Trace--Part 2: Time is the soul of Trace

The concept of Time is fascinating to me and is the soul of Trace. The recording of time through movement is an act of tracing. How does movement record time? How does movement and time partner together in order to create an experience with implications on the future while denoting the past?

When I think of tracing the word journey comes to mind. Journey is a time-based word that discusses one's pathway in, with, or through (but not around) time. In time, gives a hierarchy of value and size in which time exists even when I or my journey do not. With time gives me the sense of partnering with time and also a choice to engage or disengage time--however, time always exists, or that I do not use it or consider it in my journey. Through time asserts that time is a force in which to be acted upon.

I feel that tracing codifies the journey and, in turn, passage of time. This passage of time can be a document of my existence. But how? 

The present always exists. But, the past may never be recorded and so it will not be remembered when the participants in the present, that created the past, do not exist in the future. It brings up the age-old question: "If a tree in the forest falls, but no one is around to hear it, did the tree really fall?"

There has to be a device in which to outline, denote, record, trace the present, so that there is a knowing or understanding in the future. So that there is a future. 

Trace--The beginning (choreo project)

the start of a new project

Trace.

–noun-
1. a surviving mark, sign, or evidence of the former existence, influence, or action of some agent or event;
vestige: traces of an advanced civilization among the ruins.

2. a barely discernible indication or evidence of some quantity, quality, characteristic,
expression, etc.: a trace of anger in his tone.

3. an extremely small amount of some chemical component: a trace of copper in its composition.

4. traces, the series of footprints left by an animal.

5. the track left by the passage of a person, animal, or object: the trace of her skates on the ice.

6. Meteorology. precipitation of less than 0.005 in. (0.127 mm).

7. a trail or path, esp. through wild or open territory, made by the passage of people, animals, or vehicles.

8. engram.

9. a tracing, drawing, or sketch of something.

10. a lightly drawn line, as the record drawn by a self-registering instrument.

11. Mathematics.
a. the intersection of two planes, or of a plane and a surface.
b. the sum of the elements along the principal diagonal of a square matrix.
c. the geometric locus of an equation.

12. the visible line or lines produced on the screen of a cathode-ray tube by the deflection of the electron beam.

13. Linguistics. (in generative grammar) a construct that is phonologically empty but serves to mark the place in the surface structure of a sentence from which a noun phrase has been moved by a transformational operation.

14. Obsolete. a footprint.
–verb (used with object)

15. to follow the footprints, track, or traces of.

16. to follow, make out, or determine the course or line of, esp. by going backward from the latest evidence, nearest existence, etc.: to trace one's ancestry to the Pilgrims.

17. to follow (footprints, evidence, the history or course of something, etc.).

18. to follow the course, development, or history of: to trace a political movement.

19. to ascertain by investigation; find out; discover: The police were unable to trace his whereabouts.

20. to draw (a line, outline, figure, etc.).

21. to make a plan, diagram, or map of.

22. to copy (a drawing, plan, etc.) by following the lines of the original on a superimposed transparent sheet.

23. to mark or ornament with lines, figures, etc.

24. to make an impression or imprinting of (a design, pattern, etc.).

25. (of a self-registering instrument) to print in a curved, broken, or wavy-lined manner.

26. to put down in writing.
–verb (used without object)

27. to go back in history, ancestry, or origin; date back in time: Her family traces back to Paul Revere.

28. to follow a course, trail, etc.; make one's way.

29. (of a self-registering instrument) to print a record in a curved, broken, or wavy-lined manner.
Origin: 1250–1300; late ME tracen, ME: to make one's way, proceed < MF tracier < VL *tractiāre, deriv. of L tractus, ptp. of trahere to draw, drag; (n.) ME: orig., way, course, line of footprints < OF, deriv. of tracier

Ta Dah!!

Well, we did it.

I always breathe a heavy sigh of relief after a show and then sleep the day away. I got so wound up with this show because this was a deeper connection with my choreography than I have ever had before.

The dancers were absolutely stunning and I received numerous compliments and comments on them and the work that we presented this weekend. We had 2 sold out shows and success was earned and achieved!

We kept the camoflauge costumes and it worked out perfectly. In fact, it assisted in the anger and aggressive nature (some said violent at the Question/Answer sessions after the shows) of the dancers and the choreography. I felt that the costuming really supported the intensity within a moment of oppression where conflict arises between a person and a value or expectation. Then there is the emotional residue after that moment has come and gone----is it really ever gone?

The performance was a success and I am looking forward to performing the piece in NYC and again in Boston. We have to secure our other dates of performance from now until then.......I will keep you posted!

Photo Credit: Jonathan Daisy

The Character of Human Paint

I am reminded of the humanitarian element of being an artist in the neatest ways, and I have my Boston dancers to thank.

This past Monday evening before the informal showing at Green Street Studios, I presented my latest work in progress focusing on internalized racisms. The showing is a part of the Space Grant that I received from Green Street Studios in Cambridge and is mentored by Tommy Neblett of Boston's Prometheus Dance Company. The showing allowed me to show off my work and get feedback from the other 2 choreographers, who received the same Space Grant as I, as well as Tommy Neblett.

As a dance artist, the medium I use is the human body. This requires me as an artist to consider/involve not just the body, but also the other elements of the human (emotion, intellect, experiences, etc). A painter learns the characteristics of her/his paint and how to manipulate that media. In doing so, the artist decides what type of paint to use (acrylic vs. oil) and how it will interact with the canvas. As a result, the relationship that an artist develops with her/his media reveals the achievement of desired results or effects through the art making process.

My dancers performed at the showing on Tuesday and demonstrated the commitment they made to the process determined by the Space Grant and to me as the artist. They are not paid for any of this and willingly volunteer their time and artistry. I consider each of my dancers an artist and they present their individual talents/skills/emotion/intellect through the dance piece that I am creating. I was thrilled when I received comments from 2 of them, after the showing, stating that I would have been proud of their performance (I was unable to attend the showing because of a work conflict). That statement and the commitment they made at the beginning of the summer reveal the human relationship that I have with my media--my dancers. I say, "My dancers".

Thank you dancers for believing in the work and making up the strong community we have through Andary Dance Boston. The piece that I am working on requires each of you equally. Your investment, hard work, brilliance and artistry move me and I really cherish this time with each one of you.

I present the piece in concert at Green Street Studios on October 12/13, 2007. It will be that moment that I experience fully my desired results and effects through this new (still untitled) piece focusing on the osmosis of Racism, Sexism, Heterosexism, Ageism, etc and the appropriation of those -isms.