This is a call for participants for a research project that will happen in January (31) and February (14, 21) 2013 and where I would be very please to welcome you.
This project aims to develop a methodological approach that would facilitate dance music performances creation by giving a specific framework based on the archetypal notions of the “Dreamer” and the “Observer”.
The point of departure for this research originates from my experience as a dance performer, with extended experience in improvisation approaches, and from the work of Authentic Movement, philosophy and phenomenology, Vipassana meditation, neurosciences research, Shamanism, Continuum Movement, the Jungian and humanistic approaches in psychology.
When I refer to the “observer” I mean the internal witness, the voice of our inner self, perceivable through feelings and sensations. The “observer” give us a sense of self and being present in the here and now. The Observer is at the core of the experience.
When I refer to the “dream” or the “dreamer” I mean the creative capacity of the psyche to project sensations, feelings, images…it is a mental activity that we experience in everyday life when our thoughts navigate between insights, memories, mental projections, creation of futures and imagination. The dreamer’s space is dimensional, virtual, endless, and infinite.
The first stage is to be aware of impulses, and to locate from which places they come from. We use impulses originating from the body or the mind through imagination and sensory awareness; it becomes the primary source of the dream.
We project the content of the dream into a performing space of awareness, with the help of the observer. The goal is to project these impulses in the room and to manifest them physically in a creative and performing act.
These impulses may come from a physical, emotional, mental or unconscious place, the “observer” is in charge of tracking and locating them in our system and to give permission and consciousness for the “dream” to unfold. The “dream” is actualized through creative expression of movements, sounds, dances, play, characters, actions or anything that is manifested through possible forms of body’ expressions.
This approach follows psycho-physiological processes as a base for a creative action, more than a technical approach. The performance is then not based on technical mastery but upon the capacity to create within oneself clear and strong imagery, dance, theater and situations that will engage an audience.
The method becomes then appropriate for amateur, non-professional or for anybody wanting to explore his or her creativity, and more largely it is a performing approach giving to individuals ways to perform their own potential.
I hope we can share some of the research together and I am looking forward to meet all artists interested in this process.