practice, process, product

and pressure… the fourth p.

how does one move from the safeness and privacy of practice, the unending pathways for curiosity in process, toward something that is shared with others, in a way that honours authenticity, as well as the investment of attention from an audience?

practice for me has been deeply personal, without agenda, except to explore questions, songs, language, meaning, and open up emotion to investigate the forms they take in my body.

process for me has involved a critical awareness of my practice, and trying to make sense of how the content of my practice is relevant to the initial inspirations and intentions for the project.

but a product? making solos? instant fear. fear of making bad dance. dance that doesn’t mean anything. dance for a digital world. without the physical gathering of curious bodies who can feel, not just see, my intentions, what is left?

making choices and repeating them, alone, seems a strange and impossible alchemy. lacking stamina, memory, a skeleton of purpose on which to rest the cascading ideas that shapeshift daily. perform what exactly?

improvisation seems the only real thing. and as Prentis so poignantly summarized today, our personal transformations are expressed and tested in relation. a solo, that I compose, alone, doesn’t feel like the right thing, right now.

so what will it be? this product, this demonstration, this evidence…

noticing the way colonial, supremacy logic infiltrates and invades creativity.

so what could it be? this sharing, this invitation, this experiment, this moment in a much more significant continuum of learning…

I’m still a dancer. I train less, I hurt more, I get dizzy a lot. I remain committed to a practice of movement that feels true, necessary, resonant, expansive, built from the better part of 40 years of being in intentional motion.

So that is the cup. Let’s see who wants to have a tea party with me.