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September 11, 2009

MAVA started back on Tuesday with the 1st group chat which caught me on the back foot as I had only remembered in the morning the chat was taking place.


T he chat discussion was around the essay and tagging and curating the weblogs.


Have felt dislocated from the blogging process since the chat with Andy a month or so back and been unsure as how to use the tool. There was an interesting discussion with Jonathan Kearney abut learning and methodologies to achieve learning.


It again brought home to me how entrenched I am in a previous understanding about learning and aims and how I need to make adjustments to my practice.


The area around providing a structured context both with in my own vision and also in terms of others practice is proving to be my biggest challenge, to keep a coherent overview rather than to just go with the flow.


I am struggling to move away from just letting my practice evolve organically and not keep on top of it to build a context.



Have been thinking again about the journey of my questioning of movement that developed through becoming aware of repeated actions whilst printmaking, which then lead me on in to dance practice to try to explore this better. The time spent in a dance focused environment provided me with a valuable way of looking at body movement and awareness.


I am finding myself struggling across disciplines and their languages or terminologies and thought structures and also across what really amounts to over 30 years of disparately weaving in and out of practice. The request to draw this all in to one directed line of discussion is a big ask. But something that feels core and something that is one of the core reasons I have chosen to take this MA despite it challenging me in any areas.


This week I returned to researching movement ideas by looking at choreographers who take repeated movements and build with them.


Choreographer Edouard Locke’s work is very specific and precise.


He makes this statement about movement:


‘the only thing that gives us a shape is our memory of a shape.’




‘Because we are imative creatures if we are not clear about the shape of the body we are perceiving we are unclear about our own shape.’





‘when we look at something we have multiple layers. We look at the thing we are looking at and we often have mental images beside them… we are used to creating multiple series of layers visually.’



And for an example of his choreography:

September 13, 2008

This has been the 1 st. week back at college.

For Monday’s chat session we were introduced to the Wimba virtual class room environment.

It is a more flexible environment than Blackboard was. But I found myself floundering when confronted with a new format to learn at short notice and my computer froze repeatedly while trying to use it in the group chat.

I have tried Wimba classroom a couple of times since without these problems occurring so am hopeful to be able participate more fully next week.

To follow up my ideas about the seeming need in society for women to under go some physical metamorphosis in order to gain acceptance I have been looking in to Fairy stories and their symbolism and there is often found in classic fairy tales an idea of physical suffering or mutilation in order to achieve a transformation and reach a level of acceptance in some way.

Such an ethic can be found in the story of the Little Mermaid. In order to fulfill her love for the Prince the Little Mermaid has her tongue cut out by the Sea Witch in exchange fora potion which gives her legs instead of a mermaid’s tail, although she looses her voice and walking will feel like walking on knives.

During  on line research came across philosopher Luce Irigaray

And Elaine Scarry’s book ‘The Body and Pain’ which I am ordering from Amazon

Further researches lead me to the work of dancer, choreographer and hybrid artist  Yann Marussich.

U2 W8

June 11, 2008

I am breaking away from Jonathan’s required format for the reflection for this entry as there are a great many thoughts and ideas that have been generated from Monday’s online chat and contextualization  which I want to jot down to make a reference for future enquiries.


I find the voice log difficult which I expected in terms of combining visuals with sound and also having the confidence to speak in front of others.


The process has made me aware of the shift in expectations of artists since I was at college. We were not expected to engage verbally. So this section is turning in to  a learning curve in what I am begining to think of as  ‘finding a voice.’


The chat on Monday was interesting and stimulating. 


A question that arose from it  was why dance? Why did I use that as a reference?

The easy answer that i gave was that the body awareness that I have comes from some dance practice and that practice informed me of my choices as an artist. 


To take that further, choreographers such as Butcher use the body as a tool in an interdisciplinary way cutting across what is traditionally thought of as dance or fine art and blur the definition or are in the process of creating a new one. 


This is a similar or possible parallel  development which is ongoing in our lives today as we become more reliant on the virtual world and technology.


This development in technology allows for a new development in ourselves.


This marks a shift in my own perceptions since starting this MA.


That what is occurring is not an  erosion but change.


In an attempt to try to understand this further I  plan to use previously booked sessions at the local community center and dance City Newcastle, to start photographing and video-ing body movement.


I began with this small video incorporating photographic stills of static feet that I took at the beginning of the week.



A reference put forward by Jonathan on Monday was for the dance company Troika Ranch.


In their piece ‘Yearbody’ Troika Ranch use 365 stills from a dance. The treatment of the stills showing them for 1/10 seconds has meant that the connecting movements are lost yet the dance remains.