It’s amazing how quickly time goes by in an MFA program. I’m heading into my final semester of the MFA in Dance at The Ohio State University and I’ll graduate in early May. Between preparing for my MFA project (presented at Urban Arts Space just a few weeks ago) and looking for jobs, I knew that […]
On January 28-30 I presented my MFA project, Full Will. I’ll be putting up more musings about the process and performance in the next few weeks as I write my final comprehensive exam about the project, but in the meantime, here are pictures: Full Will was performed at a great downtown gallery, Urban Arts Space. The cast […]
This fall, I started working on a duet with Nancy Morcos and Molly Stack, both students in my contemporary class at OSU this fall. Nancy is a Program 60 student who takes two dance classes a semester, and Molly is a freshman BFA student. We are early in our process, but I wanted to share […]
In Dr. Bench’s graduate seminar, “Bodies on the Line” this semester, there was a moment, when, rather organically, someone used the title of our course in a class discussion. The phrase was probably something like, “those protestors were actually putting their bodies on the line.” We laughed, because it was bound to happen: the course […]
Here’s the thing: dance is hard. With any body. Among many bodies. Trained, untrained. Similar, really different. The physical act of moving with someone, of coordinating actions and kinesthetic responses and timing and detail and intention between two fundamentally discontinuous human beings is difficult.
I think I had Lacan’s idea of the Mirror Stage in the back of my mind as Quilan and I worked together, and I decided to point to it pretty directly in how Quilan and I engaged each other as mirrors, as well as the actual studio mirror. We decided to structure our duet as a series of mirrors: mirroring the audience, mirroring each other in the mirror, mirroring ourselves, mirroring the movement of each other, and then “breaking” the exact reflection of the other through partnering material, in which the distinction in our shapes and efforts allowed us to take each other’s weight.
This duet investigates the “borders” between postmodern and modern ideologies as they exist in Carrasco and Levitt’s eclectically trained bodies. The duet arose out of an exploration of choreographic choice-making in relation to dance history and training backgrounds. Carrasco and Levitt posit a series of questions in Semi-Formal: “How do our choreographic choices reflect borders and delineations of modern and post-modern ideologies as embodied history? How do we locate our own, individual identities within these Euro-centric principles? How does Semi-Formal ultimately create a set of value systems of its own?” In performance, Semi-Formal posits a series of questions and leaves space for audiences to interpret answers.