Another interesting skype chat this morning.
What is becoming more apparent is how the modules seem to be crossing over and even though Joy is currently on module one, how her experience at an audition, linked into my research area. Also how although Sam and I are both on module two and looking at very different areas, others in the chat were able to assist in our thought processes. Who is the audience? Who are we communicating to? These were questions brought up by Julie on module 3 but the question relates to all of the modules. The audience (our assessors) must also be taken into account no matter, what an interesting journey this may be for us as individuals and that thought needs to play a role throughout the modules. Adesola spoke to me during module one about being selective in which stories are told because an audience cannot hear everything about ones entire journey through the modules, so the idea of audience has been there from moment one.
I find Sam's area of research is really interesting (although it did not ever cross my mind to cover this particular area). The idea about movement and music seems quite dense with so many view points and avenues that could be taken.
In relation to this, I was interested in the Cunningham 'experience'. For me as a student feeling completely disconnected from the entire genre because of the 'non use' of music but now looking at Cunningham from a theoretical position, I am seeing a beauty and 'danger' that I had not noticed as a student. How does one connect with movement and no music. How does one disconnect from the sound but continue to move? Cunningham talked about music and movement sharing the space but not necessarily being connected.
When watching the Cunningham company performing together with either no music or with some possible sound cues, one wonders what the internal rhythm the dancers have to find but also as a group. How much understanding of each others internal pace, rhythm they need to understand and how much they have to rely on intuition and the other senses for unison work and for lifts etc?
Google Merce Cunningham Working Process- https://www.youtube.com/watch?v=zhK3Ep4HiI0
Its only 3mins 43sec but it says a lot in a short time.
The area that I have taken away from the chat that I need to use for my immediate work is that I now need to get out and talk to people. I realise I still have a ton of reading (and finding) to do but I also realise that the crucial element missing from my work is actually getting out there and hearing what others in 'my world' have to say. Thanks Sam!
There is a dancer on the Island from New York, just here for a few more days, so I will check in with her and do a pilot interview and as someone else said on the chat, throw things out to family members and friends to get another point of view.
Thanks all.
Hi Tara! It was lovely to finally hear your voice yesterday. It’s helpful to know that someone else is also at a similar stage as me and asking similar questions. Thank you for your thoughts on my topic. My journey with Cunningham has also been similar to yours – it wasn’t my favourite at school but now I deeply appreciate the subtlety and integrity of the approach.
ReplyDeleteI thought that there are some similarities between our research themes because we are both asking questions about the internal world of the dancer, their thoughts and feelings when they approach movement material. Of course I am working in particular reference to the music, how and why the dancer relates to it as they do and how this supports their dance. However, if they are not consciously or actively engaging with the music I am interested in what is otherwise taking their attention. Recently I was thinking of music in terms of it being like an ‘entry point’ into the world of the embodied self made conscious – that somehow engaging physically with music (an external phenomena) leads to an abandonment of excessive thoughts and a centring in the body, that somehow one has to connect outwards in order to experience a deeper sense of their internal world. I was thinking of other ‘entry points’ - for example an image, a character, an emotion or physical sensation (these are all strong inspirations for me – they move me into dance and even in terms of a plie exercise at the barre I’m more inclined to think in terms of an image to support the movement than the quality of the music), a rhythmic pattern with the breath or physical contact (with the floor, the barre, with a partner) are others I thought of.
I don’t know if the literature/materials we will be engaging with will be similar although in terms of research methodologies and data collection there maybe commonalities. This is the area I feel the least informed about and the most overwhelmed by but I know I will be interested in personal stories, intimate recollections – I’m interested in how the dancer relates through the lens of their past life experiences, their personal identities, their cultural background in relation to my own (so strong reflexive element in my plan I think). So recently looked at ‘Narrative Inquiry: experience and story in qualitative research’ Clandinin and Connelly and found this approach inspiring although difficult to understand. But I’m interested. I don’t know what you think of this? Also found ‘Learning from Strangers’ Weiss easy to follow with some very appropriate advice and thinking points for interviews.
All the best with studies this week. sam
Hi Sam, how you getting on? I am struggling, to say the least! I have changed tack twice and although the first time was fine (even though i had done quite a bit of reading etc) this second time is not good but has shown me that i was and am still am missing the mark. what about you?
DeleteHi Tara. I've just been reading your profile and totally agree with you about process. My youngest son is 10 and a national tennis player and has a bit of a temper. The coaches and ourselves have been trying to talk to him about the process of tennis but it is taking time!!
ReplyDeleteI think for me also this MA has been a real process and such a learning curve. I've learnt so much about myself and the way I see things and the way others see things. Is my way right and others wrong? I think it has made me much more tolerant of others and made me stop and think in other ways. I hope that makes some kind of sense!!
I guess what I'm saying is that his MA has made me think more and not just about my job but about every area of my life as it all crosses over. I guess that's why talking to people whether they have a dance background or not can actually be beneficial to our research.
Have a good week