A MOVEMENT WORKSHOP BY KIRAN CHANDRA
A WALK CAN BE A DANGEROUS THING
A MOVEMENT WORKSHOP, OPEN TO ALL AGES AND STAGES OF THE BODY. KIRAN CHANDRA WILL BE LEADING PARTICIPANTS THROUGH MOVEMENT EXERCISES THAT VIA REPETITION AND MIMESIS BECOME A COLLECTIVE CHOREOGRAPHY.
Text by Kiran Chandra.
A dance movement workshop open to all abilities of movement and bodies.
Walking in lines, circles, forwards, backwards, movement, new possibilities present themselves.
Drawing in lines, circles, forwards, backwards, movement, marks made in relation to other marks, shifting ofscales, possibly of hierarchies.
Moving in lines, in circles, backwards and forwards, discover.
Dialogue with walking drawing movement lines circles, forwards, backwards and through.
'Dialogue' comes from the Greek word dialogos. Logos means 'the word' or in our case we would think of the 'meaning of the word'. And dia means 'through' - it doesn't mean two. A dialogue can be among any number of people, not just two. Even one person can have a sense of dialogue within himself, if the spirit of the dialogue is present. The picture or image that this derivation suggests is of a stream of meaning flowing among and through us and between us. This will make possible a flow of meaning in the whole group, out of which will emerge some new understanding. It's something new, which may not have been in the starting point at all. It's something creative. And this shared meaning is the 'glue' or 'cement' that holds people and societies together (1).
Stepping into this stream of meaning that flows among and through us, while never the same for everyone, is nonetheless a shared experience. Dialogue becomes a process, a means of connecting, within and without- inter and intra states of being. It becomes about understanding, not for clarity or perfect communication. More for communion. It has then, the political potential.
On a fellowship in Moscow earlier this year I was sent to a dance class, where the teacher, Elena Ermak informed by Butoh practices made me do a series of exercises which ended in us both making simple 10 step choreographed movements. We walked, we moved, we connected with our own body’s ability and range of movement, we then embodied and described a phrase through the body. We let the body and its manner of moving guide the choreography, that we then glued via repetition into memory. And then we moved, together.I with her movements, she then, with mine.
I walked out of this class with was a new set of possibilities, I felt optimistic and empowered. I felt I had been handed something, when all I had brought to it was myself, my body, my attention and an open spirit.And I felt, everyone should be able to feel like this. This something. This class spoke to my interest in language, dance, experimental expression, and my love of process.
So, in a Ranciereian (2) move of teaching as the ignorant school master, I concluded that I would facilitate this experience- with no expertise- no actual training as a dancer- but in complete assurance of the process to empower. The first opportunity to conduct this experiment came with the summer series of performances that closed the year (2017-18) at The Chimney in Bushwick.
Keeping to the sensibilities of the class I had in Moscow, and what it provoked in me I developed a set of movements that participants could do on their own, and later in pairs. Simple exercises to warm up the body, to bring attention to small movements, to listen, to notice. In an attempt to be, rather than be seen, all movements were made together, with no spectator, no witness other than ourselves as participants.
(1): Bohm, David. Nichol, Lee. Senge, Peter. On Dialogue, Routledge, New York 1996.
(2): 2 Referring to Jacques Rancière, specifically his lessons on intellectual emancipation in the Ignorant Schoolmaster