LATENT is the title for an accumulative choreographic work between Paea Leach and Rhiannon Newton (Sydney).
It is a project of writing dancing into documents, and imagining possibility because of the current lack of funding and difficulty to meet. They are interested in ideas of Latency and Potential. It is a conversation happening when it is also seemingly 'not'. The thinking they share is framed by readings - poetry to dance to performance academia - and by considerations of ways to watch the dancing. It is a way to keep the thinking working somewhere in two separate bodies in different cities and to commit to a transference between minds.
LATENT >>> a choreographic document
or a separated space
a dance floor
one space to be spatial nomads together
some anchors, plans, patterns, history
and maps for the anchoring
people to watch.
We need Witnesses.
We want Them [even].
Two solos - the same dance danced at the same time;
The same length the same moves, scores, intention.
There is a stopwatch.
It is an investment that needs a detachment
So that we can see - So that we can see
And so you can see what you are seeing.
We all need a bit more time.
The act of composing as you work: Reduction and Expansion
The dance and the dancer getting to know themselves: Intimacy Escalating
Something leads to something leads to something else.
The knock on roll on feeding along force of forces brewing underneath
The space > an object > another body > all the bodies watching > a community.
[dot dash dot dash. patterns accumulate. we are talking about waiting. and listening and then making. respect for time and patience in the standing. and dancing the markings of our dance - floor - map - world]
A thing worked to a point can then become more diverse, can know itself better and find a newly timed departure. We are talking about complex lives (personal, danced, lived) in the matrix of one's body.
the opening of ideas
<They have no name but they are oceans>
Quiksilver : I like that word - that kind of dancing we all missed.
First you will watch one and then the other and then the two together. Things will diverge, take a curve, find a new dynamic, plummet, disappear, morph and become unfamiliar. You will feel like things are repeating because they are. What just happened will seem like just that. But it was concrete. : . . .
< > < > < > < > < >
Widening and specifying / expanding and contracting.
Specificity gathers in toward a knowing, at meeting it we are immediately moving through, across the moment of recognition and home into the unknown, with belief that new knowing will emerge.
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I describe a kind of billowing, a breathing action, in and out, a “< > < > < >” structure that is at once a choreographic process of finding and loosing logic, a performative experience of locating and loosing presence and a watching experience of oscillation between submersion and detachment.
In the process we have to open and slow down a small seed of an un-nameable idea, give it time and attention to grow life into itself.
Like a plant : Dance like a plant> > > > <<<<<
People are burning in Ukraine, being 'disappeared' in North Korea, being murdered on an island off Australia.
So . . . . let us create a space for honing - IN.
Time is leaking about our legs, the water rushes up like wild fire. Life is inaccurate. Bill Viola is worth a look, an anchor or sorts - the magnification of intimacy, slowing down the time.
Yvonne Rainer also and all that formless form - her - Manifesto for Mind is a Muscle.
So maybe we are talking about . . . . quietening down the world
. > . >
There is then a Proposal for a Script of nomadic spatial diagrams.
-1 -2 3 4 return
There is something in this about responsibility also. To not present dance as so detached, to seek to show an equilibrated form. Are we equilibrated people?
A shared responsibility toward the emotional beings we are and simultaneously the detachment needed to allow everyone else to realise THEIR emotional bodies.
The ingredients are tricky.
I understand them, but to someone else this may read like a recipe in Lithuanian.
1 2 3 4
PAUSE and you send:
'Baroque form is dynamic; it tends to an indeterminacy of effect (in its play of solid and void, light and darkness, with its curvature, its broken surfaces, its widely diversified angles of inclination); it conveys the idea of space being progressively dilated. Its search for kinetic excitement and illusory effect leads to a situation where the plastic mass in the Baroque work of art never allows a privileged, definitive, frontal view; rather, it induces the spectator to shift his position continuously in order to see the work in constantly new aspects, as if it were in a state of perpetual transformation'.
I am deep in the words of Rebecca Solnit - conversations about leprosy and Che Guevara and our bodily ability for empathy, mirror neurons etc and the universe unknown inside our own body – discovered and measured and named by doctors and nurses but untraveled or unseen by ourselves. Perhaps there is a field, in which we operate, between the scientific and the unknown.
Toward the other, toward the sensitivity.
Watching Q and A last night they talk about global economies. A surface of movement around the globe, flowing, transacting, gathering, dispersing, they talk of the environment as an externality, a cost that needs to be factored in but is difficult to quantify, they say that 85 people have the same wealth as 3 billion (half the worlds population).
- - - - - - - - - - -
Density and sparsity, gathering in, spanning out
In, out, in, out, out in
Generate contract, generate contract 1 and 1 < and >
A moment of speed, density and instability spreads towards calmness equilibrium and stability.
Rhiannon: 'Quicksilver I like this – do I know what it is'?
One leaves maps, the other follows, fills out, re-maps. Much like you and I. Great areas of shared love, but places where we diverge, follow individual ways, interests and re-unite in some other place in the world with a sense of mutual understanding and common purpose.
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We begin a new write tomorrow, tomorrow and tomorrow - an endless unison - between imagined dances on floors we do not have
Of you and I and you and I as dancers - maps because we are dancers,
Because we know not where to put our empathy
Density and space and helping other people shift their perspective
Because it is a gracious doing
We seem to have grand ambitions.
Toward the sensitivity in this world of double noise in double time
Where the shifts of weight are missed.
2013 - currently - a document of accumulation.