The second meeting of the Drawing Through Movement study group was held yesterday. Five of us met in a large drawing studio in Sydney. The following is a brief report. [Comments and notes for further work are in written brackets.]
Last time we met I had asked participants to write some words that came immediately to mind when they think about Antarctica. I am interested to know if these will change over time. KH had written several words, including “connectivity”. I used as a theme for yesterday’s workshop.
This workshop became an inquiry into how connectivity can happen within, between and beyond individuals, as ways of finding connections with our environment. Connectivity was explored internally, socially and environmentally, through moving, observing and drawing. Music scores used were by Ron Ngorcka and Max Eastley, composed with sounds recorded in Australian and Arctic landscapes respectively.
[Other inquiries to follow from these workshops are how dialogue can be transforming, and how differently do we respond to Antarctic texts compared to those of other landscapes.]
Activities included:
1. Walking a line round the space available, exploring the shape of its outer limits; transforming this angular line slowly into an oval; transforming this oval into a circle; arriving in the centre and turning around on the spot; slowing down gradually to centre the body’s weight.
[Repeat this more slowly, with people spread more evenly round the space. This would allow for more individual explorations of the space, rather than a “follow the leader” approach. Draw the floor patterns made individually and collectively. Draw connections between these and the earth’s changing orbit around the sun. Use the drawings as movement scores.]
2. Finding connectivity within our own bodies, and feeling places to stretch.
[Again, work more slowly. Explore somatic movement practice.]
3. Finding connectivity between our bodies, the floor, and the space above us, and playing with extent.
[People connected through leading and following, mirroring, transposing and transforming. We discussed stillness as potent part of a dance. Sharing stillness with others was a way of connecting.]
4. To the Australian bush sounds (Ron Ngorcka), finding connectivity between each other, and playing with near and far.
[The sound strongly influenced movement qualities. For example, some of the bird-like sounds were quite comical, inspiring small leaps and turns. Eye contact began to be used. Creature-like forms emerged.]
Recording the discussion.
5. Taking turns to move and draw, working with the same score – two move while two draw.
Recording the discussion.
6. Working in pairs, partners took turns to move and draw phrases of movement (like sentences). Drawings were lines and spaces, like seismographs, or long Morse code. I asked movers to find a phrase they particularly like to do, and to repeat that play with different ways of drawing it in the space.
[In response to my description of a movement phrase being a clearly defined gesture, and providing an example through moving, RC commented that a phrase might also be a more whole body, textural event {my paraphrase}. I became aware of the dangers of me demonstrating, and of the importance of allowing space for individual interpretations by moving and saying less.]
7. To polar ice sounds (Max Eastley), each brought their phrase into the whole space, playing with ways of drawing them, and gradually finding ways to connect with other people’s gestures.
[This way of ending worked well. It brought the group together through the dominant theme of connectivity. Allow more time for discussion and drawing. In general, set less tasks and allow more time for each.]