Dean took us on a magical experience today - adding coastal stimuli to the research for In-habit.
We drove through the Jervis Bay National Park past Huckisson and Vincentia and into the Booderee National Park spotting little wallaby's and kangaroos along the way. With our sketch pads and note books we made our way barefoot down a beach track to explore the rocks and caves and the course pebbly sands of Murrays Beach.
It was a spectacular vista - true paradise. There were big blue bottles freshly washed up onto the beach, pods of dolphins playing in the water the whole time we were there, a shark egg washed up with the seaweed and two beautiful big sea eagles gliding along the treeline of the beach looking for their next catch.
The dancers imagined they were part of the environment and placed themselves in several pictures next to, under and on top of the old tree trunk, the sand dunes with the native flowering plants (Banksia) and coastal grasses and the huge pile of washed up seaweed on the beach at one end. Miranda found a beautiful wig which suited her lovely face. If she had a tail she could have been a mermaid for the day, but the water was a bit cold.
More slow walking together in a line and tuning into the environment, observing the sounds, the smells, the feeling under our feet and the texture and colour of the rocks. We went into a cave at low tide so we could walk on the sandy bottom looking out into the horizon while imagining the wind gently blowing on our bodies. We did blindfold leading again. This time it was guided. The girls split from the boys and went on more a sensory journey. The boys had fun being silly and creating mostly bizarre audio environments for each other and included random tourist participation, deaths and weddings with a lot of sand and props from the nature.
Quote for the day...
This is better than working at Coles, I'd like to do this again. Andrew Pandos
http://www.environment.gov.au/parks/booderee/
Saturday, June 4, 2011
Friday, June 3, 2011
Old tree
Today we ventured outdoors on the Bundanon farm for the whole day accessing the nature to inspire movement for In-habit (working title). One of the activities was to write about our experience of slow walking underneath an old tree.
Below are just some of the responses.
Andrew Pandos:
I reckon the tree could be there a really long time. Too many years before I was born, but exactly the same as my dad.
Our body is the tree - we grow from little seeds, growing slowing to the sky. This tree could be our soul and there could be something living in the tree like an owl. It sleeps all day and makes a hoo hoo at night. Its part of the story.
It could be a spirit tree that talks to you with a face.
Most people can climb a tree.
Twilight - he couldn't sleep. Its a story about animals, plants and trees. Make sense?
This tree could be like a journal and poetry because this tree could make paper. Most people cut trees and make a book just like that.
This tree could be dying when all the leaves fall off. Then it grows again.
It's not the family tree at all, its a big something else. Its the big mystery tree. This morning this tree grows and grows in the evening and it grows at night. There could be another story of this tree. It could be a prickly tree like a hedgehog - it gets stuck in your skin. There could be ants crawling on the tree. Its a really big story.
Its a stump - hard an solid stump. The tree grew out of the stump or it could be a bridge falling down.
Scarey tree - tapping on your window - possums in the trees. There's a short branch and underneath it, there's a wombat tunnel like a cave. It could be bat or bear cave. It could be lots of houses for wombats or cave men. I love caves, its dark in there, no lights at all.
Its really long - it could be alive for a really long time. The roots are really strong - there's really tiny seeds in there.
Below are just some of the responses.
Andrew Pandos:
I reckon the tree could be there a really long time. Too many years before I was born, but exactly the same as my dad.
Our body is the tree - we grow from little seeds, growing slowing to the sky. This tree could be our soul and there could be something living in the tree like an owl. It sleeps all day and makes a hoo hoo at night. Its part of the story.
It could be a spirit tree that talks to you with a face.
Most people can climb a tree.
Twilight - he couldn't sleep. Its a story about animals, plants and trees. Make sense?
This tree could be like a journal and poetry because this tree could make paper. Most people cut trees and make a book just like that.
This tree could be dying when all the leaves fall off. Then it grows again.
It's not the family tree at all, its a big something else. Its the big mystery tree. This morning this tree grows and grows in the evening and it grows at night. There could be another story of this tree. It could be a prickly tree like a hedgehog - it gets stuck in your skin. There could be ants crawling on the tree. Its a really big story.
Its a stump - hard an solid stump. The tree grew out of the stump or it could be a bridge falling down.
Scarey tree - tapping on your window - possums in the trees. There's a short branch and underneath it, there's a wombat tunnel like a cave. It could be bat or bear cave. It could be lots of houses for wombats or cave men. I love caves, its dark in there, no lights at all.
Its really long - it could be alive for a really long time. The roots are really strong - there's really tiny seeds in there.
Wombat Whisperer
One of the main attractions after sunset at Bundanon is 'wombat spotting' with a torch and is becoming quite a popular past time for some.
Every night I've been searching for wombats and I've been finding some usually every night. They poo everywhere on top of things like rocks and the deck. There's Wally, who I saw one night with Matt. I saw Terry the wombat who was the one near the bar-b-q. He's a big brown wombat and he growls and runs to another wombat and growls. He's friendly to me. He sometimes comes up and sniffs my feet.
Miranda has a Gerald under her bed under the house. I like all the wombats.
Tonight I saw three wombats. One came close and sniffed me so I patted it. It sniffed my purse. His name is Wally. I felt surprised because it was something different for the wombat. It makes me feel like I want to laugh and when I do it's really funny. I keep giggling. I talk to the wombat - I said, "Hi" and then I said, "ok". I had fun with it, watching them eating the grass and wandering around. I wasn't playing with it much. I was going close and away from it sometimes.
I shine a torch on him but I don't shine it in his eyes coz he doesn't like it. He's brown and furry. When I touched it his fur was rough and a bit soft as well. I felt comfortable when I was squatting to pat him. He has short legs, but he hasnt got fur that is too short or too long.
Every night I go wombat watching on my own and sometimes someone comes out with me.
Dana Nance aka The Wombat Whisperer
Every night I've been searching for wombats and I've been finding some usually every night. They poo everywhere on top of things like rocks and the deck. There's Wally, who I saw one night with Matt. I saw Terry the wombat who was the one near the bar-b-q. He's a big brown wombat and he growls and runs to another wombat and growls. He's friendly to me. He sometimes comes up and sniffs my feet.
Miranda has a Gerald under her bed under the house. I like all the wombats.
Tonight I saw three wombats. One came close and sniffed me so I patted it. It sniffed my purse. His name is Wally. I felt surprised because it was something different for the wombat. It makes me feel like I want to laugh and when I do it's really funny. I keep giggling. I talk to the wombat - I said, "Hi" and then I said, "ok". I had fun with it, watching them eating the grass and wandering around. I wasn't playing with it much. I was going close and away from it sometimes.
I shine a torch on him but I don't shine it in his eyes coz he doesn't like it. He's brown and furry. When I touched it his fur was rough and a bit soft as well. I felt comfortable when I was squatting to pat him. He has short legs, but he hasnt got fur that is too short or too long.
Every night I go wombat watching on my own and sometimes someone comes out with me.
Dana Nance aka The Wombat Whisperer
Tuesday, May 31, 2011
Dished up and delish
The Restless crew have had their fair share of rain the last few days here at Bundanon, but that hasn't let their spirits down. Their creative talents in the studio translate perfectly into the community kitchen at the Hymie Sherman Studio and Apartment where we all sit together for lunch and dinner.
Sometimes we're treated to a little impromptu evening performance of traveling cabaret acts (Danielle Baloi - Romania), transgenderedISH burlesque (Andrina Pandoslikova - Greece), and sudden outbreaks of one liners, comebacks, and advertisement jingles. Are we missing the TV...? No we're not.
Here's what's been dished up in the first week (and by who).
Evening
Pumpkin Soup - Jess
Pasta - Matt
Chilli Beans with rice - Philip
Bar-b-q - Philip & Matt (Melanzani fingers - Dean)
Stir Fry - Jess
Roast Chicken & Vegetables
(beetroot and fetta) with a glass of red wine - Philip, Matt, Dean & Elizabeth.
(This is the first night any wine appeared on the table).
Mushroom Risotto - Miranda
Kangaroo Stroganoff & Vegetable Stir Fry
(with a glass of red wine) - Dean & Elizabeth.
Anyone following the pattern here...?
Lunch
Pasta - Jess
Cous Cous with roast pumpkin and fetta - Jess & Philip
Salads
Sandwiches
Second Breakfasts (after 2 - 3 hours of yoga)
Scrambled eggs on toast - Dean & Philip
Vegemite on toast - everyone at some point... although Matt seems to be chained to the toaster much of the time.
Muslie, porridge and fruit
Spirilina and OJ
Garlic, ginger, lemon juice and paprika tea
(guess who gave us the flu?)
Cough mixture and Vitamins
Sometimes we're treated to a little impromptu evening performance of traveling cabaret acts (Danielle Baloi - Romania), transgenderedISH burlesque (Andrina Pandoslikova - Greece), and sudden outbreaks of one liners, comebacks, and advertisement jingles. Are we missing the TV...? No we're not.
Here's what's been dished up in the first week (and by who).
Evening
Pumpkin Soup - Jess
Pasta - Matt
Chilli Beans with rice - Philip
Bar-b-q - Philip & Matt (Melanzani fingers - Dean)
Stir Fry - Jess
Roast Chicken & Vegetables
(beetroot and fetta) with a glass of red wine - Philip, Matt, Dean & Elizabeth.
(This is the first night any wine appeared on the table).
Mushroom Risotto - Miranda
Kangaroo Stroganoff & Vegetable Stir Fry
(with a glass of red wine) - Dean & Elizabeth.
Anyone following the pattern here...?
Lunch
Pasta - Jess
Cous Cous with roast pumpkin and fetta - Jess & Philip
Salads
Sandwiches
Second Breakfasts (after 2 - 3 hours of yoga)
Scrambled eggs on toast - Dean & Philip
Vegemite on toast - everyone at some point... although Matt seems to be chained to the toaster much of the time.
Muslie, porridge and fruit
Spirilina and OJ
Garlic, ginger, lemon juice and paprika tea
(guess who gave us the flu?)
Cough mixture and Vitamins
Monday, May 30, 2011
Scoring
You began working with some of Dean's Foreign Language scoring system today with two new dancers from Sydney. What are your reflections on Dean's process and how do you find working with Elizabeth and Miranda?
Matthew Shilcock:
I was really excited to work with both the scoring systems we worked with today. Having done Dean's Masterclasss last year in Adelaide, I've been excited to work with him ever since. The Rising & Falling and the Paralysis & Carry scoring systems have been exciting for me to explore and also very empowering.
The ground for me for many years has had such a fear factor, because in the past hitting the ground often causes me injuries and broken bones. So its been really empowering to work with the ground and have it as a new tool in my tool belt rather than something to be feared. Its great to feel at home using the ground as an element to create dance.
I've enjoyed working with the Paralysis & Carry score because its been empowering to reflect on instances in the past when I've had injuries yet still needed to move myself in some way - whether it be getting from my bed to the toilet or from the couch to the kitchen table and being able to look back on those experiences and develop something positive from that. I can think back to when I had a broken leg when I was on the ground, I had to crawl in a way that was the safest way I had to get around. I could look back and think, that was really cool and I don't have to think of it as a painful and negative experience. That happened today.
Its great to work with Elizabeth and Miranda. Its always good to work with new people. I look forward to working with them more to see how they move. I think that will be very interesting and a little indulgent as well.
I guess the way they both immersed themselves into this world they were creating in the studio with such confidence, they were so believable. If I've learnt anything I suppose its to let go and to completely and wholly inhabit the world that's being created with absolute confidence. I really enjoyed today the experience of connecting with the other dancers in the group, we each had little turns. I really enjoyed connecting with them almost in an ESP kind of way. When I was doing duets with Miranda, Dean & Andrew, I felt like there was incredible conviction - I wasn't worried about being out of time with them, I felt absolute confidence that whatever we did, we did together and I felt completely in sync with their bodies.
Matthew Shilcock:
I was really excited to work with both the scoring systems we worked with today. Having done Dean's Masterclasss last year in Adelaide, I've been excited to work with him ever since. The Rising & Falling and the Paralysis & Carry scoring systems have been exciting for me to explore and also very empowering.
The ground for me for many years has had such a fear factor, because in the past hitting the ground often causes me injuries and broken bones. So its been really empowering to work with the ground and have it as a new tool in my tool belt rather than something to be feared. Its great to feel at home using the ground as an element to create dance.
I've enjoyed working with the Paralysis & Carry score because its been empowering to reflect on instances in the past when I've had injuries yet still needed to move myself in some way - whether it be getting from my bed to the toilet or from the couch to the kitchen table and being able to look back on those experiences and develop something positive from that. I can think back to when I had a broken leg when I was on the ground, I had to crawl in a way that was the safest way I had to get around. I could look back and think, that was really cool and I don't have to think of it as a painful and negative experience. That happened today.
Its great to work with Elizabeth and Miranda. Its always good to work with new people. I look forward to working with them more to see how they move. I think that will be very interesting and a little indulgent as well.
I guess the way they both immersed themselves into this world they were creating in the studio with such confidence, they were so believable. If I've learnt anything I suppose its to let go and to completely and wholly inhabit the world that's being created with absolute confidence. I really enjoyed today the experience of connecting with the other dancers in the group, we each had little turns. I really enjoyed connecting with them almost in an ESP kind of way. When I was doing duets with Miranda, Dean & Andrew, I felt like there was incredible conviction - I wasn't worried about being out of time with them, I felt absolute confidence that whatever we did, we did together and I felt completely in sync with their bodies.
New dancers arrive...
This is your first time working with Restless and you've been at Bundanon for 24 hours now. How has your experience been so far?
Elizabeth Ryan:
There's some sense of feeling overwhelmed. There's a lot of information to take in, a lot of concepts being floated around and a lot of new people and new experiences to work with. Not only am I experiencing the wonder that is Budnanon for the first time, it has felt a little bit like my first day at school. All that expectancy and trepidation that you feel in a new job has been hovering around.
I feel very at home in some ways. The dancers immediately welcomed me into their space with no hesitation. Everyone is so dedicated to the creative process, but there is also a lot of silliness and laughter which suits me very well.
Miranda Wheen:
Its been a very happy one. Its been a little bit of staying quite, watching and staying present. Its been great to start off in the studio and get to know everyone as moving bodies. Everyone is incredibly friendly, inclusive and hard working and I feel really excited about the next two weeks. The natural environment is beautiful and peaceful - it inspires concentration, creativity and thinking about how the outside environment relates to the studio environment. The social environment is hip, happening and super fun, and the studio environment feels lively, energetic and full of things to come.
In terms of working with the new Touring Company, have your expectations been met today?
Elizabeth Ryan:
Yeah absolutely. I've arrived without too many preconceived ideas, so I haven't brought a lot of expectations with me. I remain open to the experience of what it means to work with Restless. I really didn't know what to expect. I've been doing a lot of observing today rather than jumping into assuming that I might be dealing with things in the right way. It feels more appropriate that I observe for a bit whilst remaining available and supportive. There's a lot to learn by taking a step back and absorbing the different personalities and different approaches to different situations in and out of the studio.
Miranda Wheen:
I guess I didnt have too many expectations. Having not worked with Restless before I didn't know what the process was like, so I wanted to come with a fresh mind. My one expectation was that the project would be interesting and challenging and that I would have a lot to learn from the company and after 24 hours I feel that that expectation will certainly be met. I think I have an important responsibility as a new member of the company to watch and learn. I need to first find out how the ensemble operates practically and creatively and then discover where my role might be within that.
Dean led the company through a series of scores today. How was that for you?
Elizabeth Ryan:
I loved the experienced. Having worked with Dean previously within different workshops settings and creative developments, I was very excited to experience these particular movement scores with the Restless dancers in the amazing Bundanon space. Immediately I found my imagination was triggered through watching and experiencing these scores in relation to the work Dean envisages creating with Restless. The imaginative potential and the freedom I felt in my body in relation to the other dancers I'm working with was very satisfying. It felt good.
Miranda Wheen:
It was really exciting for me, being quite familiar with a lot of Dean's scores, to revisit them in such a different context with a diverse group of dancers and a new group of bodies. It was great to rethink Dean's scores and their incredible possibilities for movement and choreography. What I realised about the scores (Sinking & Rising and Paralysis & Carry) is that they are more about finding possibilities than placing restrictions on movement. This project is about adaption and transformation - transforming not only movement but the way we work together.
These scores are a truely unifying device because every dancer's response is the right one.
Elizabeth Ryan:
There's some sense of feeling overwhelmed. There's a lot of information to take in, a lot of concepts being floated around and a lot of new people and new experiences to work with. Not only am I experiencing the wonder that is Budnanon for the first time, it has felt a little bit like my first day at school. All that expectancy and trepidation that you feel in a new job has been hovering around.
I feel very at home in some ways. The dancers immediately welcomed me into their space with no hesitation. Everyone is so dedicated to the creative process, but there is also a lot of silliness and laughter which suits me very well.
Miranda Wheen:
Its been a very happy one. Its been a little bit of staying quite, watching and staying present. Its been great to start off in the studio and get to know everyone as moving bodies. Everyone is incredibly friendly, inclusive and hard working and I feel really excited about the next two weeks. The natural environment is beautiful and peaceful - it inspires concentration, creativity and thinking about how the outside environment relates to the studio environment. The social environment is hip, happening and super fun, and the studio environment feels lively, energetic and full of things to come.
In terms of working with the new Touring Company, have your expectations been met today?
Elizabeth Ryan:
Yeah absolutely. I've arrived without too many preconceived ideas, so I haven't brought a lot of expectations with me. I remain open to the experience of what it means to work with Restless. I really didn't know what to expect. I've been doing a lot of observing today rather than jumping into assuming that I might be dealing with things in the right way. It feels more appropriate that I observe for a bit whilst remaining available and supportive. There's a lot to learn by taking a step back and absorbing the different personalities and different approaches to different situations in and out of the studio.
Miranda Wheen:
I guess I didnt have too many expectations. Having not worked with Restless before I didn't know what the process was like, so I wanted to come with a fresh mind. My one expectation was that the project would be interesting and challenging and that I would have a lot to learn from the company and after 24 hours I feel that that expectation will certainly be met. I think I have an important responsibility as a new member of the company to watch and learn. I need to first find out how the ensemble operates practically and creatively and then discover where my role might be within that.
Dean led the company through a series of scores today. How was that for you?
Elizabeth Ryan:
I loved the experienced. Having worked with Dean previously within different workshops settings and creative developments, I was very excited to experience these particular movement scores with the Restless dancers in the amazing Bundanon space. Immediately I found my imagination was triggered through watching and experiencing these scores in relation to the work Dean envisages creating with Restless. The imaginative potential and the freedom I felt in my body in relation to the other dancers I'm working with was very satisfying. It felt good.
Miranda Wheen:
It was really exciting for me, being quite familiar with a lot of Dean's scores, to revisit them in such a different context with a diverse group of dancers and a new group of bodies. It was great to rethink Dean's scores and their incredible possibilities for movement and choreography. What I realised about the scores (Sinking & Rising and Paralysis & Carry) is that they are more about finding possibilities than placing restrictions on movement. This project is about adaption and transformation - transforming not only movement but the way we work together.
These scores are a truely unifying device because every dancer's response is the right one.
Friday, May 27, 2011
Slow walk
Dean led the group through a slow walking exercise. Each dancer then responded physically to their experience and wrote about it.
Below is Dana's experience.
The first one was 30 minutes but we did it for 17 minutes and the second one was backwards. That was 8 minutes but it was close - it was 7 min 45 sec. and then we went forward and we did it 3 minutes. We waited for 1 minute and we went backwards for 1 minute. We did the forwards in 2:55 min and went back in 1:20 min - we would've got there.
I felt two people close to me. I felt the soft cold dirt under my feet, the soft grass. I heard the whip bird, the sparrows. I saw the trees, the brown bird. I heard the Corella's. I saw the swallows. I saw the fence and I saw the yellow flowers. I saw the clouds and the blue sky. I heard Andrew coughing. I heard Philip breathing. I saw Matt dancing, Jianna dancing, Philip dancing. I danced, Jess and Andrew danced at the same time as well, then looking out to the trees. The brown bird was sitting on the fence.
My dance
I did stuff on the floor. I put my arms up and down. I used my legs. I put my legs in the air. I put my arms across my chest. I blocked my ears. I rubbed my head on the grass. I put my head up to the sky.
Below is Dana's experience.
The first one was 30 minutes but we did it for 17 minutes and the second one was backwards. That was 8 minutes but it was close - it was 7 min 45 sec. and then we went forward and we did it 3 minutes. We waited for 1 minute and we went backwards for 1 minute. We did the forwards in 2:55 min and went back in 1:20 min - we would've got there.
I felt two people close to me. I felt the soft cold dirt under my feet, the soft grass. I heard the whip bird, the sparrows. I saw the trees, the brown bird. I heard the Corella's. I saw the swallows. I saw the fence and I saw the yellow flowers. I saw the clouds and the blue sky. I heard Andrew coughing. I heard Philip breathing. I saw Matt dancing, Jianna dancing, Philip dancing. I danced, Jess and Andrew danced at the same time as well, then looking out to the trees. The brown bird was sitting on the fence.
My dance
I did stuff on the floor. I put my arms up and down. I used my legs. I put my legs in the air. I put my arms across my chest. I blocked my ears. I rubbed my head on the grass. I put my head up to the sky.
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