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Entangled/Embraced:
energy / language in / extending from our / my / your / its tiny / infinite room / world |
Entangled/Embraced: What do we find ourselves lost within? Where are we in this web of imagination? Who is there with us? Who creates it with us and what do we contribute to this collaborative process of making a moment in reality? How much of this reality lives outside of our own imagination? How do we share the beauty and wonder of our creativity when experiences are so individualized?
Entangled/Embraced represents a choreographic work combining inspirations from sociological concepts such as:
Set within a series of clothesline encompassing the entire performance lab, Entangled/Embraced features four dancers performing in the same space as audience members who receive the invitation to contribute to the work through their very presence and choices of where to stand as well as how to interact with the dancers, the clothesline and with each other. Although the process of creating a structure was directed and developed by Ms. Ramsey, the true nature and character of the work and the place the work existed within can be attributed to all participants, including dancers, audience members, production staff and crew.
Entangled/Embraced represents a choreographic work combining inspirations from sociological concepts such as:
- The social construction of knowledge
- The juxtaposition of individually experienced multiple realities paired with the interdependency of how we come to know, believe and identify ourselves
- Personal experiences originating from time spent in South India researching Maliyali-based (from Kerala) sciences of Ayurveda and Yoga, and Kerala's indigenous martial art, Kalaripayattu.
Set within a series of clothesline encompassing the entire performance lab, Entangled/Embraced features four dancers performing in the same space as audience members who receive the invitation to contribute to the work through their very presence and choices of where to stand as well as how to interact with the dancers, the clothesline and with each other. Although the process of creating a structure was directed and developed by Ms. Ramsey, the true nature and character of the work and the place the work existed within can be attributed to all participants, including dancers, audience members, production staff and crew.
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Unknown, In Touch
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Communal Imagination
excerpts |
The theoretical basis for Communal Imagination involves inquiries into common knowledge and discursive consciousness, social constructions of knowledge, continuous and public processes of creativity, and lastly, embodied and kinesthetic understanding of other humans and our environment. To me, ethnography and sociology share similar shades when the ethnographer becomes curious about and studious of the choices that people make as individuals in order to sustain and recreate a group construction. How do we work as inhabitants entangled and integrated with a material and social environment? How do we manifest our experiences and imagination through physically embodied actions and behaviors? In making Communal Imagination, the answers to these questions became the truth of the work as it's definition developed to encompass the circumstances and contributions of our group, public participants, and audience members. Although I provided intellectual inspirations and activities for experimentation, the presence, collaboration, and manifestation of experience of all participants revealed the raw and beautiful nature of who we are and what we create. Indeed, the dancers’ choices represent a major aspect of Communal Imagination’s artistry, while the beauty of the piece existed within the ability of the participants to make decisions and construct the work through their own momentary creativity.