(London) Guerrilla Dance Project

My sister Rebekah recently turned me on to this little happening over in our neighboring, Europe. Guerrilla Dance Project, based out of London, England, is a group that creates monthly performances around the city and has performed internationally in Zagreb, Croatia. Their material is generally set, and focuses on object manipulation to guide their movement and aid in being able to "appear and disappear." From what I've seen, they vary from sitting at a table in a cafe and dancing from that spot, or having seven people against a wall in a line, and slowly breaking out from reading a paper, all the way to slowly rolling down an entire staircase.

A short trailer of what GDP does is right here, and a longer video and interview with the leader of this group Laura Kriefman can be found here.

Check out their website for touring dates, more info about the group, and a list of on-stage performances they do/have done.

norms

...this is a reference to this post.

Alright, norms can be described in a few different ways. I like to think of norms (normal, normality) as the product of someone telling another or him/herself to "do this," and for that person to respond by following and/or accepting the order/suggestion. As the process repeats (with one, or a large number of people) it eventually is seen as something that happens. As it becomes something that happens more and more, this something is logged in one individual's/group's mind as a part of his/her/their life/lives, as part of something that dictates the way in which they approach their life, and how a decision(s) are made...one might call it a style of living that dictates what types of choices are made.

As generations pass, and styles are passed down via instruction/talking/music/movies/books/other forms of expression on an individual and broad level, these styles become norms that build societies and cultures. Some of these norms change over time, while others stay stable for many years. While I cannot say that this is universally the process in which this creation of norms take, this is how I currently understand it and what I will be referencing when I talk about norms from this point on.

...next time, I'll start talking about some applications/reasons for these norms, then I'll probably follow it up with why they're created at all. soon, somewhere along the way I'll actually get back to talking about guerrilla a little more directly.

referencing Shen Wei post

The post immediately previous contained information about some "guerrilla" activity from the well known Shen Wei Dance Arts company. I had some thoughts that came after posting that relate pretty directly, so I thought I'd toss 'em up on the ol' blog.

It's always nice to see big time choreographers "bring it to the people." Not only does it offer a chance for individuals to experience certain types of art that often require an expensive ticket, but it also makes steps to address the lines between the artist and the viewer: the 'fourth wall,' performers outside of their usual shell as "performer on stage" raised above the audience, the definition of a performance space, etc. Many concepts that are often intentionally/unintentionally addressed in most guerrilla art (not only performance guerrilla art, but also that of stencil, graffiti, and the like.) This type of guerrilla art showcased by Shen Wei however, is interesting as it not only comes from an established creator of art - sort of a philosophical(/literal?) oxymoron to the very idea of Guerrilla - but also plays a part as promotion for a non-guerrilla showcase of art. Part of me wonders about this performance being deemed by Shen Wei himself as "guerrilla."

Especially considering the fact that guerilla is often as a type of subversion of the greater society/culture, rather than a perpetuation of it - which could be seen here (promotion for a very non-guerrilla proscenium stage performance, and created by an organization (Shen Wei Dance Arts) that finds great amounts of support from the greater institution of society/culture.)

P.S. 

this is a huge topic...one that I think it pretty vital to my own thoughts about Guerrilla-ness, but something that can't fully be covered in this single post. I'll definitely come back to this. and for the record, this blog in no way means to downplay how much I support any type of guerrilla or guerrilla-esque act. My questioning and analyzation is merely for the sake of attempting to understand this monster of a subject.

Shen Wei: "RE-(III) THRU OUT NYC"

Shen Wei Dance Arts, a prominent contemporary choreographer in the field of dance (involved in the Olympic opening ceremonies a few years back) held some "guerrilla" performances in NYC back in October of 2010. While working on his most recent major work, he held some unannounced performances around the city (sort of a promotional tool I'm assuming. Not sure how supplemental these performances are meant to be, or separate from his final stage work.)

Check out a lengthy video, to see this in action.

gdance video #5

just posted a new video on Vimeo. Check it out.

The Marlow Knows.

a(nother) beginning to guerrilla talk

a while back I wrote about how I tend to look at guerrilla (dancing in this case.) For those who may have interest in anything I say, I definitely would redirect you to take a look at that to see some of where I am coming from when I talk about this (fairly expansive) thing. it's a good base to bounce off of

alright, so guerrilla dance

what exactly happens when one guerrilla dances? "about a zillion things" would be my answer - not exactly a zillion mind you, only approximately seeing as this is definitely not an exact science. at a very basic level, one who is 'guerrilla dancing' tends to enter a space where dancing is not often normal (i.e. a street corner, a cafe, a bookstore, a lecture hall, a library, etc.) and begins to dance. as is probably already obvious (though I will soon elaborate on it anyway) each person who does this act of guerrilla dancing, is doing so for his/her own reasons.

Some people do it to bring dance to people who rarely see it; I've known some who use it as a way to perform grand acts that impress others...in other words, to show off; some people have done it simply because, "Oh! that looks like fun. I think I'll do that;" others do it as a way to say "fuck you" to the man, "this is a free fuckin' country and I do what I want, where I want it!!!!!!!!!;" while even others do it just because it's fun to dance somewhere other than the studio - a place in which contemporary 'dancers' spend the majority of their time training/dancing. I've never met one person who dances for only one reason, but instead a mix of these (and other) ideas.
My own personal reasons for gdancing. it's fun to dance in varied landscapes with various textures; it's exhilarating to pay as little attention as possible to the social codes that tell me, "this is not a normal dance space! it's weird for you to dance here!" and lastly (and quite prominent a reason) to find a sense of meditation in such a loaded act.
There are several more (conscious) reasons I do this act of gdancing, but their complexity and vagueness are better suited for another time. These are the most straightforward, and prominent reasons I gdance.

p.s.
I really like the idea of "meditation in such a loaded act." I think that speaks pretty directly to the idea I brought up that gdancing is dancing in "a space where dancing is not normal." what normal has to do with all this, and why that creates a senses of a "loaded act"...hmmmm, I think I'll talk about those in my next post.

Near Future

I have been fairly absent from the online presence of guerrilla, especially when it comes to this blog. Obviously I have still been dancing all over (including in Michigan. a first that happened over Christmas time, with my sister Kathryn) no worries about this. In my stead from blog writing, I have been working on something else.

I am starting work on creation of a sort of hub-like web presence for gdance. You may already know this in the skeleton-like form of our FB, Twitter, Blogger, and Dance in Columbus page. I am going to work to interconnect these parts to a greater extent, which will form to become a web-place that contains a wealth of information for all things guerrilla, and to facilitate information/guerrilla meeting-ups between individuals.

I have begun creating the meat for this skeleton, most recently in the form of short little videocast blurbs. Those which I have created so far showcase how I and others experience gdance, as well as the exploration of ideas that have come up in my mind/discussions with others in relation to dancin' around town. Feel free to peruse this vast library:


Roofin' it -
http://www.vimeo.com/17643599

Tide Collage-
http://www.vimeo.com/17854171

Messy-
http://www.vimeo.com/18607860

Mango Troubles-
http://www.vimeo.com/18721647

I will continue posting these little films on a weekly/bi-weekly basis. You can also find these videos, and keep up to date with weekly postings of "official" guerrilla times (an oxymoron?) on our FB group page. Also, don't forget our Twitter page as a great/quick way to keep up with all things guerrilla.

Keep an eye out for all future happenings, and if you miss a couple of such events don't worry, a continuous flow will be the name of the game.

flow... ... . . . ... . . . . .

I was in one of my favorite parts of Columbus, leaving a coffee shop walking to my car when it started to rain. I quickly threw my bags into my car, dropped off some valuables, threw off my shirt and lept out into the storm (and I mean storm...raindrops the size of tennis rackets, people.) I ran around the little cobblestone village for a fair amount of time until the rain died down. I continued my walk, away from the car, until it started to pour even harder. This was getting pretty ridiculous, it was getting late, and I was getting to a not as nice part of town. I speedily turned to head back, badgered by the intense amount of water hitting my face. About half way to my car I fell upon a spot. I was drenched, the cobblestone lay unevenly below my feet, and little surrounded me other than the brick houses that sheltered all others from the rain. I stopped. I looked around. and I danced...I danced for quite some time. I did just that, doing little more than simply letting all my senses activate...

Raindrops fell like gravity was turned up times two, the lampposts burned as glowing spheres ignorant to the downward flow of water, the houses that lined the alleyway sat as unique as anything that is born in its natural environment, and the cobblestone...the cobblestone was the best part! The cobblestone jutted in every direction, refusing to be stagnant and predictable. I constantly had to reevaluate my footing while taking in my surroundings (both internal and external) and whipping through it all while I flew between over thinking my movement and finding moments of flow. The kind of flow that negotiated all that was being experienced without much consciously directed thought. I was surrounded by energy of all kinds, and was having a damn good time.

gdance, set to A Few words

The other day someone was asking me about how I personally approach gdance (seeing as there are surely infinite ways of doing it.) A couple things came to mind that I thought I'd share.

When I think of guerrilla dance, what comes to mind as the most important factor is the individual. The individual dancing. Right there is all you need to gdance - a human body. You have one of those, and you're golden.
Although I don't think these are always necessary, having set times or places can be helpful. Creating a schedule of when a group can get together is extremely beneficial when people are busy (as we all know.) But hey, you can just have a set time and no set place, or a set place and no set time...or sometimes it's even more fun to just call some friends up and go boogy in a nearby mall *shrug* up to you and your posse.
Don't get hung up on what gdance "should" be. It should be whatever the hell you want it to be: large choreographed routine, the same act over and over, walking slow, dancing your heart out, salsa, ballet, Caribbean, club dancing, and the list goes on and on. The manifestation of guerrilla dance is very dependent on who is doing it.

If anyone has questions about gdancing, I hope my thoughts are helpful. But hey, these are just my thoughts, in no way does this define how anything should be done. This post is more for those who have the heeby jeebies about going out and being a social outcast. ;)

and remember there are others who gdance as well. Find 'em.

Enjoy your guerrilla ways of life. :P

Guerrilla - as a part of another

Today was interesting in how we were asked to come to dance as part of someone's event. This is the first time this group has done this, and pretty cool to be noticed enough to be asked. However, it started making me wonder if we were simply a supplement to someone else's idea. Sometimes it felt a little like we were "tacked on." How should we dance "under"someone else? Especially when gdance seems so much about freedom, or at least it is fairly connected to it.
This feeling was increased by the addition of a nearby D.J. - we not only were dancing there because someone wanted us to, but we were also provided with their music...so their way of dancing? (It's interesting to note that up until recent months, whenever music was used as part of this group, I supplied it. As time has gone on, I've realized the importance of anyone using their music, partly because it's simply more fun to dance to what you know, but also because it helps to deteriorate any sense of a single individual being "in charge.") But does that really matter? Simply because gdance isn't about some agenda, some higher way of thinking, some more logical well-thought out way of approaching life - and definitely not about teaching anybody how to do anything, or higher art. Guerrilla seems less and less as a platform for revolution or telling anyone what to do, and more an opportunity to allow for actions to be taken (to be involved, or not.) So does it really matter who we work with, or in what fashion? As long as we're continuing to simply do, and not start getting greedy: as we gain more attention, not using our opportunities to make others "get" us, or attempting to influence them to become more like us. The desire to influence others is partly self-validation by way of gathering a posse of followers: changing how others think to match so that it fits with what we do. or in other words, validating ourselves and what we believe in by getting others to say "YES! I agree!" As such, gdance almost seems to fit wherever asked to go as long as we stay in line with our simple intention of dancing, unaffected by others' desire to use us to influence their surroundings. Our presence might be doing that, but we on the inside, performing the act of gdancing, not making any effort at causing such an influence.

(Is it even possible to disconnect one's self from attempting to affect others with one's actions? to simply do without agenda to influence?)

Of course, how we are perceived, how we seem to be acting in the eyes of others, that matters too? Do others perceive us to be losing ourselves/our original intention? Selling out? Does this matter if our actions and intent are the same? Will it affect us if others view us in these negative ways? Might we be hindered in some way? It seems as if none of that perception matters if our acts and intentions are in fact staying the same..."pure?"

Blind Man

A blind man asked us to dance today. It hit me as a monumental happening. I feel like there are about 50 million potent meanings (probably related to my documentary) that I could find within that event. But what could they be?

My initial thought is simply the fact that most people are going to pay attention to a blind man attempting to dance, and that there is a potential for embarrassment. Why would he decide to be involved then? Especially when he is perfectly aware (he said as much) that he doesn't know how to dance - he wanted to be taught.

It all makes me wonder if he simply doesn't realize the social implications of a blind person attempting to dance, an act - while mainly kinesthetic - is largely learned via the visual sense. It seems obvious to me that everyone will be looking at him...but maybe that's the point. He probably, as someone who did not grow up seeing, has little to no concept of others looking at him, and him (as a result) getting embarrassed. It probably does not cross his mind in the same way as one who can see.

But he must have some concept of others awareness of him. I wonder what makes him embarrassed then. Especially because I usually feel embarrassment when I feel others' eyes on me. I am so interested in talking to him, and knowing why he finds such an interest in dancing, and if the thought of embarrassment even crossed his mind. Simply because, well, most people I talk to don't want to join the dancing simply because of fear of embarrassment.

Guerrilla Dance - Solo (pt. #2)

The first people I talked to were viewers of Jasmine's solo dancing.

I talked to one girl who was fairly surprised by the seemingly random act of dancing in the library, a place one rarely finds much more than quiet book reading and laptop typing. Nonetheless, she was quite positive about the dancing. She thought it was gutsy, cool to see, and despite the fact that she didn't really feel like it naturally fit in a library, was glad to have it there. I asked her about the fact that she was going solo, and she simply re-emphasized how gutsy Jasmine seemed. I prodded further to see if she would ever do something similar, and she again talked about guts: how she would only have enough to do it if she had a group of her friends to do it with her.

Soon thereafter, I talked to two other girls who I had spotted looking and laughing to each other about Jasmine. We had a long conversation that touched on many points, but one that really stuck out to me came when I asked about Jasmine's soloing, and whether or not these two girls would ever do the same thing. They both laughed, and voiced how one of them had suggested just that idea, of joining in: "I will if you'll come with me." They decided not to, but it kept this idea of soloing in the forefront of my mind. It was so important to have someone else to stand next to when going against what was established as the proper way to act in a specific setting. (Not that this was a surprise to me. Going against what the majority deems as appropriate is a well accepted difficulty in the life of many humans: ex. high school, media, religion, art in general, etc. but) Why was this so important? Both these girls, and the one I had previously talked to had expressed quite an interest in joining. They all wanted to do it, but didn't have the "guts" to unless a friend was beside them. What strength was there in this extra person? What did a partner offer that was a substitute for their lack of guts? And whatever was holding them back - society, culture, the "norm," rules - was holding them back from an experience that seemed enjoyable to them. They wanted to dance on the staircase of Thompson Library, in plain view of four stories worth of fellow studying students and passerbys. Yet there was some danger they wouldn't risk acting against. An entity of some sort that could hurt them. The joy in dancing wasn't worth the possible consequences.

These consequences...

Guerrilla Dance - Solo (pt. #1)

This whole idea of solo dancing in a place designated for a completely different type of behavior is slowly garnering an intense amount of attention in my mind.

A dancer (Jasmine) and I took a trip to our local library to dance, and as an experiment (and because my knees are shot from repeatedly dancing on concrete) I had her dance alone. First she danced without any music for about 20 minutes, a break, then danced for another 20 or so minutes with an iPod on.

The question was, would there be any difference with this dancing experience with a single dancer versus the groups of three or four that usually go out?

The difference was there, and I soon felt bad for knowingly putting my dancer into the...lion's den, if you will. I saw looks like I always do, and saw Jasmine dance with infectious joy and fearlessness, like I always do. At first, I found nothing irregular. However, time went on and I myself began to feel embarrassed for her - despite my own involvement in the project. There was something about her up on the staircase, a lone figure in her attempt to do something out of the ordinary. How horrible it seemed...

Beyond that feeling of my own, I didn't see any other obvious signs of real negativity. Until of course I actually went and talked to others...

Guerrilla Dance Writing #4

...continued from #3

and we danced, and enjoyed ourselves, and affected those who watched, and didn't affect some, and (it seemed) most importantly we spread dance. It was good.

But I knew something wasn't quite right. I felt good about the process, and it seemed to be fulfilling the goals I had set out to achieve. Yet it rarely felt really good like I thought it would. I felt unsatisfied with the process somehow, and I couldn't put my finger on it. I didn't really put a lot of thought into it - the actual act of making dance happen everyday of the week was more than enough to keep me occupied - I didn't have much of a choice.

At the end of last quarter, all the dancers involved in the project and I had a talk. The topic of connecting with viewers came up. They felt we had brought the fourth wall of proscenium performance with us to our everyday "stage."

As a result, I attempted to approach this Winter quarter differently, using social dance (that which might be done at a club, wedding, party, etc) mixed with a touch of studio movement, with the hope that this would be more inviting to the audience. It also made the focus automatically (albeit consciously) switch to fun. Which, I didn't notice it at the time, had been the original focus all along.

I wrote up a set schedule, found a set place to dance, made sure set people were assigned to each day, and we began...

Guerrilla Dance Writing #5

...continued from "Writing #4"

Day one was an absolute disaster. No dancing happened...it just wasn't right. All the set components weren't clicking, and freaking out by me commenced.

How could I possibly imagine to orchestrate this huge project? I didn't know what was right, and I seemed to get it wrong quite often. There was so much room for error.
On top of all that, it occurred to me: how could I possibly expect anyone else to adopt the responsibilities that I had? It was my hope that if a group of us began dancing in everyday life, on a consistent basis, others would join. Yet it was simply too much work, and too tiringly complex...especially for one person. All the leg work was messing with the fun, the joy. It was doubtful anyone would join the "cause." Even I was beginning to question my ability to keep things afloat.

Then a wise person suggested the idea of throwing out all the structure: "setness" if you will. Why do we need speakers, music player, set places, blah blah blah? Let's just go dance; pick some random place everyday; do our thing.

I smiled, the very next day did what I had been advised, and it finally felt right.

Spontaneity came into the picture, adventure, freedom to choose, flexibility: all qualities that say dance to me. Dance as a way to express whatever one is feeling, do so using the physical instrument of self (the body) and not let anything get in the way. After only three days of this new approach a random passerby joined in the dancing, another week and a slew of others were asking how they could be involved, and another two weeks and dancers from other states were expressing interest in doing the same type of dancing. All of which had never happened in the two and a half months we had already been dancing in public spaces.

There definitely seemed to be a shift, and that shift seemed to be caused by the shift us group of dancers had made. It stopped being about rules and lines to follow. It became about doing what we wanted, and using whatever we could find as a way to do it. It expanded on the ideas of the club and tribal dancing I had originally been inspired by. It took parts of what make that type of dancing for fun/entertainment, doing whatever you want. Now though, instead of going to designated locations to do it, the canvas was clear, and the paint began to fly.

Guerrilla Dance Writing #3

I keep coming back to this idea of fun. When the idea for this project/act/group/movement (Guerrilla Dance, or whatever you want to call it) was in its early stages, it centered around the little knowledge I had about social dancing of West Africa, the swing clubs in Harlem, wedding receptions, the club dancing of current day: dance, most of which is focused on social enjoyment. I noticed that the prevalence of dance within societies (along the aforementioned vein) appeared in a variety of ways and amounts, but all seemed to show up in a social setting of some sort. My first instinct, and the original iteration of this idea of Guerrilla Dance, was to go to the places that already had dance, encourage a movement that led away from bumping & grinding, and would include more complex dance.

I moved away from that approach quite early on, for many reasons, but looking back on what I had considered and how this project has evolved, I see a common thread that has survived: fun.

Last quarter, we had a set schedule with set locations, set people who were going on each day, and set scores to guide the dancing

...everything was set...

Day-Write #2

January 25, 2010

Dancing by yourself in an extremely public space (on the corner of High and 15th near Jimmy Johns, a very traveled area) is terrifying. You feel this pressure telling you what you're doing - sort of detailing out in your mind what your actions are within society's walls. Or rather, what you're doing and how it ranks in the scheme of things you can and can't do. Trying to describe to your conscious self that what you're about to do is going to be this, this, this and this - embarrassing - within the eyes of others...
Even while I was dancing I felt that pressure. For me, once the process begins that fear often diminishes. Yet I constantly felt the eyes and thoughts of others coming down on me, what they might be thinking, the words of ridicule and judgment going through their mind, and whether or not they feel positively or negatively about what I'm doing.

Compare this with the experience of dancing in everyday places with others, and it's an entirely different story. Why that is, I don't really know for sure. It makes sense to my mind that it is because I have back up in a group "These other people are doing it too so it's ok. Multiple people approve, so it's OK!!" Power in numbers. But when you're by yourself, it's all on you. All the pressure is pushing down, and only you are there to hold it up. You have to decide whether or not you care. Physically nothing is happening to you, no real pressure is there, nobody watching is actually doing anything tangible to me, so you have to decide whether or not to imagine that pressure. Choose whether or not to feel embarrassed.


Why is it scary to go beyond what's already been approved? Going into the unknown...the mysterious.

Day-Write #1

As part of the work on my senior "Guerrilla Dance" project, I am going to regularly be blogging about my day to day experiences within the project. These will be very casual, sort of free writes more than anything. Here's iteration one of that process.

January 22, 2010

The energy felt when another dancer is completely released from any sort of pre-conceived notion or pressure, it's completely contagious and inspiring. I've noticed that I tend to not have that reaction unless someone is not a technically trained dancer. Not always the case, but in the most extreme circumstances, it is for me. Infectious energy. What is that? Life? Something inherent in dance that needs to be unlocked by each individual in their own way, or simply an expression of some sentiment that just happens to come out nicely within dance?

Obviously whether a dancer is trained or not is not the catalyst. However, since I tend to notice it more often with untrained dancers, maybe it is an issue of control. Trained dancers are so aware of what they are doing, constantly evaluating movement, or at least being aware of how their movement fits into the "world" of dance and technique.
A thought could be that simply because we are so aware of the context within which we dance, it is difficult to let go. Letting go may then be the reason for this release of energy: an unpolished expression of one's self.
Yet this hypothesis doesn't account for the dancers you watch who have this type of energy, and are expertly trained. Have they found a way to consciously tap into this energy, is it simply inherent in them, or is it simply a skill that can - like many others - be practiced and perfected?

Documentary

Most of what's been on my mind lately has been the documentary I've been working on. (A quick recap- I'm investigating what it would be like if dance was a part of everyday life via performing in everyday spaces (cafes, gyms, engineering buildings, etc) how it would affect the observers and the dancers who dance)

Tonight I'm having a sort of debrief with all of my dancers, talking about their experiences over the course of the quarter, and where I am seeing the documentary heading: sort of a roundtable thing. I'm sort of using this blog post as a way to get my ideas out of what I want to talk about - sort of collect it all together in one place, and share it with you all.

I spent some of yesterday looking at interviews I've gathered this quarter, both from dancers and observers, and I have come across something I did not expect: I can't seem to get anything but positive responses...

Now, don't get me wrong, I love the idea that my goal of having dance become a part of everyday life is something people take very positively to. Maybe this concept is pure gold, and there are few problems coming from it. Which is of course true, there have been some problems that have arisen. However, those tend to be more glitch-like than massive roadblocks. Most of them feel like problems that could be smoothed over with time, or simply be dealt with.

But really, I get mostly positive responses with a negative thought here and there, spliced in for good measure. The problem with this is I feel like I'm getting very surfacey with all my interviews. I don't feel as if the situation is being fully investigated, and basically the documentary will be "Dance if fun! It's good to put it EVERYWHEEEEEERRRRRRREEEEEEEEEEE!!!!!!!"

...yeah, not quite what I'm going for. I'm looking for an honest investigation of this process and an idea of what it would be like if implemented into everyday culture. Instead, I'm getting flowers, when what I really want are the whys and interworkings of this process: why it works/doesn't work, how it shapes those who are involved on a deep level. Most things in life affect us in one way or another, either short of long term. What I am curious about is 1. will it affect the participants in a short or long term way 2. why it is one or the other, and lastly 3. what exactly are those effects and what exactly do they mean in the everyday life of these individuals. These are huge questions, and I feel like I need huge answers to fill their shoes. I am not attempting to make a dinky little student Q&A, but instead looking to professionally (or as close as I can get to professionally) delve into completely new territory for the medium of dance.

This is not to say that I haven't found very interesting information. The idea of community, and personal connection have repeatedly come up from both dancers and observers. I have often asked how the experience of having dance a part of everyday life relates to other forms of art such as architecture, statues, music, iPods, etc. So often, people talk about the human connection that is created between a dancer and an observer. One girl even went so far as to say that she felt like statues and sculptures were a waste of money, whereas having a dancer performing everyday was much more beneficial. For no reason other than the fact there was a real human connection being made between the dancer and observer, and the connection between the inanimate object and the observer was (no pun intended) much less alive. It seemed as if she was saying that the connection between sculpture and human had an end point. As if you gained a certain amount of knowledge, were affected to a certain level, and then that amount of impact plateaued or petered off.

Now, I don't know if I completely agree with those opinions, but I think it brings up some extremely intriguing ideas. For one, while all of our dance has not been totally crazy and abstract-weird shit, most of it has kept that aesthetic intact. Especially because we all go to Ohio State which seeps us in abstract, contemporary, scholastic modern. Either way, people are nonetheless connecting with us dancers. They are not being completely perturbed by a type of dance that often is thought of as "weird" "hard to understand" and "making no sense." This could be for a number of reasons, which I will continue to investigate. Nonetheless, it is incredibly interesting to me the effect of dance as art causing so much human connection between the viewer and dancer. I feel like art in general is very much about human communication, human expression, and human connection. If dance in everyday settings then connects observer and dancer so effectively, it seems as if dance in such a setting may be one of the most natural places for it...instead of the stage. Which is ironic seeing as my dancers have often felt weird when first dancing in public spaces. And even more intriguing is the fact that dance in fact started in social, everyday settings. It's only been in the more recent few thousand years of human existence that dance has been removed from its place of origin.

What this documentary may in the end show is that dance as a part of everyday life, while first in my mind was thought of as a completely new endeavor in the world of dance, may in fact simply be a remembrance of where it all began and the core of what dance is in the first place.

It's been so long removed, that like a legend of old, has completely been forgotten. Like an oral story that's never been written down, and is just now being deciphered.

Exciting.

If Boundaries Had No Friends

A trailer for the documentary I'm working on as part of my senior project at Ohio State.

Enjoy

~Scarecrow