charlie’s haikus

sacred ritual
do we really believe it?
yes to illusion

one thousand people
all moving as one person
there is a healing

spirituality
ten thousand mysteries dance
the biggest question

pushing my body
it becomes more of myself
energy is real

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Revised Structure

BEGIN

Bryans story in window….while Bryan is telling his story, Charlie is recording, inside the space, A/S are stirring vortexs, they are on small platforms? with clear jugs. do we have some sort of capes or covering for our uniforms here?

Chime guests in?

Sara begins to tell her story. Of going to a biodynamic farming demonstration at her Tai Chi instructors house. “Learning about microbes and live dirt vs dead dirt. Taking a preparation of this “live dirt” – just one cup or so. Stirring vortexs of water and dirt–taking turns with two urns, 4 or 5 people around each one. Talking shit, telling stories, taking about work, and life, and watching two young lovers, feeling the pull of the water down, my arm becoming a cold paddle then turning it over to the next. Mesmorized. Springs of shrubs cut and handed out with small plastic tubs that were once Cool Whip. Flicking the yard all around with this now magic water. and studying the nature we were nuturing. I rode home with a Cool Whip container of this dirt and I got home and Aurora arrived. I told her, Im sure excitedly, about the vortex and the magic water. Together we went around the yard, front and back, sprinkling and talking, about our mothers, and our fathers, setbacks and dreams, and well now that has led us here. now.”

Aurora tells her story. x.o.

We talk about the order of things to come.

Are you ready?

Ready. etc

begin some shorter? version of 5BX, some vocal warm ups, and then start Nationalismismic Dance. Form a straight tight diagonal, Sara as drill sargent.

Charlie: at 3rd dive down, you fall, you lie, you roll over and stare up before getting up to walk to wall and have a cigarette. you then come back in once you see Sara do Sight Down.

Bryan: at forward block? right after bow stance…you start doing the hambone to a new location TBA and begin new pedestrian dance in your own time.

Aurora: Somewhere in round 4 you begin pedestrian dance in 4/4 time. After some of this you and Sara will both begin double time. this is signal to Charlie and Bryan that we are ending….peel off to costume change.

Sara: In round 5, after nation lunge up, go into can you hear me to transition to new pedestrian dance. After 2-3? rounds go double time with Aurora.

LIGHTING CHANGE, recorded stories repeat?

Sara enters from the back and perches in the audience, the mask facing backward.

Aurora begins laying out the dirt in forground, with mask on back of head.

Bryan puts on his lightening and horizon belt. Begins dance.

Charlie puts on his mask, collects his chicken foot stick and goes to perch.

Sara comes down from audience and gets some of the vortex water in a plastic container, something to flick with. She begins flicking the dirt with the water. She flicks some water around the space. Not too much maybe slippery?! This is a very slow and subtle movement. Charlie leaves perch to stamp it in the dirt.

(We are making some sounds here, work sounds? songs from working men, some kind of chain gang song??–strange idea) Haikus??

Is there a dance with Sara and Aurora here? A duet? totem movements?

Does Charlie want to dance here? Totem movements?

How can we incorporate storytelling here? or some magic/myth? or are we already?

Wigman poses, tighter cluster

Begin Healing Dance

More exstatic movements and specific gestures, listening to each other with our voices not our bodies necessarily. Maybe the light here is very low with some bright spots of color…it is more about the aural sensations?

Charlie call ours end after a set amount of time… 7 min? Culmination has occurred … by ceremoniously (somehow?) handing us our bowls. do we reach for them as he comes? we then chime bowls and Charlie again signals for vocal only by placing his hands on the “speakerbowl” and we hum. or some vowel chant. prolonged.

is there some faint recording that keeps echoing?

END

Reflection 12/13/12 and performance draft

Yesterday Sara and I discussed the idea that each of us plays different characters. Our masks bring four different characters to life. Each character has its own qualities and elements it brings to our healing ritual. Here’s what I envision:

Octopus/Owl……Wisdom, Guidance
Lightning…….Kinetic Energy, Alchemy
Cat/Cactus…….Stability, Strength
Bird/Dog…….Playfulness, Curiosity, Mobility

I am thinking of a draft of the second half of the performance. Right now it look something like this:

– Nationlistic dance. People start to peel off to change. S remains doing nationlistic dance the longest. She doesn’t change in the space. When she is done she exits the side door
– A and B do modified pedestrian dance – fav pedestrian dance movements + some Yvonne Rainer moves? Sara enter from the back, changed. She puts on mask and paces on back bench (perch), close to audience members. Meanwhile C sets up sound? Ped dance ends with very long shmoosh. C joins for shmoosh. Shmoosh begins to migrate further downstage.
– S leaves her perch, begins to approach the three onstage. She circles around shmoosh, which is becoming faster and more aggressive (or opposite? Shmoosh starts violent and becomes more gentle?). She circles around, transforming mob and also opening space.
– S sounds single note, all freeze. ***Is this where she takes off her mask? All sound different notes in harmony/disharmony
– A and S peel off and begin to put dirt out downstage. C and B peel off and put on masks.
– C goes to his perch
– B does solo lightening dance, bringing alchemy and energy into space. During this time A and S continue to arrange
– B goes to his perch
– C comes forward as bird/dog. Playfully he does the dance of chicken feet, leaving tracks in the dirt ***do C and B’s dances overlap slightly? In middle of C’s dance A goes to back, puts on mask. She approaches dirt, slowly moving from upstage to downstage, bringing strength
– Ocarina sounds
– All take off masks. Place mask just upstage of dirt on ground?
– All begin Wigman dance. 1st round counts of 8, then get faster and faster. Then some movmts from earlier in the piece come in (Falling to the floor, computer typing, muscles, salute, etc)? During this time singing various harmonic/disharmonic tones. Tones trigger motion sensors. Sounds build as poses/movements get faster and faster CLIMAX!
– Bryan breaks free from Wigman poses/configuration. Others freeze in Wigman poses. B begins his healing dance. Halfway through B’s dance, S and A unfreeze and begin to walk downstage slowly. At this point, C unfreezes. He statically hold several poses from earlier in the piece such as one wigman mvmt, salute, face down on ground. He holds each pose for several seconds.
– A and S lay down on their sides in the dirt, heads facing one another. They slowly begin a healing dance. First couple of mvmts are in unison and then they break off, each doing individual healing movements. During this time C and B get the water. They begin to flick the water on the dirt and the women while they are doing healing dances.
– C begins to hum. All join in humming and come to stillness. Women get up from dirt.
– Everyone puts boots back on. Continue humming whole putting boots on. One by one they grab their individual masks and line up parallel to audience and centerstage. All sounds stop. All stand shoulder to shoulder, holding masks and simply witnessing audience. Then slowly walk out through dirt, up aisle, and exit space.

**In this version, the climax, the Wigman section is the height of trauma
**I really want more integration and connection btwn the first and second halves of piece. What if the beginning had more expressive (healing or traumatic) movements interspersed? What if some people ‘fall off’ during the nationlistic dance and have to be brought back. Fall on face and then stay there? Take a break and smoke a cigarette, leaning against the wall?
**I think it would be awesome if Sara played more of the drill sargent role in first half. Then, she becomes the conductor of sorts, or initiator of the healing ritual in the second half. I like this connection!
**Putting shoes back on at end = acceptance of some part of group identity
**I thought there would be some more storytelling in the second half, but I am not sure where this fits in yet. Each person speaks a short bit of text about belief?

Possibilities for spoken stories:
sara and biodynamics
Aurora believes too!
Shamanistic complex example!
Story of a healing
Example of how group empowers
Illustration how group identity oppresses

 

Aurora’s Haikus

1
other dimensions
teeter totter of belief
collective body

2
resistance culture
embrace Mennonite beliefs
simple living, peace

3
atomic energy church
a light-charged symbol abounds
chant and meditate

4
water swirling song
reflects our community
mental looping escape

5
culture of belief
god in spaces in between
action, creation