It is much too soon (about a week) to write very much about the experience of joining Nottdance for a day. I would just like to thank the organisers and everyone involved for a very special experience. Here are a few prelim notes.
I had a fabulous mind-blowing day at the Nottdance 2019 festival.
- so well thought out
- Lovely dance space
- Beautifully organised
- Top quality events and performances
- Balanced “flavours”
- creative buzz
I had to get there before I could even begin to grasp it. No idea what to expect
- Community event?
- I did not have a clue, but it turned out to be all these things and super smooth
What I did
- Katye Coe’s open class on contact improvisation. 90 mins of free style and contact with music once warmed up. Beautiful experience. Starting from “listening to the body”, thinking of gravity and being in space.
- Julie Cunningham Open Practice a privilege to watch this amazing dancer work through her warm up routine, explain her ideas, particularly about gender fluidity and lesbianism, and then perform a short dance. It probably meant a lot but I enjoyed the beauty of her movement and the integrity of the whole experience. Discussion about non patriarchal ways of viewing the body, its fluidity and messiness.
- Reading room. A discussion group focussed on the small library in centre – started with books being scattered off shelf around the room and everyone sharing or reading what caught their eye. This was a brilliant way to access the books in a different way, how different when they were on the floor or on windowsills or seats, how much easier it was to start discussions with fellow readers. I felt more at home and confident in this session. I appreciated the parallels between choreography and visual art. So eye opening and shifting. Books we discussed:
- Inside Choreocracy
- Power of just doing stuff
- Marcus Coates a practical guide to unconscious reason
- Wondrous Women – a group in Nottingham
- Cai Tomos
- Using the sky by Deborah Hay – “I wanted to choreograph a spoken language that would inspire a shift in dance away from the illustrative body, despite its intense appeal to dancers and audiences alike, to a non-representational body” “the surplus of output for my whole body at once far exceeds any additional input from me.
4. Jennifer Lacey, extraordinary dancer and artist, doing hermeneutics practice in Nottingham Contemporary. I sat in on one session, amazed by her evident skill and depth of knowledge and vast self confidence.
5. Matthias Sperling and Katye doing an amazing dance in the Nham Contemporary. I was quite tired by this time, went to sleep at one point, still did not understand his ideas, but appreciated the quality and originality and spirit of the beautiful performance.
- Oh so refreshing
- Tremendously aware
- Wish I had been there for whole thing
- Wish I had seen more
- But this was just a starter for me
- Choreography as a practice, seeing visuals in a different way as a result, choreography as a way of creating with the human body
- Had a discussion with Antonio from Spain/London about the conceptual/non conceptual approaches to choreography.
- I think that sometimes conceptualisation is like legislation, the mind as agent, otherwise things do not happen, cannot change
- I am on a track of sorts, particularly regarding improvising and less emphasis on figurative art
- Matthias exploring new ways of knowing through movement and the body
- Hearing about other ways of combining visual art and movement Dancing Museums “The Democracy of Beings”
Research and ideas
Matthias writing about magic and science, “the magical and the scientific, the imagined and the actual, the subjective and the objective, or with mind and body. Warburg placed movement at the centre of his way of understanding the world”.
Matthias on how different artists “could be seen to be exploring aspects of this evocative and generative zone in their practices… I see these practices as working within and on the fundamental connectedness of our mental being, our physical being, and the manifold other human and non-human beings in the environments around us. “
The practitioner as “seismograph” – a person who is tuning in to particular frequencies, resonances and ruptures that are vibrating in the environments around them, diagnosing their epicentres and bring them to light to be perceived in different and yet related ways”… each offering “vitally regenerative responses to the many-layered complexities that we are living through” (Matthias Sperling)
How does this relate to visual art and to my work?
Good question. I am blown away by the experience of being in Nottingham, and now, a week later, am unable to produce a coherent impression. All I can say is that I understand choreography slightly more than I did, and that I have discovered the beautiful and original ideas and writings of Deborah Hay. Which might be applicable to my art practice and which might help me understand the body, my body, and movement more. It is something below the radar, and I prefer to leave it that way, reading her books “Using the Sky” and “my body, the buddhist”, as meditations or prayers.
Taking art off the wall into a physical and shared space/awareness, which is less visual and more holistic. Also more immediately universal.
Thinking back to the work I did for exhibition earlier this year “Being Human – Together” I was pushed for time in preparing for this exhibition, and had not yet processed ideas from Mattias’ workshop at Siobhan Davies Dance Studios in London. In fact I drew in a spontaneous way and subjective way, so perhaps I was understanding more than I realised.