]wrist[ runaway from Shyamala Moorty on Vimeo.
I recommend watching it first before you read about it below.
Password: wrist
Cynthia and I were talking about Anjali's wrist projection and I was inspired to combine it with some of the ideas in the silks from my last study. This time I just wrapped myself in the silks, sari-like, rather then having them hang from the ceiling as they typically are (because of the chuni part of the assignment).
I imagined doing the piece live and asked Sangita to film it. Once we saw the first take, we realized it could be pretty magical on film, so I adjusted some of the elements to make it more for the film, rather then a document of what the audience would see live. For example, I was using foot stamps for the rhythmic build but they didn't even register on film so I took them out and did quicker distortions in the torso instead. I still hope to explore the live possibilities.
Questions:
1. Describe your experience watching this and how you interpret what happens?
2. What ideas do you have to develop this, either live or on film?
3. Any other comments?
Other thoughts: Although you can't tell, the cloth is white and extremely long and leaves long trails around me. From the front my face is shrouded by the veil, and it reminds me of the work of this artist: http://www.simeen.net/ If you get a chance take a look at her work and see if you might have more ideas for what else we might do with the cloth, with or without the projection.
1. At first I notice mostly the changing shape of the cloth/screen and the movement of its folds. I’m not really aware that there is a body involved. The folds of the cloth change more quickly when the hands start moving faster. The hand coming out to grab the cloth is striking – are you trying to get it off you? – and the first time I’m aware of your body. You disappear for a moment as the film blacks out when it loops. When your hair appears, I start to see you distinctly as being a woman/person, the cloth wrapped around like a sari, and stop paying as much attention to the video. The image in the back becomes clearer too – are you watching yourself as you move? As you lift your arms it seems either prayerful or sensual – an unexpected contrast to the sound of the slapping hands. As you peel off the cloth, it could be struggle, could be ecstasy. Then a suspension as we see the hands on your bare back, ending with hands cupped -- as yoni, as offering?
ReplyDeleteThe interpretation that occurred to me is exactly the opposite of the underlying story – that you are a sati on the funeral pyre, burning in the flames of ecstasy as you achieve union with your deceased husband. Probably this is because I’ve been reading about satimata worship in Rajput culture recently.
2. Right now the piece feels in between a dance-for-camera work and a live piece to me. I would be interested for you to develop the emerging of the limbs (the hand reaching out) further in either film or live versions. For film I’d do more extreme close-ups, odd camera angles, and perhaps longer stillness in the beginning. I am also missing having a visceral and emotional response to the body in the film (at least given the small size of the window) – perhaps that could be highlighted by breath, gasps, vocalization?
3. If it is important that the audience understand the underlying story, it might be good to provide more cues to guide our interpretation of the piece.
1) I experience a sense of mystery and intrigue as I watch the wrist dance projected on what looks like a screen until it begins to morph and move. The element of great surprise unfolds as I notice for the first time that the projection is upon your body and I see your silhouette with strong arms and back. From this point on I am completely engaged as the wrist dance projected on your moving body creates all sorts of intensity. I interpret this latter half of the dance as this woman taking charge even though she holds this complicated past within her.
ReplyDelete2. For some reason I feel the piece would be even stronger with the projection on your live body. I have experimented in the past quite a lot with projecting on moving body/fabric and it can be quite amazing what happens live. You might think of the piece I did "Mirror Meditation" for my thesis where I was enclosed in a fabric box and a light lit me from inside. That way we see your body and also the film....one suggestion. I'm sure dance-for camera has many possibilities....I'd love to see where you take it.
1. Describe your experience watching this and how you interpret what happens?
ReplyDeleteIn the beginning I am drawn in by the study because of the unusual shape of the cloth that the movement is projected on- I cannot tell yet that there is a body involved. As I notice the body, the movement keeps me engaged and observing the changes in shape- recognizing a hand suddenly, then noticing the layering (projection on the wall behind).
The coming together of the movement/projection happens when both seem to be engrossed in an inner tension/pain.
I continue being engaged by the changes in layering, the cloth moving, being removed, and I am particularly struck by the moment when there is a clapping sound of hands, but your hands are wide apart and up in the air.
The stillness, projection onto your body, with the hands coming together in the end (first clasped, then in “Anjali”) point to a sense of impending calmness.
2. What ideas do you have to develop this, either live or on film?
I feel like the way the projection onto the back wall, with is visible at times, is integrated is one aspect that could be developed. Also, when and how your hands and arms first emerge from under the cloth, and what the relationship between your hands and the hands projected onto you is, has potential for development. Also the shadow, which adds another layer.
In terms of thinking of the story- if you want to refine the study with that in mind- the sense of transformation, and having arrived at some point of transformation (not equal to resolution) is another aspect I could see being developed.
Regarding your mention of performance or video, at the moment I am unclear if this is made for film or for performance.
3. Any other comments?
The longer I think about the study, the more I wonder about your relationship to the video that is projected. Particularly: what/how much can you see on the wall behind you? Depending on what you see, and how you perform you gaze, could lead to a different relationship to the story.
1. Describe your experience watching this and how you interpret what happens?
ReplyDeleteI thought it was quite harrowing and divided into two parts. The first part ended around minute 1:20. I experienced as a story of confinement, with the wrists flapping about, like a trapped fly behind blinds, trying to escape. The sound, which registered to me as panting, evoked sexuality. And I could imagine the wrists as an allegory of a sexual encounter. The sound was also that element that made the piece harrowing to me. At the end of the part, the hands seem to be offering something.
The second part gradually unveiled the body--the back--that was being projected onto. This was surprising, pleasantly jarring. Since I felt that the first part was about confinement and expression within that confinement, I saw the second part in terms of "breaking the frame," making the body as a whole more visible. But with your back turned, there is a refusal there--not a rejection--but a refusal.