From Weft to Wight!

crazy woman

My good self performing in durational Live Art / Dance work ‘The Last Knit’, by Annika Kompart. Image: Natalia Iwaniec

“In weaving, the weft is the term for the thread or yarn which is drawn through the warp yarns to create cloth. Warp is the lengthwise or longitudinal thread in a roll, while weft is the transverse thread. The weft is a thread or yarn usually made of spun fibre. The original fibres used were wool, flax or cotton.

Hand looms were the original weaver’s tool, with the shuttle being threaded through alternately raised warps by hand. Inventions during the 18th century spurred the Industrial Revolution, with the “picking stick” and the “flying shuttle” (John Kay, 1733) speeding up production of cloth. The power loom patented by Edmund Cartwright in 1785 allowed sixty picks per minute.

A useful way of remembering which is warp and which is weft is: ‘one of them goes from weft to wight’.” (Extracts from Wikipeda)

katy7

Image and Textile Installation in Detail: Katy Devereux

Local Textile Artist Katy Devereux, Vocal Artist Georgie Buchanan and myself are soon to embark upon Warp+Weft: a multidisciplinary journey through Textiles, Dance and Sound! We doubt it will go from weft to wight as planned, since creative journeys never do stick to a straight path, but nevertheless, we’re very excited about where it might wander. (Just watch out for the ‘shoddy’*, we don’t want anything getting stuck in that pipe!)

To begin, here’s our 100 word extravaganza of a description for the lovely folk at The Arts Council:

Warp+Weft is a two month interdisciplinary collaborative Arts project, interweaving the skills and experiences of local women in Art and Industry to create a multi-layered journey encompassing Textiles, Dance and Sound. Through a series of workshops with a group of local ex-Mill working women aged 55+ the project will engage with Calderdale’s rich Textile heritage to explore wider themes of womanhood, work and industry. It will culminate in a residency followed by a Live Event and Installation reinterpreting local heritage though experimental art and sound, taking place at the 1830 Gallery at The Artworks during Heritage Open Weekend. The project will be documented through a diverse range of media, including blog, film & photography.

Since there’s no word count on this blog, I’ll begin at the beginning. Three ’emerging’ artists (that’s what they call us!), sat in a room. Look out at hillside and mills. Consider collaboration. Put heads together. Goes a little something like this…

Apparently, landscapes remind a person of who he or she is. In the belief that we can only begin where we are, we asked; what about the Mills that are written across our local landscape? Such man-made industrial environments and machinery were at the forefront of a revolution which changed the way human beings lived and worked forever, not only in our local region, but across the world. What of the women who worked in them in years gone by; our families, our ancestors, our sisters across time? We make Art, they made Industry. What’s the connection between past and present, people and place, art and industry? How can we explore those loosely bound threads and weave it all together anew?

Through a process of excavating the stories of a group of local women, combined with construction, occasional deconstruction, and live performance, this collaborative project aims to re-envisage and re-animate The Artworks’ 1830 Gallery, formerly Shaw Lodge Mills (one of the longest running Textile Mills in the local area, owned by the Holdsworth Family, it remained open until as late as 2008).

The Artworks; left, exterior of the building, right, interior of the 1830 Gallery

things fall apart

Things Fall Apart, Exhibition by Katy Devereux, 2010

Based in an understanding of the often under-appreciated embodied intelligence present in all kinds of physical work, the project will explore the experiences of a group of women who worked in Calderdale’s Textile Industry. We want to listen to their stories and experiences, and yup, you guessed it, interweave these with our arty shenanigans!

Perhaps we’ve been reading too much Studs Terkel (author of bestseller ‘Working: People talk about what they do all day and how they feel about it’. Check it out, it’s fascinating and we highly recommend), but we want this project to offer a space for the re-interpretation of the humanity and poetry of the Mill worker in texture, sound and motion, as remembered and lived through the body by local ex-Mill workers.

We want to explore the relationship between man (or woman, in this case) and machine. Between community, industry, transience and transformation. Between three art-forms traditionally associated with the feminine, and the inner workings of the factory floor in the once great Textile Industry of our local area.

Once upon a time in the days of old, workers kept time by song. When the industrial revolution arrived, mechanical time took over and workers would lipread over the sound of heavy machinery. Repetitious and laborious tasks were not universally hated, although they were by some (we have already gathered many a tale of health & safety nightmare, accidents and incidents occurring none too infrequently at times); yet several women have already spoken to us about their enjoyment of this work, of being ‘tomboys’, of it’s smells and sounds.

GEORGIE

Vocal Artist Georgie Buchanan making magical sounds with a ragtag of instruments and her exquisite voice in an attic somewhere. Sneaky peek of her tones on the link below:

One woman who worked in the Mills in latter years even has a theory that certain classic Northern Soul dance moves originated in the movements made by Mill workers! We wonder, can we as live human performers become an art machine of sorts, a human choir choreographed, with machinery all mingled in with the found sounds and noises made possible by the next step in the industrial revolution – electricity! For this, electronic musician and multi-instrumentalist Anthony Smith, who produces under the name ‘Ruma Gilah’ (Malaysian for ‘Madhouse’), will join us.

We’re not sure what it will look or sound like, because there’s still so many stories to hear and experiences to encounter, but we hope you enjoy following us, from weft to wight or wherever we go.

Too rarely is the honest work of local people in industry honoured. So many things these days are boxed up and prettified, dissociated from where they came from, and much gets lost in the process. This project is a chance to tell some stories differently: it won’t be the same, because everything changes, but it will be a little bit of a lot of things, all woven together again.

I’ll leave you with a little dance I did a while ago. Complete with the dulcet tones of our very own Yorkshire born David Thomas Broughton, on forgetting where you come from and returning, along with some words of wisdom on the value of movement by the legendary Dance Artist Steve Paxton.

 

*A local lady we met at an art group told us about ‘shoddy’ getting stuck up the pipes where she worked. Here’s the Wikipedia definition: “Recycled or remanufactured wool. Historically generated from loosely woven materials. Benjamin Law invented shoddy and mungo, as such, in England in 1813. He was the first to organise, on a larger scale, the activity of taking old clothes and grinding them down into a fibrous state that could be re-spun into yarn. The shoddy industry was centred on the towns of Batley, Morley, Dewsbury and Ossett in West Yorkshire, and concentrated on the recovery of wool from rags. The importance of the industry can be gauged by the fact that even in 1860 the town of Batley was producing over 7000 tonnes of shoddy. At the time there were 80 firms employing a total of 550 people sorting the rags. These were then sold to shoddy manufacturers of which there were about 130 in the West Riding. Shoddy is inferior to the original wool; “shoddy” has come to mean “of poor quality” in general (not related to clothing), and the original meaning is largely obsolete”. (Source: Wikipedia)

mushrooming : dancing at the edge of my understanding

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by michael klien / steve valk / jeffrey gormley, from ‘the book of recommendations
I am in a discombobulating process of mind-body-bending, de-schooling, re-wilding, and imagineering. I am definitely dancing at the edge of my understanding !! Which can only be a good thing, or so I’ve come to believe. I have got this far, but it’s all still a bit blurry around the edges … you’re gonna need to just hold tight with me for a moment, the dancing part comes back later…
WHAT IF WE COULD LEARN: “to act (where many others don’t) and yet to question that action – in the very name of that action – while acting, [which] is the sublime fulfillment of what it is to be human – to be in open conversation with one’s world at all times. It implies a sensibility that transcends itself, and that therefore has the possibility of acting as the seed of a more conscious future” (a delicate activism, davidoff & kaplan).
WHAT IF WE COULD EXPERIENCE: “a felt shift from separation to connectedness. From being an individual somewhat isolated observer, looking for connectedness, to being essentially and intimately connected… Instead of being too busy to care, we notice what needs doing to look after the people and the environment around us, and you naturally do it” (guy claxton, on being touched and moved at the RSA).
I’ve long believed that change is only possible, firstly, through the revolution of individual consciousness. Any forced attempts at change merely echo the imperfect structures that bore the bullshit in the first place. At a micro-level, change happens first in the individual mind-body, and then via communication with others and our surroundings. What I didn’t realise was that my own understanding of consciousness, communication, and our relationship with the world, was still so limited… The phrase I have so often quoted from Krishnamuriti, that ‘I am you, you are me, and the world is us’, now takes on a fuller meaning.

HOW MIGHT WE FIRSTLY DEAL WITH THE PHYSICAL MANIFESTATION OF IDEAS, EMOTIONS AND EVENTS, IN ORDER TO PROMOTE SELF-HEALING IN OUR OWN DELICATE MINDY-BODY MATRIX? HOW MIGHT THIS EMANATE OUTWARDS INTO THE WIDER WORLD?
WHAT IF IMPROVED MIND-BODY INTEGRATION IS VITAL IN ALLOWING US TO ‘MEET’ THE WORLD MORE HOLISTICALLY, AS DESCRIBED ABOVE BY GUY CLAXTON?
WHAT IF THIS MEANS THAT THE SENSITIVE PROCESS OF EXPANDING SENSORIAL AWARENESS IS ACTUALLY BOTH PRAGMATIC AND PRACTICAL? WHAT IF IT’S NOT ‘JUST DANCING’?
WHAT IF I HAVE NOW HONED IN ON EXACTLY WHERE I NEED TO GO.
WHAT IF ANY ATTEMPT AT CHANGING OUR WORLD MUST ENTAIL A WIDER UNDERSTANDING OF CONSCIOUSNESS AND A DEEPER UNDERSTANDING OF HOW SUBTLE COMMUNICATION OCCURS?

*some thoughts*
the final act of meeting is the act of physical touch.
likewise, the final act of communication is the act of using symbolic language.
so much has already happened within you before you ‘decide’ to do something (new-wave science has proved it)
hence, conscious ‘free will’ is debatable, given the amount of unknowns…
which means that embodied intelligence, and other less appreciated ways of knowing (such as intuition), are REALLY BLOODY IMPORTANT! if we can cultivate the skills to ‘know’ in more ways than one, what might this mean for our way of living and being?

HOW MIGHT PRAGMATIC APPROACHES TO THIS SUBTLE ORDINARY MAGIC ENABLE US TO NAVIGATE EVER-INCREASING PARADOX? HOW MIGHT WE EXPAND OUR POTENTIAL AS HUMAN BEINGS THROUGH SUCH PRACTICES? HOW MIGHT THIS RADICALLY IMPROVE OUR RELATIONSHIP WITH OTHER HUMANS AND THE ENVIRONMENT?

This is the mushrooming of my understanding of what dance is, and can be. We are deeply implicated, interconnected beings, engaged in a dynamic entanglement with self – environment – other. I thunk it, I felt it, but now I’m TOTALLY CONVINCED!!!

PS. I apologize for all the caps locks, italics, and strange formatting!! WordPress is giving me gip, hence the lines of separation between paragraphs… and my mind-body is struggling to digest / process / compost all these half-formed realisations. Danke for your patience, friends!

humanimals, and the art of empathy

“Animals are so much more empathic than humans. They feel everything and they’re with you, but not because they expect to get anything… it’s just the most primal form of nurture … a way of release and interaction” says Nai Palm…

Lately I’ve been thinking, not just with my conscious mind, but with my whole mind-body matrix thing. I’m realising that one way for humans to learn to be more empathic towards the earth, animals and each other – is by healing the mind-body split within their own bundle of cells/skin/soul/bones, expanding their sensorial connectedness, and developing the ability to sense each other rather than constantly making ideas about each other.

MUCH LIKE THIS FELLA IS DOING HERE … MAN COMFORTS GORILLA WHO JUST LOST HIS MOM

We just need a wider, deeper understanding of how communication occurs and what consciousness is (see my earlier thoughts here), in order to appreciate and utilise the many forms of knowing available to us. There’s so much going on at a subtle level, and I believe that we need to cultivate the skills to listen to it. 

Check out this dude and his Chimpanzee work, for a practical example of the kind of sensorial development that I’m talking about. After spending two months volunteering in a sanctuary in Cameroon, this fella decided to create a ‘movement-based workshop exploring trans-species kinship with our closest relatives’. Check out his blog here for more info.

PS. Body-based healing practices and dancing are both pragmatic and useful! So there… and logic and ‘rational’ thought aren’t always the best way to respond (Just sayin’ yo).

PPS. I want to be the kind of artist that the Chimp workshop guy is – grounding my practice in the wider world. Facilitating experiences where change might happen, through this wider understanding of the relevance of movement/dance/whatever ya wanna call it. Trying not to compartmentalise so much and this is the point at which language starts to break down. My increasing over-sensitivity to this stuff makes it harder and harder to label, separate and symbolise.

PPS. I love nai palm !!!!!!!!!

the meaning of death dance

my relaxed solo rave to stephen jenkinson’s meaning of death video. the topic might seem heavy for a tuesday morning, but it’s seriously worthwhile heavyweight wisdom! i promise 😉

it’s taken me many viewings of his video to capture the fullness of what he’s saying – i got the general gist but chunks of it eluded me… however i kept feeling drawn to returning to his words, and every time i watched the video again i started to understand a little bit more about what he was saying, and what it means for the way we live…

somehow after a while it all starts to get just a little bit less heavy.

anyway, i did a dance to it. will let his words do the rest of the talking. enjoy 🙂

the black box sessions

Some relaxed solo raves, from a tired day in a black box, when I was knackered and at the end of my tether. Performance day was on it’s way and I felt uncertain, like I didn’t really know what I was doing. This was attempt number three at finding some sort of coherence. Big thanks be to Robbie Pallet for filming 🙂

relaxed solo raving

a highly-improvised, terrifyingly unstructured idiosyncratic space and time warp sound and dance documentary, in which i do my very best to;

channel whatever is appropriate from my own mind-body matrix

in relation to

a) you (the people in the room with me),

b) the inherent preoccupations of relaxed solo raving as a practice and performance mode

and

c) whatever else might arise in that particular moment.

i imagine it will go a little bit like this =

from wobbly legs to funny walks, and why spirituality is really about the body… (might even make a pit stop at the meaning of death dance if we’re feeling up to it).

this dance is dedicated to all the secret dances and social dances, the sadly missed and un-danced dances. to the sweat and the motion and the many feel-good-sharing-moments. and to kids dancing on youtube, because it’s better than kittens!

most of all, i dedicate this dance to a very impressive woman – one Winsome Broomhall, who danced and lived with both grit and grace until a grand old age.

PS. feel free to bob about a bit, pretend you’re at a gig, a rave or in your own kitchen instead of a contemporary art soiree. there is a dance outside of right and wrong… i’ll meet you there?

performed / sound arranged by izzy brittain*.

(*track list to follow. in order to dance with danger and prance on the edge, each solo rave is unique, so your guess is as good as mine at this point*)

relaxed solo rave was first shared with an audience at the performance laboratory, laurie grove building, new cross on 16/7/2015

the next sharing will take place at SIN (saturday improvisation night) in york on 26/9/2015. i will also be teaching a workshop earlier that day…

the workshop will be from 2.30-5.30pm at 41 Monkgate, York and costs £20 for the 3 hour session. numbers are limited so booking early is advisable. to book for the workshop and/or a slot at SIN, please contact Stacey@sixlips.co.uk

WORKSHOP STRUCTURE / CONTENT

Beginning with a release-based warm-up class, the workshop will focus on opening up new pathways within the body and attuning the dancer’s senses to their environment. It will slowly and organically break down the ‘mystery’ of movement improvisation, providing practical and playful tools with which to approach our dancing with confidence.

Through following pleasure and finding freedom, the unique practice of ‘relaxed solo raving’ will be introduced. Through this improvisational structure the workshop will offer the opportunity to look at the art of being yourself, the youtube disco / ted-talk phenomenon, the mind-body connection, and why there are many reasons to be a mover.

Most crucial of all will be to unearth motion which feels good, and to develop awareness in our own dancing as we share a friendly space for solo dancing together.  

There is a dance outside of right and wrong. I’ll see you there !!

Screenshot 2015-07-13 21.30.39 Screenshot 2015-07-13 20.27.45 Screenshot 2015-07-13 21.00.28 Screenshot 2015-07-13 20.34.15 Screenshot 2015-07-13 20.55.01 Screenshot 2015-02-07 21.38.34 - CopyScreenshot 2015-07-13 20.45.11 Screenshot 2015-07-13 20.59.48 Screenshot 2015-07-13 20.53.15 Screenshot 2015-07-13 20.35.56 Screenshot 2015-07-13 20.55.49 Screenshot 2015-07-13 20.52.34 Screenshot 2015-07-13 20.39.56 numero uno Screenshot 2015-07-13 20.44.02 Screenshot 2015-07-13 20.38.17

check out the relaxed solo raves playlist here 🙂

dancing / borders / bicycles / crossings (and other matters)

People are on my mind. After the amazing, discombobulating and enlightening experiences of RICE on Hydra and Critical Mass to Calais with Bikes Beyond Borders… here are some words to get out of my head and into the world as soon as possible. It’s sort of an update / poem in progress / repetitive, related mashup of bits and bobs that I wrote here after the Climate March in September. More detailed write-ups to come on both experiences / events later, when the bladdy thesis is fnished… !!
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photos by minou tsambika (the circle, my new non-dualistic symbol for love, the universe and everything), zoe tsaff (map of the sunrise to sunset dances on hydra for which i took on the role of nomadic care-giver), and two crappy phone shots by me (a bird flying free between dover and calais, and three well-intentioned pairs of cyclist’s feet, on their way to donate bikes to people in ‘the jungle’, calais).
what i am interested in is the borderline. the crossing. the communication between individuals and the whole. the tipping point. how the individuals make the whole. how change must, and can only happen organically. how everything is organic really. how each person does what he or she can, under their particular circumstances. how radical compassion must mean radical understanding. because i am you, you are me and the world is us, yes, but it’s all so easily misunderstood ! for years I was living with i am you, you are me and the world is us, so why can’t you be a little bit more like me, please? and i never even noticed. how anger and and action and force might be necessary, sometimes. how they open the way for the rest of us. but how not to forget the quiet ones, or the ones who compose thoughts more slowly and speak more carefully… and what are all the different ways of knowing anyway?

how to be a practical, pragmatic poet?

because, make no mistake about it,

i just love dancing and writing poems,

and whilst i’ve toyed with the idea

of becoming a full time activist and living in a tree –

for the moment, i’ve just got to accept that i’m me.

i can plant small seeds, help ideas germinate,

i can create. but i can also do flash mops

to the sound of 80s electro-punk

and make myself izzabella necessary on occasion.

how to be useful…

it’s all even more complicated than i thought.

how to build a boat. how to build bridges.

how to take bicycles beyond borders

and build radical dance schools of the future.

how to get clean water.

how to facilitate. how to have a different kind of conversation.

what is the art of hosting conversations that matter?

how to be tolerant but not be a dead fish…

how to live a good life but know that you’ll always

have to co-exist with the whole world and it’s plentiful shit?

how not to ignore it, but not sink in it either.

there is no shortcut through that shit! like my wise mum says.

how to just live well and be helpful, in a world as complicated as this?

a slightly psychedelic solo rave (because dancing is good for us)

Here I am, back in the studio post-tour, and enjoying myself by getting stuck into the relaxed solo raving again 🙂 This is the third recording of a series of improvisations leading to my thesis performance in mid July. I think this one confuses the senses somewhat, which I enjoy, so I put some silly effects on it to make it a bit more confusing.

I started off thinking about doing something ‘subtle’ for my thesis performance, since I’m a contemporary dancer and this is ‘dance as high art dahling’ (bleurgh, excuse me while I puke at my own bullshit). Whilst contemporary dance is quite clearly niche, in usual black sheep fashion I’ve found myself taking up residence in an even smaller niche.

This is, nevertheless, a very lovely little niche full of release-based dance, somatic practices and improvisation. It’s where my heart lies, alongside a growing appreciation/love for African dance (which will probably be the next thing I explore after this project). All these practices reflect my most pleasant philosophies on life and wholeness, and how it can be if only we’ll all play nicely and nobody gets hurt…

HOWEVER, nothing is perfect and everything in dancing isn’t ‘nice’, just as choreographer Miguel Pereira said to me a while ago. Relaxed solo raves is a project about wholeness and integration. I’m making a bid to integrate some of the many sides of my own current self through ther medium of dance, and I can only begin from the starting point, which is now!

I may have turned into part contemporary dancing poetry-loving prancer, but I’ll always be half salt of the earth Yorkshire lass, hailing from a reasonably rough Northern town full of pebble dash and pubs! I’m one part bit of a princess, one part pikey. My head loves knocking about in the clouds and being a stray, unpredictable thing at times (it’s taken some taming but ultimately I’ve learned that there is always a psychological silver lining), butI do my best to keep my feet in the earth where possible.

I wish I was more disciplined, but I still love staying up all night sometimes and being a responsibly irresponsible rebel. I’ve stopped smoking countless times, but I always seem to start again. I am certainly imperfect, and I would now like to share my imperfectness with others 🙂

What I’m saying is this: sod the subtlety just a tiny bit. In homage to this, it now seems that I’m leaning towards getting some projections, crappy disco lights/strobe and a bit of haze involved in the performance. I’m thinking, start off in somatic-sensory world but then transform the space so it becomes progressively more rave-like as the piece goes on…!

It’s an ongoing balancing act between my love for the experimental, yet also wanting to do things that imperfect people like me can connect to. Warmth is important, and I’m now slowly learning to enjoy silence, empty spaces and down time, but the urge for ‘freedom’, adventure and a not-so-healthy bit of chaos is in ongoing dialogue with my more contented, calm, harmonious self…

Lately, I’ve watched a few good videos of kiddywinkles dancing (everyone loves ’em, it’s wholesome, feel good, and better than kittens!!). Watching these lovely little movers brought it home to me – it’s such a natural thing to want to move your body and explore it’s possibilities, and yet that playful instinct is slowly socialized out of us.

I’ve just spent five years training to be ‘a dancer’, but I agree with Steve Paxton when he says that getting into dance was more about ‘finishing my movement development’ than the ambition to become anything. (PS. Have a gander at my response to Steve’s ‘about reasons to be a mover’ here.)

This little man, whose video went viral on facebook, was a particular inspiration – so much so that I did my own version. It’s the first thing that happens in the video at the top of this post 🙂 but you can check out his original funky maneuvers here… 

Relaxed solo raves are quite clearly about the relationship between music and movement. Watching the band Goat perform an amazing gig of wacky world fusion music (despite being from bloody Sweden!!), swathed in festival colours and an assortment of patterned garms from around the globe, I sat there and wondered if contemporary dance could also be that much fun?!

Can I do a solo thing that doesn’t take itself too seriously? Isn’t it ace when watching dance makes you want to spontaneously dive out of your seat and do the wild dance of abandon yourself?!

Asking what comes first, the movement or the music, is like talking about the chicken and the egg. Movement is life, but music and movement do go hand in hand. It’s usually only the trained dancer who has been taught to work against the music, or to discover their own internal rhythms and impulses without pre-set steps or even sounds to work with.

For most, music is the access point used to spontaneously enter the flow of the dance state! It’s unfortunate but understandable, given the society we live in, that a large proportion of adults also require the presence of several stiff drinks, simply in order to get uninhibited enough to shake their ass a bit. I was also that person before I started training in dance…

So now I’m wondering about the dances that go un-danced as a result of this, and also the secret dances and social dances, from dad dances at weddings to more rave-like scenarios… to how you might bust a few moves in your kitchen (if you have a big enough kitchen) while cooking and after caning a bottle of wine meant for the stew and comandeering the wooden spoon as a microphone.

I want to channel some of that feeling (see Johanna Channels Aretha), so that even though I’m dancing on my own there might be some sense of feel good sharing. I want to half act the clown and be over dramatic in the way that six year olds dance at a party. I am hugely inspired by the kid in the film Little Miss Sunshine, and her heart-warming Superfreak dance at the beauty pageant.

Due in part to my background, and due also to my preoccupation with empathy, connection and a belief that life is relationship, I am all for performance as communication. I’m not necessarily preoccupied with providing some kind of finite, concrete performance, but with sharing an experience or creating an atmosphere.

I guess that’s why I want to keep it a little loose and improvised, so that I’m free to be responsive in the moment, and because I think that the atmosphere improvisation can create has something vulnerable, open and on the edge, in a way that set material rarely achieves.

Although I’m choosing to practice being physically alone in my solo raves (are we ever really alone? see my original post on solo rave numero uno), I’m also hoping that the audience will be with me in spirit – but somehow without having to get them involved in engineered audience participation. Maybe all this has something to do with making myself vulnerable?

Performance poet Candy Royalle says vulnerability is the new cool, Kate Tempest is preaching radical empathy, and it’s also something I can see in the work of Theo Clinkard (man of the moment for the contemporary dancers-in-training).

I love weight, the feeling of falling, the experience of flow and engaging with space and time. I have learnt the value of following sensation, embodied knowledge, and that there’s a wisdom in the body that my conscious brain is always one step behind. I love all those contemporary dance things and learning about them is opening up possibilities that I never knew existed.

Ultimately though, humanity interests me just as much. I’ve said it once and I’ll say it again, it’s no good rolling around on the floor on your own (or only with other contemporary dancers) all the time...

“As a creator, my artistic ethos is this: I create in order to connect. I seek to connect in order to remove the idea of “otherness” that divides us. By removing the division of “us” and “them”, I try to highlight those things that actually bind us. Here is where our connection is found”. (Candy Royalle)

Cheers for reading/watching 🙂