February 4 2015
A) Keywords
- Embodied : in my house waiting to feel it … no perfect sense of coordination.. know that I need to keep it less physical, the sense of break fresh out of illness is there in the body..in the arms, legs, head, neck
- Dance : a particular way of moving, now a mode of knowing, moving and knowing..thats my expansion..what is that?
- Felt sense: sort of dryness in my handness, a constriction between my eye brows, a hunched back, an impassioned face, lips are indecisive, heavy neck and much more
- Language: always a hook.. searching for the break, waiting to escape it in 10 minutes
- Expérience: open welcoming inviting
- Articulation: confident in my sense of understanding at this moment
- Practice as research: what is it?
B) CAP Creative Articulations Process
- Opening: I used the way I was holding my pen as a hook. It was an approximate Sukhachanchu. It was interesting to suddenly see the not so distant connection of my technique/ disciplined body and everyday pedestrian movement. I sensed void. Tried to hear my heartbeat. Could not? Got a little unopen.. reflected back.. a sense of void.. that is possible.. I was seeing feeling hearing absolutely nothing… maybe my sense of openness is nothing at this moment.. nothing is my coming to opening…
- Situating.. Dreams, Sensuosness, Monotony, Insecurity, Non-love, a tingling in my right leg.. I am situating myself in the moment. I am opened and situated in the void. I feel ready for the next step. Genre comes here.. The whole hue and cry of me doing Odissi and what not is well articulated in this…
- Delving.. It seems I want to delve deeper into the act of inscription.. starting with how to hold a pen to the abstractness of embodied archive.. hamsasya, chatura, pataka strike out.. there is a break as I explore my physicality .. my hands show my scars, the scar that reminds me of a beloved pet… breaks are inevitable in the void… how to avoid the void…
- Raising..the refractions come into the fore.. so I am raising the idea of rechanneling and repurposing my movement… how can the feet aid in inscription… the act of writing using the foot is sacrilegious in my culture.. in UC Riverside Harish Krishnan danced with his shoes… it really bothered me… and still the thought of using the feet to inscribe is sad, hurtful… Break: will I come out of my cultural boundaries.. will I be bold enough…what will break the threshold… or do I not want to.. is it necessary that I do so..
- Anatomizing.. so scrutinizing my process I come out with a pharase.. rather an improvised phrase of my body as repertoire, an embodied inscription
- Outwarding.. and that does unceremoniously lead me to my objective.. I am trying to investigate mahari movement..i am trying to investigate her through the slips and cracks of history and movement.. and now my body serves as her inscription or her distortion? This is my first attempt at CAP. I will leave it at that.
Inspirations:
Loopdriver By Dawn Stoppiello
16 Revolutions By Troika Ranch