Tag Archives: Ohio State University
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 […]
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.
Choreographically, there is great benefit to this sort of empathy building. In attempting to “be” another dancer, I begin to recognize their preferences. The more I attempt to “be” another, the more I can internalize these preferences and predict how another person will move. It’s easy to recognize this empathic exchange in dancers who have spent a long time dancing together: their deep, physical knowing of the other allows them to read each other in the unpredictable space of live performance, and make split-second choices together.
What came to mind as I re-watched my improvisation with Quilan and listened to our conversation is interpellation, Louis Althusser’s explanation of how individuals become subjects through recognition by another. In Ideology and Ideological State Apparatuses, Althusser writes that …ideology ‘acts’ or ‘functions’ in such a way that it ‘recruits’ subjects among the individuals (it recruits them all), or […]