a brief solo (3.5 mins). i would ecourage you to watch the video before reading the explanation.
the music is «first brain» by kaki king, with dan brantigan on the trumpet. the footage is from my isight with overlaid audio (the inbuilt mic is not great quality).
i don't normally work with this type of improvisation score (in terms of content / form). it took a few iterations to make the mental/physical switch and 'interpret' rather than 'follow'.
with improvisation stimuli, it is important not slavishly replicate the instructions. a score gives direction and focus, but remains open. it leads you, but is not confining.
thanks to nancy for sharing.
Posted by
Matt Gough on March 6, 2008 4:39 PM
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» What Do We Ask of Viewers of Our Online Dance Videos? from Dancing into the Future
Matt Gough created an improvisational dance video based upon Nancy Garcia's "Feel the top of your head opening" movement score. Why do we see so little of this type of online collaboration? And what context and guidance do you provide to the viewers of... [Read More]
I'm so flattered that you worked with my movement score. I just watched your video, and it's beautiful. I have a question: "What's left?" I always ask after working with dancers on this score. And they are the last two words of the score. Were there images that stayed with you while you danced? Certain portions of the score that drew you more than others? Anything else that you'd like to share is welcome.
When I work with this score in the studio, I try it with sound I know (for example, a song I'm familiar with), a sound I don't know (some song I've never heard), and no sound at all. I compare the three experiences and notice how my improvising and the result is affected with each iteration. Just thought I'd share my process. I'm happy to hear more about yours.
I'll repost your post on my blog. If others would like to join in in taping themselves working on this score and on sharing their methods (or trying out mine and/or Matt's), please do.
thanks for your comments. the request to watch, and then read was a question of 'context'; what does it add/subtract? it is good to have feed back on how such things 'read'.
it makes me more aware if how i 'frame' (or don't frame) the work i share/show and the effect that has.
in terms of the video frame, i try to be aware of the camera perspective, but not too much. i found this score tough as i've not done that type for a long time. most of the time my eyes were closed which is unusual for me. i relied on my memory/spatial perception to remain 'in view'.
my video work flow will change in a few weeks. from a technical and 'film' aesthetic perspective things should get a little more refined, but (hopefully) without artifice.
as much as i critique my own work (if i wasn't sharing the 'everday' i woudn't have posted this, it is not 'ready') your thoughts are welcome and useful.
This video is really beautiful, just at first glance. It's so simple and elegant. I love the shadows of lines on the wall, and the low angle of the camera (my favorite angle for shooting dance), and your colors. I loved the sound score too. Even without knowing what your movement structure was, I was really engaged. My only wish (and this is the filmmaker part of me), was that you had completely left the frame at the very end. But maybe that would have made it look too planned and polished...
I have watched this several times and in different ways, without reading the text, after reading the text, listening to the instructions and watching the movement. There is a cumulative level of understanding although the essence is the same. The more I watched with more information the less I questioned what I was seeing and what I saw was confirmed by the information. I seemed to be operation on two different levels. In one place I enjoy your movement exploration, observe your movement choices, notice patterns and preferences, notice the contrast of your shirt, pants and skin. In another place I am aware of what your are communicating, what is inspiring you, what leads you to make choices, what you are offering me as your audience. In the first place I find myself somewhat judgmental and in the second place awed by your skill and talent.
There is something about the context that I appreciate.
Matt,
I'm so flattered that you worked with my movement score. I just watched your video, and it's beautiful. I have a question: "What's left?" I always ask after working with dancers on this score. And they are the last two words of the score. Were there images that stayed with you while you danced? Certain portions of the score that drew you more than others? Anything else that you'd like to share is welcome.
When I work with this score in the studio, I try it with sound I know (for example, a song I'm familiar with), a sound I don't know (some song I've never heard), and no sound at all. I compare the three experiences and notice how my improvising and the result is affected with each iteration. Just thought I'd share my process. I'm happy to hear more about yours.
I'll repost your post on my blog. If others would like to join in in taping themselves working on this score and on sharing their methods (or trying out mine and/or Matt's), please do.
Best,
N