What do I desire, adding audio and visuals

 I was inspired to make a sound recording for the "What do I desire" poem I wrote about Salome and Draupadi.  I could imagine this perhaps as a duet, two of us connected by a sheer sari that wraps and unwraps and intertwines us.  Note that I was fooling around with a shruti box generator and couldn't record it too well, it doesn't sound like it sounded coming directly from the generator, and the transitions are a bit rougher, but I like the idea of it!

password: desire



And here I've overlaid one of the video projection improvisations that I was playing with and find that it could be related to the poem, though for a group piece, I like the duet idea better.

password: wonderful


Questions:
1.  Are you more interested in the projection with live body here or in the reviews study "Maud and Me"?
2.  Other ideas for enhancing the audio of this poem?
3. Is this piece related to the Maud Allan work we've been doing or is it too much of a tangent?
4. Any other thoughts?

Cabaret Travels: Shy's Creative Assignment #2 - Inside Outside

I'm traveling so decided to play with audio instead of trying to video anything new.  So here is my last study with a different audio score to it created from Ulka's and my voices and my feet on garage band (a bit rough, but you will get the idea).

Here is the link: https://vimeo.com/72153069
Password is: Cabaret

Outside Cabaret Creative 2 from Shyamala Moorty on Vimeo.

By the way, all the text is from the written assignment 2 research.

Questions:

1.  How do you interpret the piece with this new sound-score?
2.  How might this be political in a similar or different way then my first version of the movement with the "magic to do" soundtrack? Here's the first version in case you'd like to reference it: http://www.postnatyam.blogspot.com/2013/06/cabaret-travels-creative-response-1.html
3.  Does the new sound track inspire any ideas for you as to how the mirror might be used more?
4.  If I were to work with a sound designer or composer, any suggestions on what to add/remove/enhance etc.
5.  Any other ideas or thoughts?

NET MicroFest

Here are the latest versions of some of our work-in-progress material, as performed at the NET MicroFest on Dec 5.

I choreographed my live dance in relation to Sandra's video, which originally integrated abhinaya and theory on exoticism.


password "NET"
Here is the latest experiment with expanding Tell Me, Sister.  I post this only for the sake of dialogue, for the footage taken this day stays zoomed out the whole time, which unfortunately means that you can't see any of the video on my back or the nuances of abhinaya, and thus lose the majority of the intent of the work.  However, several things may be useful to watch.  If you watch the end starting at 9:30, you'll get a sense of the transition from the sitting abhinaya to skin. Currently I don't think this works, as it seems to visually distract from my performance rather than undermining the courtesan by inscribing her with societal discourse or making the audience aware of their gaze upon her.  Also under debate is how I transition from widow to courtesan, which not everyone is finding believable.  To see this transition as currently stands, watch from 5:50.


At the moment I feel this solo is no longer holding together as a cohesive whole -- like it's trying to accomplish too much and exploding at the seams.  At this moment I'd like to let it explode, fragment, be blown apart and freed from the narrative structure it's currently encased in to see what might happen.  Incidentally, a friend who's experienced abuse compared the experience to being exploded apart -- fragmented -- and that as you try to put yourself together, you never quite achieve the same "wholeness" as before.  So too the histories of the courtesan are fragmented, incomplete, and irrecoverable.  I wonder if we can reflect this compositionally.


Also, here are notes I took based on the feedback session we had after the Sunday show, with respondents Carole Kim (who focuses on live video performance and performance-based video installation) and Carol McDowell (dancer, improviser, interdisciplinary artist).