dance photo Heidrun Löhr |
The d a n s e project deals with a volatile group of choreographic principles which guide the way movement is produced by the dancer. The practice is not about memorising movements, but rather, about practicing ways of sourcing movement from any part of the body, at any speed or level, with any force or direction, for any duration … at any time. It is about the body dancing.
Three fundamental scores or attention tasks are :
- As soon as one notices the beginnings of an habitual movement pathway, redirect the attention to another part of the body or employ a different speed, direction, size or effort in that movement.
- Practice constantly changing the speed, level, direction, effort or part of the body which is initiating the movement (an impossible task but one which constantly awakens one to the potential of each moment).
- Practice delaying the beginnings of movements or suspending momentarily during a movement. In this brief space one has time to notice, and potentially to make, a different movement choice than the one which was about to be fulfilled.
dance photo Heidrun Löhr |
In the beginning I called it 'not dancing'. Later I realized that this was simply a necessary process of positive discrimination towards movements of lesser 'value'. Now any-thing is permitted, even 'presentation' if it comes along. Everything IS something
‘d a n s e is a modality of work that Rosalind Crisp has been developing since 2005. It is about a way of working with the body and an ensemble of unstable principles which guide the production of movement by the dancer. These principles are continually transforming, constituting a language that is both rigorously identifiable and constantly mutating.
d a n s e is not a piece but a world in constant evolution. This process of work is the basis from which pieces or performances crystallise, reflecting different moments or facets of the process, and which we term ’sites’. Each piece or performance is born of the confrontation between the practice of d a n s e , other artists, a particular space, or a specific question. Each of these meetings carves a new direction for the work, giving the particular form and substance to each site ….’ Isabelle Ginot, dance researcher
www.omeodance.com
dance photo Heidrun Löhr |
Each dancer independently sustains a fifty minute journey through an open space. Stools are placed throughout the space for the audience. The four dancers work in silence for thirty-eight minutes. This is broken suddenly by loud rock and roll music, for 3 minutes. They keep working, the visceral impact of the music impacting on their dancing, they continue afterwards, again in silence.
'The structure of this piece is the lightest I could find. It brings the four of us into close proximity at times, without ever addressing directly any harmonious composition of two or more bodies in the same location. The turning point for me in making this work was breaking away from frontal presentation, not a new concept at that time, but something that had not been relevant to my work since the view from here (installation piece for galleries, 2001)'. Rosalind Crisp
dance photo Heidrun Löhr |
performances: Performance Space Sydney November 2005, Dancehouse Melbourne (duet version Lizzie and Rosalind) November 2005
dance photo Heidrun Löhr |
articles/reviews - realtime
movement study, dance magic
eleanor brickhill, realtime 71, february-march, 2006
video
danse (2005) le fresnoy, france
d a n s e from Rosalind Crisp on Vimeo.
This video is the original source material of the d a n s e project
other
the demanding world of rosalind crisp: three points of immersion by a sometime inhabitant
jo pollitt, brolga, december 2006, pp. 23-30
less adds up to more
deborah jones, the australian, november 28, 2005
dance
david corbet, melbourne stage online, december 2005
http://omeodance.com/
RealTime issue #0 pg. web
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