ThROUghLiNE

The development of ThROUghLiNE has allowed me to bring this choreographic process to life using thought, translation, interpretation, collaboration, making, film, representation, and reflection.  Through creative practice, spontaneous shifts occurred as the dancer allowed the painting to diffract visual-kinetic forms and her body to speak back to the image as it spoke to her.  Through a highly developed awareness of the body, she could exert her body to the influences of the painting and act upon the complexity of every shifting texture, movement, and motion contained within the context of the work.     

When I started working with this individual, one of my questions was, will she be able to flesh out codified movement?  Being a professional classical ballet dancer, I wondered how much of her technique would appear through the tasks as it was something she practiced daily and held within the history of her body.  I was surprised that in her ability to execute the tasks, she could fully implement the instructions and avoid this movement.  Her movement fulfilled the purpose which I was seeking and was genuinely organic.

Interwoven with various forms of knowledge, the physical skills expressed reflective, analytical practices captured within the creative process.  Through the theoretical concept of agency, improvised actions captured through structured frameworks developed this choreographic composition.  Some people asked if the piece was entirely improvised; it was not. The choreography was set.  In creating the film, the First Draft (open attachment) showcases the choreography clearly as the dance was captured in its entirety in 3 different shots and locations.  The practice and process were from a constant dialogue developed and relationship of give and take...such like that of a musician who studies their sheet music...the dancer studied her painting.  It is through the Practice-led investigation and bodily implementation embedded in the practice we developed a ThROUghLiNE.