Groove-y 'ish...guerrilla performance

just put together a Kickstarter page, right here. Working on a new piece/show for August 11th, at 9pm. Probably gonna be at Gooddale by the playground or by the tennis court, or downtown by Gay and Long - near Tip Top.

a short description of what's going on from my kickstarter page:

"Use the curves, flow, introversion, and general style of "grooving" at a club or party situation, and combine that with the rough, quick twitch, wild type of dancing I might do on stage. Then take the focus, zoom, and speed attributes of filmmaking, and the splice, paste, and fade, nature of film editing and use those ideas to drive choreographic choices that will focus an audiences' gaze (like the lens of a camera) as they attempt to take in all this information. All of this would make the performance even more engaging, bringing the audience in one step closer to the movement.

What would come out? A volatile yet entertaining microscope-like plunge into the world of intensely crafted grooving. All of which would be set in a cobble-stoned alleyway of downtown Columbus, OH - using only large heavy duty flashlights as lighting sources."

gonna put together a videodance as a sort of sister work. Check out a video of the work in progress...right here.

Definitely come and check out the performance, watch the videodance online, or get involved on Kickstarter and send some support this way. Either way, I'd love to communicate a bit with all of you, in one form or another. :)

(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.

a loaded act

this is a follow up to this post.

so let me see here, the issue of the loaded act...an issue that stems from the societal/cultural creation of a norm - what is deemed by any given society as normal.

Here's why normality is related go gdance.
Someone is walking down the middle of downtown, they see a space that looks particularly inviting and this person has the urge to dance in that spot.  Like a child wanting to play with a new toy, this desire is innocent. The person moves towards the spot, and a pang finds her stomach. All these people walking to and from work will notice me (hesitation) that'll be weird; I'm not gonna do that.

That would not be normal, like the normal act of walking next to someone you know while you walk to Subway for lunch, or like the normal act of driving down the right side of the road in the States: an act that would be weird in somewhere like France. This is how what is normal relates to guerrilla. Normality is constantly in opposition to acting beyond the norm, and most importantly to me, can often be in opposition of someone doing what someone wants to do. Not an act that hurts anyone else, simply an innocent desire to dance in a cool place. Guerrilla dance is in the business of supporting what people want to do, and what makes them happy/feel fulfilled. Our norms can get in the way of that.

Now, before I end this post on that note, let me clarify that when I say "supporting what people want to do, and what makes them happy/feel fulfilled," I speak in relation to something that will not hurt another creature (human or otherwise.) Many people have the desire to shoot others, to take advantage of, to torture, to make fun of, to leave behind, etc. I won't even begin to reference such things. I simply don't understand the need for norms that continue to harm individuals by not allowing them to fulfill simple desires such as dancing all over.

p.s.
this is where the real meat is though. why do we think certain things, such as dancing in certain places, is weird, yet walking down a street while completely ignoring thousands of others in the course of any given week is normal? Why is going onto a stage, wearing one glove, and grabbing one's crotch seen as cool, but if I do the same thing on my street corner I get cockeyed looks? what makes a norm, who makes a norm, and why do some norms work to keep people from expressing themselves when they feel the need? lots of questions
...next time, I'll probably'll focus on the origin of norms/why norms are created in the first place.

Girl Talk/DaveyDance

Couple of friends pointed me in the direction of these projects (some that have been going on for a while.) Thanks to Lindsay Caddle-LaPointe and Kiki Williams respectively, for giving me a heads up about some pretty rad cats.

First is the Girl Walk//All Day project, which recently accrued more than enough funding on Kickstarter. Basically, the project follows a young girl as she traverses NYC, meets and battles various people around the city. The entire film will be soundtracked by the entire length of the most recent Girl Talk release "All Day." At the beginning of the trailer to the soon-to-be-made 71 minute film, Ann Marson (the lead character in the film,) eloquently states, "My dream would be...being able to dance wherever the hell I want, and making other people feel like it's okay to do that." Hmmm, I think I can get behind that train of thought.

Shooting for Girl Walk//All Day starts in March, and is currently slotted to be shown in NYC alone (unless they're able to garner even more funding.) Jacob Krupnick is the head of this film. Definitely a cool project.

Second little thing is the longstanding Davey Dance Blog, which is home to a whopping 100 videos of this guy Davey dancing all over the world: Stonehenge, Hollywood, Teotihuacan, etc. "A project started while traveling Europe during Spring 2007. Armed only with an ipod and a Canon PowerShot, Davey picks a location and a pop song. Then Davey records an improvised dance."dNot only is he a rockin' dancer, but he also has a great taste in music. You should definitely check out his blog, vimeo, and website featuring his "professional work."

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.

Soloing - Slow Walk

I talked earlier about consequences, and I think this event that happened to me recently while guerrillering around the town provided a viable petri dish (if you will) to look at just such a concept.

Today was my first slow walk (another type of experiment, similar to the soloing, that I am going to start). Basically, I just walked from one location to another really slowly. We did some slow moving type activities last quarter, but we did out of the ordinary actions (like pretending to race really slowly) while today I engaged in everyday actions, with one simple difference: speed.

So, I went to Brenen's (a nearby cafe), and walked from the entrance to the counter. Early on in my journey, the girl behind the counter told me that I "was creeping her out. But I don't know if that is the point." I ignored the comment as I slowly walked while unzipping my jacket. Then, as I walked I saw a very tall bald man look at me from behind the counter as well (I believe he is a manger of the cafe) and I could tell he wasn't really feelin' it. I heard him say something about what I was doing being borderline somethin' somethin', but couldn't decipher what he was saying.
When I actually got up to the counter and he addressed me "Can I help you?" I turned my head slowly to look him straight in the eyes to which he replied "I consider this loitering and I'm going to have to ask you to leave." I stared for a second longer..."Can I have a bagel with peanut butter?"

This moment is where I find the most interest. It was one of the most intense moments of needed control. Control as far as fighting the fear of a much taller man, a manger for a cafe, and the fear of going against everything in my head telling me to not go against the social norms put in place for when someone asks a question; especially when staring that person straight in the eye. There were ways that I slightly gave into these pressures - not taking as long to look him in the eye, being slightly more compliant after asking for a bagel than I may usually be (not specifically asking for an 'everything' bagel). However, I could while I did feel the pressure, and did give in slightly, I also pushed beyond these moments, ignoring those pressures in many other ways. Rejecting them. Taking control of the helm instead of letting myself be guided (hijacked?) by my socially-conscious self.

He was so angry with me, furious even. Why did he have such a violent reaction to a fairly innocent act? This I do not know. What societal norm was I going against to even provoke such a rise in him? This I also don't know. The only thing I really know is that there are societal norms in all societies, and when individuals go against those norms, it can cause uproars of varying levels - often quite negative for some reason. I know this happens, and I know most individuals in these societies are afraid of (don't want to experience) the consequences involved when being "anti-norm."

The consequences in this case were not being able to stay in the location I was in, and not being able to get a bagel, which I was quite looking forward to.

While these are perfectly nasty consequences, I could have easily gotten a bagel from a different place, not even a block away. What I think was the worst consequence in my mind, what I was most afraid of, was that of getting publicly humiliated. If I had not complied with his look of "get your act together and act like you're supposed to" he would have broadcast to everyone in that cafe that I was a non-compliant member of this society. Nothing more than that. A bunch of people I never met before, and probably would never see again. It was their opinion that caused me to feel - quite honestly - a bit of terror.

It troubles me how important that was.

(on the side, freewritin' thoughts)

This isn't the first time soloing has happened in this project. I soloed back at Bates for a time and then most recently next to Jimmy Johns. All of which I've written/talked about. However, I never have tackled it head on - with intention to do so. I've never really had a reason to. My knees' pain gave me reason. I'm finding a core of interest in this society thing, and most specifically in the solo thing. It confronts the reality of what we're doing - Guerrilla Dancing - head on. Almost like it strips down the act to its purest form, without any perspectives, opinions, attempts at achieving a goal (which always alters an act) without any desire to make it into anything, but instead letting it breath and just be. Just like the quote from Siddhartha that I'm in love with, "As a result of your seeking you cannot find.....it happens quite easily that he only sees the thing he is seeking; that he is unable to find anything......because he is only thinking of the thing he is seeking...because he is obsessed with his goal." Dancing. It's just dancing, without any goal or attempt to affect/gain the approval of others - because you're going into it with the knowledge people might take to it negatively. You're not expecting any approval - quite the opposite - and even if you thrive on that type of defiance, that's not why you do it (at least not in the context I've been involved in - by myself and with Jasmine). An act beyond the walls of the past, the knowledge of historical /cultural pressures. In a sense, a completely new act. An act without a web of relation and precedence.

Or at least that sounds nice. Don't know if it's really true. :P

"This is your one opportunity to do something that no one has ever done before and that no one will copy throughout human existence. And if nothing else, you will be remembered as the one guy who ever did this. This one thing" - Sam, from the movie "Garden State"

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.