Teaching
We gave a lecture demonstration to Christine Garlough's "Gender, Sexuality, and Performance" class. This was the first class outside of a dance department that we shared our work with on tour and it was really rewarding to engage on a different level. It was particularly rewarding sharing "Mixed Bag" with them, our cliche piece. Many felt drawn into the piece - so they were not just audience, but also participants. One of the students described her experience as feeling a building tension that was released at the end. Many of the students came to the show and brought friends!
Making Connections
We met with Dr. Lalita du Perron, the Associate Director for the Center for South Asia. We were familiar with her work as one of Cynthia's creative assignments, her artbook entitled Harassing the Sanskrit Heroine, was inspired in large part by Lalita's research. We had a lovely discussion about the connections of her work to ours and got a sneak preview of her upcoming two-volume book, co-authored with Nicolas Magriel, The Songs of North Indian Art Music.
I also met Arpana Dharwadker, a professor and scholar in post-colonial literature and theater. I enjoyed hearing about her research on post-independence theater in India. and was extremely grateful that she helped us borrow a costume rack from the Theater Department for our show.
Choreographic Developments
We gave a lecture demonstration to Christine Garlough's "Gender, Sexuality, and Performance" class. This was the first class outside of a dance department that we shared our work with on tour and it was really rewarding to engage on a different level. It was particularly rewarding sharing "Mixed Bag" with them, our cliche piece. Many felt drawn into the piece - so they were not just audience, but also participants. One of the students described her experience as feeling a building tension that was released at the end. Many of the students came to the show and brought friends!
Making Connections
We met with Dr. Lalita du Perron, the Associate Director for the Center for South Asia. We were familiar with her work as one of Cynthia's creative assignments, her artbook entitled Harassing the Sanskrit Heroine, was inspired in large part by Lalita's research. We had a lovely discussion about the connections of her work to ours and got a sneak preview of her upcoming two-volume book, co-authored with Nicolas Magriel, The Songs of North Indian Art Music.
I also met Arpana Dharwadker, a professor and scholar in post-colonial literature and theater. I enjoyed hearing about her research on post-independence theater in India. and was extremely grateful that she helped us borrow a costume rack from the Theater Department for our show.
Choreographic Developments
Our tech time in the theater was rather limited at this venue, but the good thing was that we were given ample rehearsal time in the studio. We took advantage of the extra time to further develop certain parts of the choreography, which we would love feedback on:
"I see, but..."
I further developed my solo which started as a letter to the group:
I see, but... from Shyamala Moorty on Vimeo
password "Sunoh!"
http://www.vimeo.com/23716429
questions I would still like to get feedback on:
1. What is the trajectory of the piece? Does it have an emotional arc? Do you have ideas about how things could build more?
2. Where would you like to see the movement vocabulary pushed more? Any assignments for me to work on to help strengthen and develop it more?
3. How is the relationship to the cloth? Any ideas you would like me to explore?
4. Any other ideas, questions, or comments?
"Ranri"
Cynthia and I reworked Ranri's final dance duet through the scrim, which is based on "hidden tamarind." Here is the footage for the second half of the dance, which has the reworked section is at the end. We are still problem solving the section with Shy's hands projected on Cyn's back.
Untitled from Shyamala Moorty on Vimeo.
password: "Sunoh!"
http://www.vimeo.com/23737474
Some questions I am wondering about (Cynthia please add in yours if you like!):
1. What does the section of Shy's hands on Cyn's back communicate? Is it a necessary link to get from the conversation through the scrim to the dance through the scrim?
2. How is the pacing of the final dance through the scrim? What is the relationship between us reading as? Do you desire more or less movement?
3. Any other comments, questions, or ideas?
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