The performance of a city.

These are the scenes of a city
Unsorted fragments
The performance of place
The eye wanders, softly, focused and without intent to construct.
A heavy step, a light embrace
The city has become walled only by the limits of memory

Tireless and tiresome
Anxious yet an odd peace
Distraction finding form in the streets with no name.

The scenes seem to repeat; a natural stage for encounter.
Sometimes memory has a smell or a texture.

Each step evoking sensations I imagine I had forgotten.

to watch the endless parades and changes these forms take

to conceal ourselves with facades

revealing intimacies in bright spot lights

we pass as strangers waiting to be known

sometimes we are celebrated by another
the glory of the still framed image
set in memory such grandeur

one can only guess the life of another

adding and constructing the unknown and the known

The places. And the People. Perhaps As together; perhaps as separate.

Littering imprints of histories

There are natural places of performance

Or is it simply the eye which constructs such stages?

The natural desire to fill spaces with odd encounter

The disconnected.

These are not a collective tale

Rather the cluttered paths of sites encountered and kept in case of loss.

What does it mean to practice research?

The city as an endless studio; an endless map of encounter and suggestion; of form and conclusion.

As fragments the city takes form; the body collects in turn an imprint of its encounter; this forms practice.

How does the body become a mirror to its surroundings, a subtle series of adaptations to social codes which it may have forgotten how to define, codes which by it lives out it daily encounters and accordance’s; codes of social realities that it may not care to examine or disclose.

How does the body pass through the public space; subtle observation and documentation may lead us to believe that it is mindless; that we are not in full control as to the ways in which we are processing passing and committing to such realms of experiences.

We see the city through the spaces which we pass; the city cannot become anything other than what we can encounter and what we are forced through limitation only to imagine. The lives of the city become somehow  absent murmurs; familiar yet unknown.

I like to follow people in my mind behind the door which they close. Wondering the parallels of the image I construct and the image that was intended to be created.

When we are faced with scenes of mass; as performance of art or place; the body becomes all we have to convey the image of the reality we exist in. The city becomes then a promenade for the endeavours of constructing an identity.

Forwards then.

On Practice:

Within my choreographic practice I alternate between two forms of generating material which endeavours to embody the social, cultural and political context which the body exists within. The first  is a method of score based practice enabling the body to reflect  its life world and the cultural and political contexts from which it emerged; using techniques of somatic awareness and enabling the body to deconstruct its habitual patterns of movements and review the social contexts which may promote or contrive certain patterns of movement. The second method encourages the body to go about its routinal habitual patterns of movement in settings, which they would naturally occur and as choreographer, I can apply techniques of anthropology to ‘read’ the movement patterning which occurs naturally in specific sites and locations. I then apply the fruit of these observations into the construction of a movement vocabulary which can either be performed by the bodies it has emerged from, or take the vocabulary and apply it to separate bodies in a different space. The first method is more relevant to concepts of engaging bodies to review their own practice of movement, whereas the second is more abstract and becomes more a personal reflexivity of my own movement observation and subsequent application. Engagement with subjects within the first process is seminal; the process is led by their discoveries and realisations, my role within this process is as facillator and guide, with the intention not to layer them with any of my own presumptions or expectations of the process. The second method is detached from the subjects I observe; hence to a degree the process is loaded with my own preconceptions and expectations; this process deals with the raw physicality of movement, and any findings I make within such process as to the social or cultural context of the movements observed need to be supported by further context enquiry.



All images and text copyright to Beatrice Jarvis. Reproduction on request only.

~ by beatricejarvis on November 12, 2011.

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