully
Laurie’s Faces Menu, Laurie calls beginning, & end
Victoria, Joan, Mary, Damaris, Carol
Five on a grid
Walking or stillness
Happy or sad facial expressions ONLY
Christa’s Desire Menu, Christa calls beginning, & end
Laurie, Mary, Victoria
Space split in two sections (SL & SR)
One side, two performers, fear or resistance of desire
The other side, two performers, desire
Interacting with your desire image, finding moments to cross over to the “other side”
Working with accepting/not accepting influence from others
Barbara’s Porte-au-bras Menu w/ sound score ballet music/gypsy music
Katharine, Joan, Christa,
Barbara and Mary w/ text
Parallel corridors on diagonal 3, 4 or 5 performers
Slow motion going from one foot to another
Strong palm of the hand open, gaze is away from the palm of the hand
An open space for a movement solo, facing us, describing or telling about a dream
Barbara calls beginning, middle & end
Katharine’s The Most Excellent Heart Sutra of Longmont Menu, Katharine calls beginning, middle & end
As many participants as showed up – but not round robin 1 – 10 folks
Two predetermined pieces of text physically stayed on stage for reading in the center – you can read them as you like.
Work with up and down
Soft and hard
Don’t use the wall
Mary’s Smelly Time Menu w/ Barbara Dilley on piano, Mary calls beginning, middle & end
Katharine, Victoria, Chung-Fu
Three performers
Using grid, diagonal and half circle
Formal and extremely informal
Occasionally a whiff of a very bad smell
Props: one push broom, one book
Someone can be inspired to play the piano
Perhaps an idea to put brackets around your AUNT if you would prefer to not have others work on it further before you do.
For tomorrow – the slow motion or pause bell
Three views- director, witness, inside, Gift economy – this is a lab, not a workshop
deSoLAte/deLigHT Project: the mythology of a species
deSoLAte/deLigHT project initiates a year-long investigation into the creation of performance art based in the establishment of a culture. The culture will commit to creative processes that are enhanced by contemplative art practices, such as sitting meditation practice, instructions from the Dharma Art teachings of Chogyam Trungpa Rinpoche, and images from general systems theory. From this culture will arise an expression that represents the combined myths and stories of this moment-in-time. We will re-member, re-create and un-fold surprise.
The project was first explored during the ‘dance.art.lab’ in May 2007 on the Nalanda campus of Naropa U. During these 5 days/6 hours a day, disciplines and values came into focus. The new performance art form ‘AUNTS’, which invites immediate, direct, and complete expression from those present is the instigator. Waiting for the space to tell us what to do sets the tone both for embodied disciplines and mutual engagement with our shared conversations through movement, text, sound and silence.
The project was first explored during the ‘dance.art.lab’ in May 2007 on the Nalanda campus of Naropa U. During these 5 days/6 hours a day, disciplines and values came into focus. The new performance art form ‘AUNTS’, which invites immediate, direct, and complete expression from those present is the instigator. Waiting for the space to tell us what to do sets the tone both for embodied disciplines and mutual engagement with our shared conversations through movement, text, sound and silence.
barbara's headlines from weeks 4-6
Headlines from Damaris’ notes for the first 6 weeks.
Week 4
Quadrant solos with soundscape. Desert wind. Creates a ‘desolate’ quality. Solos have variations: TR hums ‘this is almost the end’, BD asks for coaching, KK asks for verbal support, LL and EB do slomo walk in separate quads, EL continues themes after coaching BD. Then the end with EB and CK - transform quads into parallel corridors.
Discussion: the system evolves with EB/CK duet. What about length/duration? Director takes responsiblitity. Also sound environment can create an ending.
Also watchers begin to respond to instincts. Do we act on these or restrain ourselves? What is called for? How do we know? A kind of intelligence that can tolerate the back and forth between restraining and following where the system needs to explore.
If we don’t take a bathroom break then perhaps we will get comfortable with the door opening and closing as folks go out/in....preparing for visitors?! The environment isn’t so precious.
Post AUNT discussion: Can revise menu/score after an AUNT is presented from the ‘inside’. Each AUNT can be revised by the creater once, then the AUNT is open to be used by ensemble. What if creator asks that no one touches the AUNT? Not sure. Each AUNT can have costume/props/music. These then may show up again in a different AUNT.
Waiting is an essential value. We are willing to wait til we know what to do. Does waiting cut anxiety?
Are 2 sources of feedback after a AUNT is presented. The voice from inside - those who manifested the AUNT - and the director’s eye.
How can we retrieve material from our shared past? The system doesn’t have to fire into newness all the time. That’s not sustainable. Will burn out. Recycle. Use again. Not have to be clever and original. Can change the AUNT’s costume...give her a new handbag!
Week 5
The Laughter Question: MW-I rarely feel is its real...should I be acting it? BD-coax it along. Support, smaller version, then perhaps becomes genuine. DW-surrender. BD-How do we serve an AUNT when she returns? How do we retrieve material? EL-can it be part of my score/menu to request a feeling or to produce a tension?
The director’s chair: Is open and we wait. Finding our way. If something is blocking the energy find a way to create responsiveness to that! Could we use it as material for an AUNT? Have to sustain our energy. CR-raise our chi.
Could flocking/swarming be part of our warm-up? Go from solos into flocking.
Discussion about being watched, guests, the video camera.
Week 6
Discussion about maintaining form of quadrants and evolving new modes. Feeling ‘fuzzy’. Too many new things at once? Creates ambiguity. If starts to change/evolve/mutate too quickly the system has to re-stablize. How do we do this? How do we re affirm the form we are doing when there is a lot of change?
Request to have a clear space between ending of warm-up, an open space of stillness.
Request for some grid practice - people coming in and going out. Question: could personal warmup practice be on a grid? Would that support this request?
How do we hold the precision of a form and also allow for spontaneous evolution, for ‘deep play’?
After CR’s coaching on entrainment in flocking: Could we do such experiments with the ‘gaze’ of others in the room? What is the connection between coaching and directing?
After CR’s AUNT: CR was coaching throughout. A new way of directing. Would like to wait before following an instruction. Not do it right away. How do we stay with ourselves and also take instructions?
Week 4
Quadrant solos with soundscape. Desert wind. Creates a ‘desolate’ quality. Solos have variations: TR hums ‘this is almost the end’, BD asks for coaching, KK asks for verbal support, LL and EB do slomo walk in separate quads, EL continues themes after coaching BD. Then the end with EB and CK - transform quads into parallel corridors.
Discussion: the system evolves with EB/CK duet. What about length/duration? Director takes responsiblitity. Also sound environment can create an ending.
Also watchers begin to respond to instincts. Do we act on these or restrain ourselves? What is called for? How do we know? A kind of intelligence that can tolerate the back and forth between restraining and following where the system needs to explore.
If we don’t take a bathroom break then perhaps we will get comfortable with the door opening and closing as folks go out/in....preparing for visitors?! The environment isn’t so precious.
Post AUNT discussion: Can revise menu/score after an AUNT is presented from the ‘inside’. Each AUNT can be revised by the creater once, then the AUNT is open to be used by ensemble. What if creator asks that no one touches the AUNT? Not sure. Each AUNT can have costume/props/music. These then may show up again in a different AUNT.
Waiting is an essential value. We are willing to wait til we know what to do. Does waiting cut anxiety?
Are 2 sources of feedback after a AUNT is presented. The voice from inside - those who manifested the AUNT - and the director’s eye.
How can we retrieve material from our shared past? The system doesn’t have to fire into newness all the time. That’s not sustainable. Will burn out. Recycle. Use again. Not have to be clever and original. Can change the AUNT’s costume...give her a new handbag!
Week 5
The Laughter Question: MW-I rarely feel is its real...should I be acting it? BD-coax it along. Support, smaller version, then perhaps becomes genuine. DW-surrender. BD-How do we serve an AUNT when she returns? How do we retrieve material? EL-can it be part of my score/menu to request a feeling or to produce a tension?
The director’s chair: Is open and we wait. Finding our way. If something is blocking the energy find a way to create responsiveness to that! Could we use it as material for an AUNT? Have to sustain our energy. CR-raise our chi.
Could flocking/swarming be part of our warm-up? Go from solos into flocking.
Discussion about being watched, guests, the video camera.
Week 6
Discussion about maintaining form of quadrants and evolving new modes. Feeling ‘fuzzy’. Too many new things at once? Creates ambiguity. If starts to change/evolve/mutate too quickly the system has to re-stablize. How do we do this? How do we re affirm the form we are doing when there is a lot of change?
Request to have a clear space between ending of warm-up, an open space of stillness.
Request for some grid practice - people coming in and going out. Question: could personal warmup practice be on a grid? Would that support this request?
How do we hold the precision of a form and also allow for spontaneous evolution, for ‘deep play’?
After CR’s coaching on entrainment in flocking: Could we do such experiments with the ‘gaze’ of others in the room? What is the connection between coaching and directing?
After CR’s AUNT: CR was coaching throughout. A new way of directing. Would like to wait before following an instruction. Not do it right away. How do we stay with ourselves and also take instructions?
Barbara's headlines from weeks 1-3
Headlines from Damaris’ notes for the first 6 weeks.
Week 1
Naming some arising mythologies: The wave sound (MW).
Proud Mary (KK), the laughing goose on it’s back (all),
The questions beneath the question (BD)
The culture gets to know each other - sees each other - finds out who we are.
How to re-call images, revisit elements. Repetition. Retrieval of gestures and movements can create rest.
Language/text. Direct address to audience grabs the eye. Text is both a vibration and also words we hear. When performed in a solo we all hear and also don’t exactly hear it. We are talking to each other. Sometimes it’s indirect, almost subversive, and sometimes it’s direct. Two different practices with different outcomes of how the ensemble is influenced.
Working with refining herding/flocking. The image of swarm. What’s the difference? What supports a unity that is not unison? What is one-mind-on-the-spot?
The role of a coach.
Week 2
Ongoing conversation about language/talking in quadrant solos. How does hearing a text affect the other solos? A monologue, then echos in the other quadrants.
Very quickly it doesn’t feel like solos any more. Feel permeable and influenced. Is still more personal than if in a group improv.
What is the difference between a value and an aesthetic?
What is the line between relaxation and rigor?
Image from summer ’dance.art.lab’: solo quads, then invited entrances and exits. The solo maintained the lead and the one entering did so with allegiance to the soloist.
Long discussion about how to perceive both solo space and the space as a whole. Not denying the presence and influence of the others. However, continuing to re-establish your solo/individuated space. Not giving in to desire to merge....a kind of ‘desolate’ quality of boycotting that impulse to maintain integrity. How to maintain communication of the 4 quadrants and also allow for unplanned connections? Some place in-between too tight a definition and too loose. Train in our sensitivity to allow the form to evolve/morph. What makes the culture stay alive/awake? Stay local in the quad and trust the global?
Where is the place/event/gesture we as an organism are craving?
What is the laughter? A vibrational release, a yield, choiceless, you are no longer independent - you can’t help yourself. You yield to it because it’s what we do. Important to acknowledge that not everyone has this experience. How yield? Perhaps smile, share more small form, don’t fake it, but softly yield.
` The ensemble is becoming it’s own leader.
HOMEWORK: Study flocks, herds, swarms.
Week 3
The solo Quadrants are separate worlds. Distinct yet part of a larger whole. When synchronicity happens trust it. Don’t strategize it. No ‘subconscious gossip’ principle (from CTR guidelines). Let influence across quadrants surprise you.
Be clear about saying ‘beginning/end’. Sometimes ‘middle’ call happens, sometimes not. These calls are generous to each other and to the watchers. Allows others to see intentions clearly.
Breaking rules. What is it? An adaption? A new form appearing? What space is asking for right now? An urge/impulse? A new piece of language that wants to enter the culture? What is our way of harmonizing with the new?
A ripple effect as the new action enters and permeates the old ways.
Precision in quadrant form: enter from sides. Let each quadrant be a world that develops without forceful trespassing. Gentle entering. Respectful.
If the intention is to raise the level of attention for us and for the viewers what supports that?
We are coming together to create a culture that shares our creative voice with others. There is the time it takes inside our process and also there is the time it takes to understand/receive by the viewers. The tension here....
Coaching solos. A bridge to directing. What is the fallout from this exercise? How does it inform us?
Week 1
Naming some arising mythologies: The wave sound (MW).
Proud Mary (KK), the laughing goose on it’s back (all),
The questions beneath the question (BD)
The culture gets to know each other - sees each other - finds out who we are.
How to re-call images, revisit elements. Repetition. Retrieval of gestures and movements can create rest.
Language/text. Direct address to audience grabs the eye. Text is both a vibration and also words we hear. When performed in a solo we all hear and also don’t exactly hear it. We are talking to each other. Sometimes it’s indirect, almost subversive, and sometimes it’s direct. Two different practices with different outcomes of how the ensemble is influenced.
Working with refining herding/flocking. The image of swarm. What’s the difference? What supports a unity that is not unison? What is one-mind-on-the-spot?
The role of a coach.
Week 2
Ongoing conversation about language/talking in quadrant solos. How does hearing a text affect the other solos? A monologue, then echos in the other quadrants.
Very quickly it doesn’t feel like solos any more. Feel permeable and influenced. Is still more personal than if in a group improv.
What is the difference between a value and an aesthetic?
What is the line between relaxation and rigor?
Image from summer ’dance.art.lab’: solo quads, then invited entrances and exits. The solo maintained the lead and the one entering did so with allegiance to the soloist.
Long discussion about how to perceive both solo space and the space as a whole. Not denying the presence and influence of the others. However, continuing to re-establish your solo/individuated space. Not giving in to desire to merge....a kind of ‘desolate’ quality of boycotting that impulse to maintain integrity. How to maintain communication of the 4 quadrants and also allow for unplanned connections? Some place in-between too tight a definition and too loose. Train in our sensitivity to allow the form to evolve/morph. What makes the culture stay alive/awake? Stay local in the quad and trust the global?
Where is the place/event/gesture we as an organism are craving?
What is the laughter? A vibrational release, a yield, choiceless, you are no longer independent - you can’t help yourself. You yield to it because it’s what we do. Important to acknowledge that not everyone has this experience. How yield? Perhaps smile, share more small form, don’t fake it, but softly yield.
` The ensemble is becoming it’s own leader.
HOMEWORK: Study flocks, herds, swarms.
Week 3
The solo Quadrants are separate worlds. Distinct yet part of a larger whole. When synchronicity happens trust it. Don’t strategize it. No ‘subconscious gossip’ principle (from CTR guidelines). Let influence across quadrants surprise you.
Be clear about saying ‘beginning/end’. Sometimes ‘middle’ call happens, sometimes not. These calls are generous to each other and to the watchers. Allows others to see intentions clearly.
Breaking rules. What is it? An adaption? A new form appearing? What space is asking for right now? An urge/impulse? A new piece of language that wants to enter the culture? What is our way of harmonizing with the new?
A ripple effect as the new action enters and permeates the old ways.
Precision in quadrant form: enter from sides. Let each quadrant be a world that develops without forceful trespassing. Gentle entering. Respectful.
If the intention is to raise the level of attention for us and for the viewers what supports that?
We are coming together to create a culture that shares our creative voice with others. There is the time it takes inside our process and also there is the time it takes to understand/receive by the viewers. The tension here....
Coaching solos. A bridge to directing. What is the fallout from this exercise? How does it inform us?
comments from Barbara 12/5
Dear d/d project,
Many thoughts and reflections from both our studioshowing and from our conversation afterwards...
-the idea of the integral time within each AUNT....fascinating and really good to deepen into.
-what we censor/hold back from doing and why
-what will deepen our inner practice to the moment? Elegant pedestrian; not casual....
-what is freedom and what creates it? What is surrender and why do we?
And how do we integrate the inner instuctions from CTR? For instance, does creating space support feeling freedom? Do we need to let go of our neurosis to feel thoroughly relaxed? What about sub-conscious gossip? What is that in the middle of the AUNT?
I loved my musing within in the stone game. I loved being at Tyler’s back in a quadrant like some character/shadow of ....what?
I love watching the ensemble in the first flock/swarm with ‘our streets’ soundscape. And Loved the elk Aunt and Erika sitting on Miriam....also the gestures in the herd were so embodied and generous and ‘relaxed and wholesome”!
Love laughing at the geese on their backs....is it an in-joke?
Loved Eliza’s bell and crow calls....and the developmental flock in the corner....luscious.
I have received many sweet comments....not much strong clear feedback.
We must begin to create good and intentional feedback from now on!~
Thanks for the great journey.
Looking forward to our next adventures.
Love,
Barbara
Many thoughts and reflections from both our studioshowing and from our conversation afterwards...
-the idea of the integral time within each AUNT....fascinating and really good to deepen into.
-what we censor/hold back from doing and why
-what will deepen our inner practice to the moment? Elegant pedestrian; not casual....
-what is freedom and what creates it? What is surrender and why do we?
And how do we integrate the inner instuctions from CTR? For instance, does creating space support feeling freedom? Do we need to let go of our neurosis to feel thoroughly relaxed? What about sub-conscious gossip? What is that in the middle of the AUNT?
I loved my musing within in the stone game. I loved being at Tyler’s back in a quadrant like some character/shadow of ....what?
I love watching the ensemble in the first flock/swarm with ‘our streets’ soundscape. And Loved the elk Aunt and Erika sitting on Miriam....also the gestures in the herd were so embodied and generous and ‘relaxed and wholesome”!
Love laughing at the geese on their backs....is it an in-joke?
Loved Eliza’s bell and crow calls....and the developmental flock in the corner....luscious.
I have received many sweet comments....not much strong clear feedback.
We must begin to create good and intentional feedback from now on!~
Thanks for the great journey.
Looking forward to our next adventures.
Love,
Barbara
A Prepared menu 11/26
Monday 11/26 D/D notes – Damaris
Ensemble present
BFA and MFA gazers
A PREPARED MENU
Evening Format:
6:30 – 7:00 Sitting and Personal awareness practice
7:00 – 7:30 review of the eve’s plan
7:30 – 7:40 Break
7:40 – 9:30 working with BD”s AUNTS menu and the Gaze
9:30 - 10:00 Housekeeping/Discussion
In 9190
12/3 open studio showing, BD’s AUNTS collage:
Roberto played with the lights and Barbara controls the sound from the director’s chair, ensemble placing themselves not just as creator, but also as viewer:
BD will take the musing stool to welcome everyone, while this happens seven people will slowly evolve into a flock/swarm/herd (participants to be determined) by starting at the walls, taking time to evolve, the group will work with a sound environment of a NYC street protest.
PAUSE
Desert Quads with Desert Winds music (participants to be determined
Barbara calls BME,
4 squad solos, nothing in quad but solo person, enter only from edge (not from audience), say Beginning and End, solos emphasis working with the eyes
STRAIGHT INTO
Desert Quads Variation with Desert Winds music (participants to be determined
Above menu with Addition/option of the musing stool,
Two quads will evolve into having duets, evolving into groups
When BD calls Middle the four quads can begin to take influence from each other, evolving into a flock, which will then morph into Laughing Butcher Bird AUNT (EL,CR, CHR, LL, DW) after the introduction of the Butcher Bird sound-score.
PAUSE
Slow gathering of Elks in the Meadow AUNT (Erika as big elk, other participants to be determined)
Tyler volunteered to direct – a reprise?
One person is “the big elk”, others are arranged in concentric circles around the big elk, responding to the “leader” from all sense perception. Communication could happen from ripples. Begin in a restful state, spare movements.
STRAIGHT INTO
Eliza’s Grooming Menu – a gestation AUNT, Erika, Damaris, Miriam, Laurie, Barbara, Cara (Eric Satie music) Christa reads from “The Path is the Goal”, Eliza coaches
Three couples (each A and B) nourish each other (deep play) by first A’s taking weight/wringing out muscles, the directed by Eliza switching
At Eliza’s direction Christa crossed from usl reading a passage about wasting time from “The Path is the Goal”
No speech, sound OK if it comes out of the tissues
At end B drags A down stage
STRAIGHT INTO
Timeless Stone Game AUNT, (participants to be determined)
Eliza muses on stool about evolution,
Five people with the stones play a made up “game”, one that has been going on for eons
Discussion/Housekeeping
Observation that the “one clap” between AUNTS releases some of the energy/focus of the AUNT, awareness of where we want to put that in our lineup.
Our choices and assumptions Transparency VS Aesthetic,
What we want the audience to know
Lets not have it al smoothed out, there seems to be a desire, a value to keep transparency as an ongoing value.
Proposed Timeline for 12/3
5pm
* Damaris will put water in tea urns on a table in the hallway and plug in
* Miriam will post “name list” in studio (thanks for the flyers!)
* Eliza will organize (with free first years? With 2nd years not in Desolate/Delight?) to put chairs and cushions out (just one row of risers), we anticipate 35 gazers
* Bobby will place copies of the handouts (including the request to post comments at our Blogsite) on the seats
* When Katherine arrives she’ll leave tea on urn table
* As everyone arrives they’ll put their extra mug on the tea table
6:15
All ready to begin sitting and personal awareness practice
7pm First year “dedicated gazers” begin offering tea, Barret in charge
7:20
short break and open doors to gazers
7:30 - 8:45/9pm
Open Studio showing (see menu)
9pm
Barbara gives a wrap up talk and reminds gazers to post comments on blogsite and stack their chairs as they leave. First year “dedicated gazers” clean out tea urns and return to folding table. We have a post showing wrap –up talk (and exchange yummy treats).
AFTER 10pm
We (that can stay) do any last clean up/putting away of cushions and take our mugs
Ensemble present
BFA and MFA gazers
A PREPARED MENU
Evening Format:
6:30 – 7:00 Sitting and Personal awareness practice
7:00 – 7:30 review of the eve’s plan
7:30 – 7:40 Break
7:40 – 9:30 working with BD”s AUNTS menu and the Gaze
9:30 - 10:00 Housekeeping/Discussion
In 9190
12/3 open studio showing, BD’s AUNTS collage:
Roberto played with the lights and Barbara controls the sound from the director’s chair, ensemble placing themselves not just as creator, but also as viewer:
BD will take the musing stool to welcome everyone, while this happens seven people will slowly evolve into a flock/swarm/herd (participants to be determined) by starting at the walls, taking time to evolve, the group will work with a sound environment of a NYC street protest.
PAUSE
Desert Quads with Desert Winds music (participants to be determined
Barbara calls BME,
4 squad solos, nothing in quad but solo person, enter only from edge (not from audience), say Beginning and End, solos emphasis working with the eyes
STRAIGHT INTO
Desert Quads Variation with Desert Winds music (participants to be determined
Above menu with Addition/option of the musing stool,
Two quads will evolve into having duets, evolving into groups
When BD calls Middle the four quads can begin to take influence from each other, evolving into a flock, which will then morph into Laughing Butcher Bird AUNT (EL,CR, CHR, LL, DW) after the introduction of the Butcher Bird sound-score.
PAUSE
Slow gathering of Elks in the Meadow AUNT (Erika as big elk, other participants to be determined)
Tyler volunteered to direct – a reprise?
One person is “the big elk”, others are arranged in concentric circles around the big elk, responding to the “leader” from all sense perception. Communication could happen from ripples. Begin in a restful state, spare movements.
STRAIGHT INTO
Eliza’s Grooming Menu – a gestation AUNT, Erika, Damaris, Miriam, Laurie, Barbara, Cara (Eric Satie music) Christa reads from “The Path is the Goal”, Eliza coaches
Three couples (each A and B) nourish each other (deep play) by first A’s taking weight/wringing out muscles, the directed by Eliza switching
At Eliza’s direction Christa crossed from usl reading a passage about wasting time from “The Path is the Goal”
No speech, sound OK if it comes out of the tissues
At end B drags A down stage
STRAIGHT INTO
Timeless Stone Game AUNT, (participants to be determined)
Eliza muses on stool about evolution,
Five people with the stones play a made up “game”, one that has been going on for eons
Discussion/Housekeeping
Observation that the “one clap” between AUNTS releases some of the energy/focus of the AUNT, awareness of where we want to put that in our lineup.
Our choices and assumptions Transparency VS Aesthetic,
What we want the audience to know
Lets not have it al smoothed out, there seems to be a desire, a value to keep transparency as an ongoing value.
Proposed Timeline for 12/3
5pm
* Damaris will put water in tea urns on a table in the hallway and plug in
* Miriam will post “name list” in studio (thanks for the flyers!)
* Eliza will organize (with free first years? With 2nd years not in Desolate/Delight?) to put chairs and cushions out (just one row of risers), we anticipate 35 gazers
* Bobby will place copies of the handouts (including the request to post comments at our Blogsite) on the seats
* When Katherine arrives she’ll leave tea on urn table
* As everyone arrives they’ll put their extra mug on the tea table
6:15
All ready to begin sitting and personal awareness practice
7pm First year “dedicated gazers” begin offering tea, Barret in charge
7:20
short break and open doors to gazers
7:30 - 8:45/9pm
Open Studio showing (see menu)
9pm
Barbara gives a wrap up talk and reminds gazers to post comments on blogsite and stack their chairs as they leave. First year “dedicated gazers” clean out tea urns and return to folding table. We have a post showing wrap –up talk (and exchange yummy treats).
AFTER 10pm
We (that can stay) do any last clean up/putting away of cushions and take our mugs
Aunts and Agression 11/19
Monday 11/19 D/D notes – Damaris
Ensemble present
8 gazers
AUNTS AND AGRESSION
Evening Format:
6:30 – 7:00 Sitting and Personal awareness practice
7:00 – 7:30 Grid work
7:30 – 7:40 Break
7:40 – 9:30 AUNTS and the Gaze
9:30 - 10:00 Housekeeping/Discussion
Barbara’s Desert Quads Menu, Ensemble (Desert Winds Soundscape)
4 squad solos, nothing in quad but solo person, enter only from edge (not from audience), say Beginning and End. If there is text it happens on the musing stool. BD is interested in our conversation about “claustrophobia” surrounding improved text. In this quad if you are talking you are talking into the quads, not to the gaze. Intention is that you could take influence – not being ignorant to the solo, you are responsible to them.
Cara revisits Trash Chute, Entire ensemble
ELmuses on evolution
All US in a line in parallel corridors. BD will never cross down of middle, everyone else up and down. All work with slow mo, walking and falling, 3 eye practices: direct looking, space btw, closed eyes (even the gaze)
Erika’s image of the elk in the meadow, Entire ensemble
One person is “the big elk”, others are arranged in concentric circles around the big elk, responding to the “leader” from all sense perception. Communication cold happen from ripples. Begin in a restful state, spare movements
Bobby and Eliza revisit Eliza’s Unearthing Brachiated Square, Damaris, Barbara, Laurie, Christa, Cara? (Shirley Bassey “History Repeating”)
5 corridors in a 6 x 6 square
Throughout the AUNT the square advances ds, within corridors performers are moving forward and backward, staying facing the gaze moving brachiated to low ups and downs, mostly slow-mop influence of other’s timing
Add bobby’s staged setting with Tyler in costume poring blood on himself
Katharine revisits her Interstitial Ripple Menu, three scarves
Swarmers: All begin lying in corpse position scattered throughout room. All movement must be proximal OR distal (still swarming) on the floor.
Monologues: Three monologues by three people who arise from the swarm to standing in order to speak: When the speakers begin to talk the swarmers closest to the talker help them get to standing and get them wrapped in whichever of three scarves are closest.
Section one: Talk about how it feels to join the right and left side of your body. Laurie
Section Two: Talk about something that you’re passionate about, politics, a rant. Eliza
Section three: Express something using sounds not words Miriam.
Housekeeping
We did not actually get to the housekeeping items on the menu due to the post Interstitial Ripple discussion/emergency after Miriam accidentally stepped on Laurie’s foot and then unintentionally hurt Eliza’s feelings.
Some observations from the post AUNT discussion:
The edge of being in and out of the AUNTS container at the same time.
Suggestion of the mindfulness bell to mediate charged discussions
How do we deal with an injury within an AUNT? (person who is hurt decides to stop it?)
What happens with aggression inside an AUNT?
A vision from BD is that when obstacles or difficulties arise they are energetic fields that inform how we are evolving, and what we do next.
IDEAS for 12/3
From the weekend brunch at Cara’s:
Barbara will make a menu for the evening
Miriam will make a poster advertising the event and requesting that folks bring their own mugs.
Eliza plans to be in charge of setting up risers and chairs
Katherine and Damaris will organize tea
Ensemble present
8 gazers
AUNTS AND AGRESSION
Evening Format:
6:30 – 7:00 Sitting and Personal awareness practice
7:00 – 7:30 Grid work
7:30 – 7:40 Break
7:40 – 9:30 AUNTS and the Gaze
9:30 - 10:00 Housekeeping/Discussion
Barbara’s Desert Quads Menu, Ensemble (Desert Winds Soundscape)
4 squad solos, nothing in quad but solo person, enter only from edge (not from audience), say Beginning and End. If there is text it happens on the musing stool. BD is interested in our conversation about “claustrophobia” surrounding improved text. In this quad if you are talking you are talking into the quads, not to the gaze. Intention is that you could take influence – not being ignorant to the solo, you are responsible to them.
Cara revisits Trash Chute, Entire ensemble
ELmuses on evolution
All US in a line in parallel corridors. BD will never cross down of middle, everyone else up and down. All work with slow mo, walking and falling, 3 eye practices: direct looking, space btw, closed eyes (even the gaze)
Erika’s image of the elk in the meadow, Entire ensemble
One person is “the big elk”, others are arranged in concentric circles around the big elk, responding to the “leader” from all sense perception. Communication cold happen from ripples. Begin in a restful state, spare movements
Bobby and Eliza revisit Eliza’s Unearthing Brachiated Square, Damaris, Barbara, Laurie, Christa, Cara? (Shirley Bassey “History Repeating”)
5 corridors in a 6 x 6 square
Throughout the AUNT the square advances ds, within corridors performers are moving forward and backward, staying facing the gaze moving brachiated to low ups and downs, mostly slow-mop influence of other’s timing
Add bobby’s staged setting with Tyler in costume poring blood on himself
Katharine revisits her Interstitial Ripple Menu, three scarves
Swarmers: All begin lying in corpse position scattered throughout room. All movement must be proximal OR distal (still swarming) on the floor.
Monologues: Three monologues by three people who arise from the swarm to standing in order to speak: When the speakers begin to talk the swarmers closest to the talker help them get to standing and get them wrapped in whichever of three scarves are closest.
Section one: Talk about how it feels to join the right and left side of your body. Laurie
Section Two: Talk about something that you’re passionate about, politics, a rant. Eliza
Section three: Express something using sounds not words Miriam.
Housekeeping
We did not actually get to the housekeeping items on the menu due to the post Interstitial Ripple discussion/emergency after Miriam accidentally stepped on Laurie’s foot and then unintentionally hurt Eliza’s feelings.
Some observations from the post AUNT discussion:
The edge of being in and out of the AUNTS container at the same time.
Suggestion of the mindfulness bell to mediate charged discussions
How do we deal with an injury within an AUNT? (person who is hurt decides to stop it?)
What happens with aggression inside an AUNT?
A vision from BD is that when obstacles or difficulties arise they are energetic fields that inform how we are evolving, and what we do next.
IDEAS for 12/3
From the weekend brunch at Cara’s:
Barbara will make a menu for the evening
Miriam will make a poster advertising the event and requesting that folks bring their own mugs.
Eliza plans to be in charge of setting up risers and chairs
Katherine and Damaris will organize tea
Aunts out of Aunthill 11/12
Monday 11/12 D/D notes – Damaris
Erika absent
10 visitors
AUNTS OUT OF THE AUNTHILL
Evening Format:
6:30 – 7:00 Sitting and Personal awareness practice
7:00 – 7:30 Grid work
7:30 – 7:40 Break
7:40 – 9:30 AUNTS and the Gaze
9:30 - 10:00 Housekeeping/Discussion
We specifically did not reflect on the AUNTS after each one in the interest of time…
Barbara’s Desert Quads Menu, Ensemble (Desert Winds Soundscape)
4 squad solos, nothing in quad but solo person, enter only from edge (not from audience), say Beginning and End. If there is text it happens on the musing stool. BD is interested in our conversation about “claustrophobia” surrounding improved text. In this quad if you are talking you are talking into the quads, not to the gaze. Intention is that you could take influence – not being ignorant to the solo, you are responsible to them.
Tyler’s Cedar Feet, Miriam, Cara, Christa flockers, Bobby, Katharine and Eliza on stumps
Tyler calls B, M, E and plays flute from AUNT
3 stumps each in one of three horizontal corridors, 2 standing, 1 lying down, slow mo led by kinesthesia with emphasis on stillness
Flockers always lower or equal to all fours, letting flute music influence them
Ensemble not on stage dip in and out of coach mind ser and what we might change
Cara’s Trash Chute, Entire ensemble
BD muses on trash
All US in a line in parallel corridors. BD will never cross down of middle, everyone else up and down. All work with slow mo, walking and falling, 3 eye practices: direct looking, space btw, closed eyes (even the gaze)
Eliza’s Unearthing Brachiated Square, Damaris, Barbara, Laurie, Christa, Cara? (Shirley Bassey “History Repeating”)
5 corridors in a 6 x 6 square
Throughout the AUNT the square advances ds, within corridors performers are moving forward and backward, staying facing the gaze moving brachiated to low ups and downs, mostly slow-mop influence of other’s timing
Christa’s Sound sculpture chant, Katharine, Damaris, Laurie, Bobby, Miriam
5 people start in tableau, each person finds a tone, once established you can move away from tableau and play with the tone in rhythm, tempo duration, and silence. During the AUNT come together in a new tableau two more times, each time you find a new stillness you can find the new note.
BD’s laughing Butcher Bird, Cara, Damaris, Laurie, Christa, Katharine
5 in a swarm. Feet are always moving in a shuffle half step. March. Always face the gaze (and no smiling) unless you are goose on the back laughing.
Eliza revisits Grooming (grooming two) Damaris & Katharine, Barbara & Cara, Miriam & Laurie
Three couples (each A and B) nourish each other (deep play) by first A’s taking weight/wringing out muscles, the directed by Eliza switching
At Eliza’s direction Christa crossed from usl reading a passage about wasting time from “The Path is the Goal”
No speech, sound OK if it comes out of the tissues
At end one carries or drags the other off
Housekeeping
Next week revisit the AUNT list (and a new one from Erika and Miriam).
Old AUNTS may be revisited (the originator may have first dibs).
Barbara expresses interest in unpacking the process of tuning in with delight around how sometimes it takes shorter or longer for an AUNTS group to “understand” the menu.
Keep looking for how it’s going.
At Sunday’s brunch at Cara’s we will determine the schedule for 12/3.
WHAT DO WE WANT FROM THE GAZE? ON 12/3 IN PARTICULAR?
An AUNT being a community event – a party- as in NYC. The “big event” of December 3rd - what does it mean? Are we coming up with an evening menu for the whole event? A marking of the end of the first semester?
When shall we schedule a post 12/3 reflection meeting? Will we stay to talk directly after? (KK can only attend if we do so this way)
IDEAS for 12/3
Maybe for 12/3 we cobble AUNTS together? Let’s look at the menus we have, let’s see what’s made its way into our mythology (tea!)
1. Encourage some monologues/musings about the process
2. Make a menu for the evening, but even during the sequence the director’s chair could be open!
Maybe it would be fun to spend the Monday before (11/26) playing in it?
Put out an invitation announcement and include to BYOCup or 5 cents for a paper cup for tea.
Erika absent
10 visitors
AUNTS OUT OF THE AUNTHILL
Evening Format:
6:30 – 7:00 Sitting and Personal awareness practice
7:00 – 7:30 Grid work
7:30 – 7:40 Break
7:40 – 9:30 AUNTS and the Gaze
9:30 - 10:00 Housekeeping/Discussion
We specifically did not reflect on the AUNTS after each one in the interest of time…
Barbara’s Desert Quads Menu, Ensemble (Desert Winds Soundscape)
4 squad solos, nothing in quad but solo person, enter only from edge (not from audience), say Beginning and End. If there is text it happens on the musing stool. BD is interested in our conversation about “claustrophobia” surrounding improved text. In this quad if you are talking you are talking into the quads, not to the gaze. Intention is that you could take influence – not being ignorant to the solo, you are responsible to them.
Tyler’s Cedar Feet, Miriam, Cara, Christa flockers, Bobby, Katharine and Eliza on stumps
Tyler calls B, M, E and plays flute from AUNT
3 stumps each in one of three horizontal corridors, 2 standing, 1 lying down, slow mo led by kinesthesia with emphasis on stillness
Flockers always lower or equal to all fours, letting flute music influence them
Ensemble not on stage dip in and out of coach mind ser and what we might change
Cara’s Trash Chute, Entire ensemble
BD muses on trash
All US in a line in parallel corridors. BD will never cross down of middle, everyone else up and down. All work with slow mo, walking and falling, 3 eye practices: direct looking, space btw, closed eyes (even the gaze)
Eliza’s Unearthing Brachiated Square, Damaris, Barbara, Laurie, Christa, Cara? (Shirley Bassey “History Repeating”)
5 corridors in a 6 x 6 square
Throughout the AUNT the square advances ds, within corridors performers are moving forward and backward, staying facing the gaze moving brachiated to low ups and downs, mostly slow-mop influence of other’s timing
Christa’s Sound sculpture chant, Katharine, Damaris, Laurie, Bobby, Miriam
5 people start in tableau, each person finds a tone, once established you can move away from tableau and play with the tone in rhythm, tempo duration, and silence. During the AUNT come together in a new tableau two more times, each time you find a new stillness you can find the new note.
BD’s laughing Butcher Bird, Cara, Damaris, Laurie, Christa, Katharine
5 in a swarm. Feet are always moving in a shuffle half step. March. Always face the gaze (and no smiling) unless you are goose on the back laughing.
Eliza revisits Grooming (grooming two) Damaris & Katharine, Barbara & Cara, Miriam & Laurie
Three couples (each A and B) nourish each other (deep play) by first A’s taking weight/wringing out muscles, the directed by Eliza switching
At Eliza’s direction Christa crossed from usl reading a passage about wasting time from “The Path is the Goal”
No speech, sound OK if it comes out of the tissues
At end one carries or drags the other off
Housekeeping
Next week revisit the AUNT list (and a new one from Erika and Miriam).
Old AUNTS may be revisited (the originator may have first dibs).
Barbara expresses interest in unpacking the process of tuning in with delight around how sometimes it takes shorter or longer for an AUNTS group to “understand” the menu.
Keep looking for how it’s going.
At Sunday’s brunch at Cara’s we will determine the schedule for 12/3.
WHAT DO WE WANT FROM THE GAZE? ON 12/3 IN PARTICULAR?
An AUNT being a community event – a party- as in NYC. The “big event” of December 3rd - what does it mean? Are we coming up with an evening menu for the whole event? A marking of the end of the first semester?
When shall we schedule a post 12/3 reflection meeting? Will we stay to talk directly after? (KK can only attend if we do so this way)
IDEAS for 12/3
Maybe for 12/3 we cobble AUNTS together? Let’s look at the menus we have, let’s see what’s made its way into our mythology (tea!)
1. Encourage some monologues/musings about the process
2. Make a menu for the evening, but even during the sequence the director’s chair could be open!
Maybe it would be fun to spend the Monday before (11/26) playing in it?
Put out an invitation announcement and include to BYOCup or 5 cents for a paper cup for tea.
When is the beginning of the gaze? 11/5
Monday 11/5 D/D notes – Damaris
Ensemble: Tyler, Bobby absent
Some 1st year visitors and Nicollee
WHEN IS THE BEGINNING OF THE GAZE?
Evening Format:
6:30 – 7:15 Sitting and Personal awareness practice
7:15 – 7:35 Grid work
7:35 – 9:00 AUNTS
9:30 - 10:00 Announcement/Discussion
“The gaze”, not a piercing stare. Avery Britcom/Monty Python talky grid warm up
Barbara’s Evolution Musings Menu, Erika, Eliza, Damaris, Miriam, Laurie, Christa (Transformations/ Beneath the Forrest Floor Soundscape)
5 people in a Herd /swarm /flock while EL muses about evolution on musing stool, move stool through the four quads during musing.
BD coached Eliza and at one point directed KK to take rock basket in and start arranging.
Post AUNT Discussion:
ChR Something about les pressure felt good in the herd, MB it was that there were only 5 of us in the herd? MB because Eliza was a counterpoint?
MW we stayed with something until it actually evolved
CR Soundscore, Eliza’s theme and the herd and the rocks were all very connected and supportive of each other. Hard to know from the outside what in particular you were leaning into
BD that was a 17 min AUNT
KK it models for me that we can hang out here for a while
BD yes, it is at a point where it would be luscious to “hang out”. I want to get to longer AUNTS, but with full attention. Staying awake in the middle of the action
BD revisits Solo Quads AUNT (desert winds Soundscape)
BD musing about the individual items you throw away.
Post- AUNT Discussion:
Many were not aware that this indeed was an AUNT, although it was in the solo quad form
EL Once we all start talking a lot, is it hard to return back to not talking?
EB When it like that it feels very much in the nervous system, I wonder how we can work with text as an element, MB in the abstract, as text permeates through space, it becomes predominant, it puts everything else in the background
EL In the first AUNT tonight, I didn’t feel I was in my nervous system – how can I find it conversationally with others?
BD I don’t think anything is wrong, there’s change and we’re talking about it in a bigger way, if we don’t play we can’t have this conversation, but MB we should keep the form of the stool as the talking format
MW yeah, originally in the solos if you were speaking you were not moving through space
BD perhaps we are looking at the weakening of the AUNT form into deep play with each other?
Discussion about realizing the Desert Quads was an AUNT with a menu, not simply solo practice, discussion as to what the order/inclusion of forms should be in our warm-up and when the gazers should join us. Is the gaze present during any portion of w-ups?
ChR when is the beginning of the gaze?
BD when the gaze is in the room the director’s chair is activated. MB we can rotate weekly with grid, flock, solo quad practices as w-up out of personal awareness practice
For next week the gaze will begin at 7:40 with Solo Quad Desert Aunt BD will be specific about menu
Eliza’s Grooming Menu – a gestation AUNT, Erika, Damaris, Miriam, Laurie, Barbara, Cara (Eric Satie music) Christa
Three couples (each A and B) nourish each other (deep play) by first A’s taking weight/wringing out muscles, the directed by Eliza switching
At Eliza’s direction Christa crossed from usl reading a passage about wasting time from “The Path is the Goal”
No speech, sound OK if it comes out of the tissues
Is 12/3 an evolution of the intention to make work to share for others…
In addition to 12/3 we’ve been invited to participate in
Community Center Shambhala week
Practice Day 4pm
Performance Space Denver Art Museum
Faculty Showing
WHAT DO WE WANT FROM THE GAZE? ON 12/3 IN PARTICULAR?
An AUNT being a community event – a party- as in NYC. The “big event” of December 3rd - what does it mean? Are we coming up with an evening menu for the whole event? A marking of the end of the first semester?
When shall we schedule a post 12/3 reflection meeting? Will we stay to talk directly after? (KK can only attend if we do so this way)
IDEAS for 12/3
Maybe for 12/3 we cobble AUNTS together? Let’s look at the menus we have, let’s see what’s made its way into our mythology (tea!)
1. Encourage some monologues/musings about the process
2. Make a menu for the evening, but even during the sequence the director’s chair could be open!
Maybe it would be fun to spend the Monday before (11/26) playing in it?
Put out an invitation announcement and include to BYOCup or 5 cents for a paper cup for tea.
Ensemble: Tyler, Bobby absent
Some 1st year visitors and Nicollee
WHEN IS THE BEGINNING OF THE GAZE?
Evening Format:
6:30 – 7:15 Sitting and Personal awareness practice
7:15 – 7:35 Grid work
7:35 – 9:00 AUNTS
9:30 - 10:00 Announcement/Discussion
“The gaze”, not a piercing stare. Avery Britcom/Monty Python talky grid warm up
Barbara’s Evolution Musings Menu, Erika, Eliza, Damaris, Miriam, Laurie, Christa (Transformations/ Beneath the Forrest Floor Soundscape)
5 people in a Herd /swarm /flock while EL muses about evolution on musing stool, move stool through the four quads during musing.
BD coached Eliza and at one point directed KK to take rock basket in and start arranging.
Post AUNT Discussion:
ChR Something about les pressure felt good in the herd, MB it was that there were only 5 of us in the herd? MB because Eliza was a counterpoint?
MW we stayed with something until it actually evolved
CR Soundscore, Eliza’s theme and the herd and the rocks were all very connected and supportive of each other. Hard to know from the outside what in particular you were leaning into
BD that was a 17 min AUNT
KK it models for me that we can hang out here for a while
BD yes, it is at a point where it would be luscious to “hang out”. I want to get to longer AUNTS, but with full attention. Staying awake in the middle of the action
BD revisits Solo Quads AUNT (desert winds Soundscape)
BD musing about the individual items you throw away.
Post- AUNT Discussion:
Many were not aware that this indeed was an AUNT, although it was in the solo quad form
EL Once we all start talking a lot, is it hard to return back to not talking?
EB When it like that it feels very much in the nervous system, I wonder how we can work with text as an element, MB in the abstract, as text permeates through space, it becomes predominant, it puts everything else in the background
EL In the first AUNT tonight, I didn’t feel I was in my nervous system – how can I find it conversationally with others?
BD I don’t think anything is wrong, there’s change and we’re talking about it in a bigger way, if we don’t play we can’t have this conversation, but MB we should keep the form of the stool as the talking format
MW yeah, originally in the solos if you were speaking you were not moving through space
BD perhaps we are looking at the weakening of the AUNT form into deep play with each other?
Discussion about realizing the Desert Quads was an AUNT with a menu, not simply solo practice, discussion as to what the order/inclusion of forms should be in our warm-up and when the gazers should join us. Is the gaze present during any portion of w-ups?
ChR when is the beginning of the gaze?
BD when the gaze is in the room the director’s chair is activated. MB we can rotate weekly with grid, flock, solo quad practices as w-up out of personal awareness practice
For next week the gaze will begin at 7:40 with Solo Quad Desert Aunt BD will be specific about menu
Eliza’s Grooming Menu – a gestation AUNT, Erika, Damaris, Miriam, Laurie, Barbara, Cara (Eric Satie music) Christa
Three couples (each A and B) nourish each other (deep play) by first A’s taking weight/wringing out muscles, the directed by Eliza switching
At Eliza’s direction Christa crossed from usl reading a passage about wasting time from “The Path is the Goal”
No speech, sound OK if it comes out of the tissues
Is 12/3 an evolution of the intention to make work to share for others…
In addition to 12/3 we’ve been invited to participate in
Community Center Shambhala week
Practice Day 4pm
Performance Space Denver Art Museum
Faculty Showing
WHAT DO WE WANT FROM THE GAZE? ON 12/3 IN PARTICULAR?
An AUNT being a community event – a party- as in NYC. The “big event” of December 3rd - what does it mean? Are we coming up with an evening menu for the whole event? A marking of the end of the first semester?
When shall we schedule a post 12/3 reflection meeting? Will we stay to talk directly after? (KK can only attend if we do so this way)
IDEAS for 12/3
Maybe for 12/3 we cobble AUNTS together? Let’s look at the menus we have, let’s see what’s made its way into our mythology (tea!)
1. Encourage some monologues/musings about the process
2. Make a menu for the evening, but even during the sequence the director’s chair could be open!
Maybe it would be fun to spend the Monday before (11/26) playing in it?
Put out an invitation announcement and include to BYOCup or 5 cents for a paper cup for tea.
Subscribe to:
Posts (Atom)