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I’m sitting on my aura
“… politics is activity already in motion. It does not await ignition.” – Randy Martin
Currently I am looking at the ways in which the actions in a society of individuals produce an experience of multivalent, multi-layered, unstable, and dynamic meaning(s). Perhaps this is another way of defining "choreography". I think that the value of choreography now is that it can be a framework for deploying difference in a time of increasing anxiety. I would like to share these questions and explorations in the context of a workshop.
In my explorations thus far I have been returning to strategies of improvisation and movement building that I used earlier in my career, as well as some that have stuck with me over the years. I am exploring how bodies experience energy and identity in proximity and distance to one another. I keep returning to a kinetics that is insistent and multi-directional, dissatisfied with its own arrivals and representations. But now I am layering these approaches with knowledge I have amassed from years of studies into somatics, queer theory, and theories about perception. Language – an element of my work for many years now – has been coming out as I dance in more fragmented ways than before. I am also playing with some basic lighting elements, with special attention to the qualitative differences between fluorescent and incandescent (filament-based) lighting fixtures. I am also interested in dancing in semi or near darkness, enjoying its ability to frustrate the act of seeing while also suggesting mystery and sexuality. Clothes are coming off a lot. It’s as if I am discovering and then "re-covering" my body, the bodies of others through the act of dancing. I am interested in working with a diverse range of dancers. I am tuned in to the erotics that emerge from sharing space with other people, and the excitement and sadness you feel when people appear or disappear.
I wonder if it is possible to wrest the dance-historical category of "abstraction" from its history as a tool of whiteness. By this I mean that, traditionally in the United States, white choreographers have used the word abstraction to refer to some kind of identity-less poetics of bodies and movement that is somehow more "pure" or "neutral" than "content-based" movement or work. I reject this definition, but I also see how my history as a Latino dancer/choreographer has also often been about having to make some kind of decision between this abstract/content binary. I know the conversation is different in European contexts but I think there are analaguous divides between form and content. I think we are in a moment of evolution and that these binaries are being slowly and methodically dismantled. I think that there is another way and I am looking for it through my current work.
ArtistBio: Miguel Gutierrez
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