YOU MUST COME!!! :)

Experiential Anantomy....

Tilting the skull, this is the strongest image I feel I have gained from a partner based exercise. The idea of the skull being a bowl of water with a small hole in the bottom allowing water to trickle down and lengthen the spine.

1st Year Duet Show!

Just thought I would share this photo from the Duets final show :)

Deborah Hay inspired workshop with Matthias Sperling

Gathering up every cell and taking them with you, not leaving one behind

For me this means keeping your body moving forward and every part of your body should have the intention of being involved in the act of moving in the same direction as you shift across the space. 


What if all the million cells in your body give up the pattern, and its just a pattern, of facing the front direction

Does this mean 'the front' or does every cell have its own front, as they are placed differently in the body. Imagery of a kaleidoscope come to mind where the sequins or 'cells' shift with every twist. Shake up the body and let the cells settle in a new place.

always retain the capacity to laugh at your own serious intentions, even while those intentions remain serious 

working on seeing the other people in the room in your visual field, choosing to see them practicing what you are practicing

always noticing the feedback from your visual field and allowing it to be refreshed

Does this mean to stop what I am exploring and move on correlating with what people around me seem to be doing? Not sure how to take this instruction.

Claire Cunningham laid bare

This piece by Claire Cunningham is a shocking incite to the healing qualities of dance. Cunningham lays bare her most personal memories literally retelling her story on stage through recorded and live voice.
  She begins with movement on the floor as she talks through her mothers words about an A-bar that held her legs apart as a baby. There is no sugar coating this biography and the audience recognise the struggles through the twisting and complicated movement Cunningham achieves with the single crutch. As she moves through to upright levels, the movement and balances she achieves using the crutches seem extremely uncomfortable and make the viewer feel marginally uneasy as her body shakes from the strain. The atmosphere is tense and Cunningham has the whole room hanging onto her every movement. Perhaps for fear she may fall but this could be her intentions as it compliments her words nicely “…and if you fell down, that was it.”
  The progression from this very contemporary movement into something that resembles ballet is subtle but the mood changes completely. The audience not only relax but are mesmerised by how her body shifts through the different positions and her grace as she moves around the stage on her crutches. Cunningham excels in making these crutches extra limbs; they no longer look like restricting scaffolding to hold her up but seem to be a part of the structure of her body adding extra length and beautiful contours.
  “I don’t even know who I am anymore… but I quite like that.” This line hits home for everyone in the room as the story Cunningham has retold hits home and her achievements as a dancer and the way she has proven all professionals wrong makes her an inspiration.
  The journey Cunningham takes us on in only 17 minutes is one that pulls at your heartstrings through laughter, fear and empathy. She is a whirlwind in a society that questions what disability and ability is as we leave with the question: as an able bodied dancer, could I do that?