5:00 pm

My goal is to improvise for 30 minutes every day.....

Today I attempted the shaking score for 10 minutes.

I also considered what it would like to teach outside for one week. How does technique exist outside of the dance studio? Away from the set up we consider to be the necessary environment for moving.

What movements are "safe" to be performed outdoors; how does one care for the body? How does one explore the vision, the use of sight? There are so many more things to engage the senses with, how do you also stay tuned into the self, into the experience of moving? How does outer landscapes begin to permeate with inner landscapes?  How can one distinguish between innner / outer - it is poissible to differenetiate, or is it a whole?

How does one tune their attention, drop into the work performatively?

How can I make a one week syllabus that establishes these research questions- that makes the technique process more clear for the students, for myself, that allows that research to show up in an explicit way?

Where we dance - silmultaneous events

Making dance seen

Making our labor, work, effort seen

We are not hiding in the studio, blurring the lines between in here and out there.....

Who gets to dance - does space dictate practice?

What permission needs to happen?

How to protect from the environment- how to make choices that support your systems, the care of oneself?

I am curious about what it means to trace surfaces with the eyes- to trace a space, to duet with a space, to partner with the space?

I am curious about the ways in which we notice "other", the ways in which we notice the space, and this includes grass. How does one partner with the grass? With a tree? With the air? How does one allow the earth to support - can you notice the uneven surfaces, what does that teach us about balance?

Focus, attention.....

Why do I want to dance outside- there are no walls. There are less boundaries but more boundaries all at the same time.  It is a challenge to ignore the fact that I am seen, that others can see me.

Shaking, it was difficult to think of creative ways to shake and then I wonder why I needed creative ways to shake, couldn't I just shake? What does shaking make me aware of, why shake? What does it do - somehting about being constantly in motion, something about liberating the flesh from the bone, something about energy that went out, something about flow.

Writing practices after moving practices...how long to follow?

I want to be more bold in my moving on uneven surfaces - I tend to stabilize in my feet and move upper against a stable lower - can I find ways of moving quick and with energy, power and still protect my ankles?

How does moving outside allow you to see things from different persepctives? How is being upside down completely different outside then it is inside?

How does one relate to the environment?  How are we activating a space? How is a space activating us?

Why do I have a desire to teach a week out of the studio?  What do I hope this will do for the students? For myself? For my practice?

What is this next dance going to about?  Where is the research going to start from?  beginnings...endings.....that seems like a good place to start.

breath.

I hold so much tension in my toungue.....

Tongue in time out as part of my summer project?

How I sit as part of my summer project?

How expansive can my summer project be?

I want writing to be a part of my summer project....

Improvisation and the alexander technique....


but how to be more specific.....