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Dancing, Not The Dancer
Through a series of practice-based choreographic scores, we will work on how to get out of the way of our own dancing, allowing ourselves to be the medium for dance to appear, rather than having dance be a medium for ourselves to appear. Starting with a score called "Dancing, not the Dancer" and moving through related exercises and conditions for dancing, we will focus the lenses of reception, initiation, completion, imagination and observation to learn from our own dancing. Dancing not the Dancer is about using everything we know and don't yet know to construct and maintain a horizon of continuously unfolding potential for movement and its actualisation. Exercising a breadth of technical, artistic, expressive, and performance skills, we work towards activating and refining each of our embodied knowledges in a way that is synthetic, intuitive, multi-intelligenced and generative. Dancing through, next to, with and beyond ourselves, Dancing not the Dancer lets the dancer be nothing more or less than everything that is danceable.
Assuming the subject of the dancer as a flexible and malleable agent, the interest is to experience how the dance changes the dancer, as much as, if not more than, the inverse. Addressing dance post-self-expression, yet situating the dancer and their choices within the agential system of what is a dance, we assume dancer and dance as interdependent and co-constitutive. If every dancer is a constantly constructed process full of histories and futures, and every dance is a constantly constructed process full of histories and futures, how do these complex systems of constructed potential engage and actualize each other? Let’s say the dancer (any dancer) is a corrupt conduit, shaped by and shaping of all the dances they dance. Not transparently and thoroughly calculated, but mysteriously assimilated and coordinated by that little bit of chaos, indeterminacy, and x-factor that structures any being, and in structuring also slightly reconfigures anything learned or expressed. Let’s call our mind-heart-bodies "dirty containers," through which everything that passes leaves a trace, and see our dancing therefore as a process of shaking our dirty containers. In short: we’ll shake our dirty containers, and study what comes out.
ArtistBio: Eleanor Bauer