radial diamond kinetics is part non-denominational community ritual, part self-care practice, part improvisation lab, part aerobics workout, part party. The class is open to all regardless of dance experience and can be modified for many body types and abilities. In radial diamond kinetics the orientation to the thought, heart, community, and sexuality are inextricably linked to the body and moving. I developed the class over years with input from many students, a lot of whom did not take the class as professional dancers. These “un-professionals” moved me to grow rdk into a community ritual and collective sweat-fest without losing the refinement of pelvic floors, hands, hip sockets, eyes, thoughts, desires. We sweat, play, tone, and dismantle habits, hang-ups, and hatred through a multi-dimensional body/heart/mind practice influenced by beloved teachers d. Sabela Grimes, Deborah Hay, Body Weather Laboratory, Simone Forti, Germaine Acogny, and many others.
Boring Dancing: In recent projects Boring Angel and NothingnessXXX I, and my collaborators, have been busy with subtle practices that engage the relationship between a mover and objects and between a mover and space. With these practices it is actually less of a relationship between that we have been researching, but rather a potential collapse in the difference between a body (and its impulses, thoughts, desires, and actions) and the other objects that body shares space with, as well as the space itself. In this lab we will play with the “object practice” and “nothingness practice,” the modes of working at the heart of these two recent projects, and will have time to write about/discuss how these practices might frame/support re-orientations to the earth/environment, sex, technology, physical ability, governance, consumption, and domination/submission.
Prompts for practice: In the object practice we imagine the possibility that our thoughts, desires, and actions are lateral to the objects in the field. Watch the mind: notice the desires, ideas, impulses. Wait, hack the impulses, discover the next moment by forgoing the impulse. Every once in a while, go with an impulse or desire, ride it out, them resume the waiting. Imagine the objects meet you. Let the meeting with them direct you. What if we are not dominant? What if we surrender? Also there’s no succeeding. There’s only the potential and the curiosity.
In nothingness practice it is similar to the object practice but now the “objects” are you, the space, each other. Wait, notice the impulses, desires, ideas. Let them pass. Every once in a while, go with an impulse or desire, ride it out, them resume the waiting. What if we surrender to the possibility that we can hear the space, that we can hear something else inside our own bodies other than what is most immediately apparent. We must get quite still. Also there’s no succeeding. There’s only the potential and the curiosity.
Perceptual Intelligence This course proposes that developing one’s sensory and perceptual faculties has the potential to ignite, inform and/or complicate one’s aesthetic interests and creative practice. As such, the class will offer a toolbox of techniques collected from dance, yoga, meditation, therapy and art that are designed to cultivate mindfulness, bodily presence, and perceptual awareness. Along with these experiential exercises, the class will study art works/performances and read texts on awareness and perception by scientists and social scientists as well as artists. Topics of engagement include the following: Contact Improvisation, Authentic Movement, repetitive tasks, acts of physical and mental endurance, blind walks, Situationist dérives, free writing, Anne Bogart’s Viewpoints, heightening and interacting with one’s sense of hearing, observing quotidian actions, and composing still and moving bodies in a variety of environments. We will work in dance studios, rooms, hallways and other in-between spaces, and natural and constructed outdoor settings. Students will have the opportunity to develop individual and collaborative works, and in the second half of the semester will participate in the development of and rehearsal for an original, movement-based performance work.