Giant Steps Phrase Two

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Written 2/22/17

Inside (Writing as I dance, exploring my phrase):

My movement in this phrase comes from a place of necessity, moving where I have to. Definitely being alone, being in the weird (really peak for me) half-conscious state. But the glass half-full one, not the half-empty one – on the way into consciousness, not on the way out. Morning, not night. The second half of the phrase I didn’t make deliberately. I made the first half, and perhaps it’s the waking up. Jolted by an alarm, first awareness of bright light through the curtain. Then it’s more mellow and I follow my body instead of telling it what to do. The music is the sun and it guides my movement. Most of my pushing and pulling is from above, my arms move secondary even though they pull me. Maybe I should change that. No. I like that they’re a reaction to my torso, specifically my back. I want more stillness through my heel. I want to fall backwards into the chug directly out of the hip circle so it’s all about the pelvis weight. I don’t go down to the floor in the first moments because it was to forward, I want to feel breath in the whole phrase. Shifting back and forth is sleepy. I like it and it’s pedestrian. Again not forced, which is really essential to the feeling. The message is a feeling. The medium is not the message! I’M NOT TIRED WHEN I DO IT! But I’m creating a breath and feeling in my body like the end of sleeping. Whoa. The relationship to the music is really important. It’s the reason why I chose each movement. Mainly the rhythm. I had difficulty replicating the phrase with accents in the right places. I want to see the accents in the movements, but have them each be different. Like seeing accent marks on sheet music, if each were a different color or something.

Outside (Investigating whether the way I hear the music matches the way I feel the movement I created):

Part 1 – a stick image of each movement I created 

Part 2 – tracing the phrase as I hear it 

“Inside” helped me solidify the intention and story behind the movement. However its abstract direction made it hard to focus on the relationship between movement and music. So I created “Outside,” an experiment to visually confirm my deep listening. I did this by comparing the texture and shape of the way I hear the music when I’m not moving to the texture and shape of the movements isolated from the music, I hoped they matched.