The Maya Project 4_A


Regular Practice group rehearsal of The Maya Project work. Contemporary dance improvisation work with cameras. Getting to know the frame so well that we may consider regarding and disregarding the frame of the camera as a compositional tool. Conflating the past, present, and future by using a tool of archive to compose for an ephemeral moment.

Collaborating with Davianna Green, Yildiz Guventurk, Dian Jing, and Laura Patterson.

Seeing and Feeling.

Just begin with an Attention improvisation, active tuning (Lisa Nelson) of the senses and one another

The power of purposefully putting yourself in front of the camera.

“Emergence notices the way small actions and connections create complex systems, patterns that become ecosystems and societies” – adrienne maree brown

We are creating a little cyborg ecosystem. Visual/Kinesthetic.

4_A_1 : On mirroring the visual personal frame, lots of hands in the air describing windows and lines- what does your vision dictating your movements do? What does it mean? Is it hard to look at others’ bodies here? How will you choose a quality? Did you embody? Describe a line? How did you choose body parts? What about locomotion? When did you feel limited? We felt separate somehow to me. What does looking as a guide predict?

4_A_2: On composing based on sensation and impulse- this was more curly- I found texture. What’s it worth to feel vs. see? Is this about believing peoples’ subjective experiences? Listened more. Wasn’t often sure what to do with my sensation but then, sometimes was. What does it mean for it to resonate in the body, and what does that show?

“even when eyes are closed, I’m sensing shapes in the space.” -Dian
“What shapes do our bodies like to go to… the second time i focused on sound. how did it connect to my other senses” -Davianna
“inner voice distraction- because the space is big- it’s harder to focus. my head changing perspective is also a movement.” -Yildiz


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