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?

Shy's creative response #5.2 Borders Resurfacing: Words not Teeth

This is a re-write of a poem I wrote for the Familial Migration documents assignment.  I would love feedback and am also interested in moving it into my body soon!

Words NOT Teeth

I delicately examine my birth certificate, a frail ink-stained, yellowish paper.

My Father’s name squeezes itself neatly into the tiny box, whose creator didn’t anticipate the Jagarlapudis with our plentiful syllables.

His birthplace:  India.

I imagine the huge watery border he crossed and wonder how he was received when he arrived with only $26, a student visa, and his dreams.

The box for “color or race” is not filled out.  

I smirk as I observe that it contains a single horizontal line as if to mark the very category itself irrelevant.

43 years later, my year-and-a-half old son, soon to get his passport, perches curiously on a stool, pointing at the camera flash.

We love the smiley picture, but the elderly black man who runs the dingy store warns us that the rules have changed:  no smiling.

We choose the one where he looks puzzled instead.   

He is wearing his favorite color, orange, unaware of how this color is infamously linked to the 45th president of the United States.  Unaware of the president’s travel bans.  Unaware that the world’s borders are tightening and that he may never experience the freedom that I have enjoyed with my American passport and my Overseas Indian Citizenship.

This ¾ desi child who knows more Spanish than Telugu, who loves Salsa as well as Bollywood music, and who, like any almost two-year-old, simultaneously tests boundaries and clings to security.  

He knows you don’t need a big wall to feel safe.  But, like many other almost two-year-olds, he still needs practice with using words instead of teeth.  

1.  I tried a little reference to water and borders in the 6th line, not sure if it's enough?

2.  I tried to make the ending a bit more complex while still being a political statement.  What do you think of this ending?  In case you want to compare to the original:  https://postnatyam.blogspot.com/2017/03/shys-borders-resurfacing-response-3.html

3.  Any other thoughts?

Open Round: Shy intergenerational poetry

Continuing the pregnancy poems, here are two new ones.  I've written more, but these are the ones I'm moved to share at this moment. 

Feedback questions
I'd love to hear if anything interests you about them, any ideas for strengthening them, and if you imagine them being incorporated into performance in any way.  Right now I just see them as written, but am open to other possibilities.

Quickening at 12.5 weeks

What is that I feel? 

A flicker, a twitch, a bubble?

Butterfly wings flapping against the breeze?

The tap tapping of a clandestine message meant just for me?

Try as they might, no one else can feel you.

You’re my little secret!

Our First Duet, 16 weeks

We performed our first duet today. 

The first that you may have been aware of, that is.

But, I wonder when did your consciousness begin? 

Was it the moment your cells first divided, or in the accumulation of your senses?

Is it in your sensitivity to the pressure of my twists and bends?

Or in your new found ability to make out the bright stage lights penetrating through layers of me to you?

Outside, I tumbled and danced, for 200 laughing and cheering children;

Inside there was a private rollercoaster ride for one. 

Now, hours later, I feel you flutter and flit

And wonder: “are you reliving the memory of our first duet?”

Betrayal, 24 weeks

I pass a forlorn child waiting on steps,

scuffing his feet in the dirt.

Suddenly I am 8 again,

waiting for her:

Long after the other children have gone,

I sit unwanted on a wall, swinging my legs. 

 I hum to soothe the feeling of unimportance,

my entire unsure existence on pause.

Walking on, I glance back at this child who reminds me of me,

Caressing my belly to feel the being who will be you.

Is it always the person closest to you that is

doomed to be the first to betray you? 

As my mother hurt me,

Will I do the same you? 

Queering Abhinaya Assignment 7: Yearning to Bloom

For this assignment I was paired with Cynthia who helped me think the through choreographic ideas and the trajectory of a new piece that I was collaborating on with visual artist, Sayon Syprasoeth, and dancer, Jack Nguoun, for a closing reception of "Roots and Branches," an exhibit featuring contemporary Cambodian visual artists at the Greenly Art Space in Long Beach, CA.

Here is a video of our performance at the closing.
Password:  bloom

Yearning to Bloom from Shyamala Moorty on Vimeo.

1.  What drew you in?  Or what did you enjoy about the performance?

2.  What would you like to see developed more? 

3.  How did you interpret our use of the masks?  You may not be able to tell, but they had gold on them to mimick the sculpture's texture.  Did it bother you that they are primarily white?  Any ideas about how we might use them more effectively (or not at all).

4.  How did you feel about the interaction of Bharatanatyam, Khmer Classical dance, pedestrian movement, and poetry?  Did anything seem too mime like?

5.  How did you feel about the use of the various music styles, especially the padam "Velavare" (which is the second music). 

6.  What aspects, if any, do you feel might read as "Queering Abhinaya" ?

7.  Do you have any other ideas to offer for growing future performances?  In particular, are there any ways that we could have interacted with the sculpture that you would have been interested to see and that might add to the meaning of the piece?  And did the trajectory feel complete, or do you think something more is needed?

Queering Abhinaya Assignment 6: Shyamala's intergenerational explorations

I was paired with Sandra and we discussed her interest in framing connections between some of our assignments in the German context through writing and perhaps even a video installation of the work.  I believe she was interested in the idea or action of problematizing exoticisms as a common theme for some of the solos, and thus creating a transnational alliance between us. 

I was interested in deepening some of my work.  A few months ago, my mother moved in with me and I found out that I am pregnant, thus, I have been strongly aware of my position between generations.  Thus, the inter-generational nature of the study I did for assignment 4, "alternative translations" seems the most interesting to me to continue at this moment.  For my study, each Post Natyam member interpreted some the words describing how to do the dance movement from a padam that I had learned from my first Bharata Natyam guru, Medha Yodh.  Our interpretations were unusual, quirky, and at at times subversive.   I had planned to thread my favorites of each of our interpretations together into a new version of the padam...  thinking about how a new generation might re-interpret and re-purpose this dance that was passed on to me through Medha, from her guru, Balasaraswati.

Additionally I'm creating a new piece in collaboration with a Cambodian American visual artist,

Sayon Syprasoeuth and a Cambodian American dancer, Jack Nguon.  In relation to the "alternate translations." I'm thinking it would be interesting to see how Jack might interpret the text in his classical Cambodian dance influenced body.  I also have been doing some inter-generational writings that I feel will help inform the piece, either with sound or images.  

Themes exploring: pleasure and discomfort of waiting, transformation, life cycle of seed to flower blossoming/birthing, inter-generational (dis)connections

Below is an image of a sculpture we'll be working with: 

Sculpture by Sayon Syprasoeuth (our costumes hopefully will be similar variations of this)

Texts to draw from:  

Velavare (Padam I learned from Medha Yodh), the gist is about a maiden waiting for her lord.  Perhaps the music itself would be interesting to use.

 Two poems I've written recently:

-->

love letter at week 6

My first signs of you were my queasy belly and your beating heart-

Fast, erratic, a pulsing white light, a beacon of your existence. 

My emotions ran wild.

Your heart in my belly, making it flutter.

My gasping breath making you falter.

The realization that you were all heart was so immense…

This tiny light leading you into the world, before all thought, before all reason, guided only by your inner rhythm.

And as I cradled you in my womb,

Your love, so vast, encompassed me.  

-->

Free-fall at 11 weeks

S/he is tumbling, free-falling except for the pulsing bungee cord of flesh that connects her to me.  Neither of us holding on with our limbs, connected instead from our insides out.

There is no light here to see, all is intuited from behind thinly shut lids.   

He does not feel my singular pain, oblivious to the sacrifices of one, 

but instead is tuned into the rhythms of my breath, the pulsing of my blood, 

and the pull of gravity within an ever changing rotating sphere of existence. 

A packed, but organized, freeway flows between us, 

where ancestors riding water buffalo intermix with sturdy caballeros, 

and still others traverse in dusty covered wagons. 

None are surprised by each others existence, nor by the occasional sighting 

of never before seen modes of transportation passing at lightening speed. 

Testing her strength and agility, 

each movement is magnified in tight quarters. 

Falling, twisting, turning until he bounces 

against the soft womb walls in a soft reverberating, rebound. 

Our bodies, united together, 

share unfathomable mysteries, 

that despite our interconnection, 

will lead to unavoidable separation.

 Feedback:

1.  What ideas/images stand out to you, especially ones that might inspire movement or visual images/actions, from...

a. the sculpture

b the week 6 poem

c. the week 11 poem 

2.  Do you have any thoughts about ways to tie or layer the sculpture, poems and Padam together?  

3.  Any other thoughts?