29 October, 12 & 19 November – 13:00-17:00
3 sessions facilitated by Bettina Neuhaus and Thomas Johannsen
c.1400, from O.N. grod “pit,” or M.Du. groeve “furrow, ditch,”
Sense of “long, narrow channel or furrow”
Meaning “spiral cut in a phonograph record”
Fig. sense of “routine” , often depreciatory at first, “a rut.”
Adj. groovy in lit. sense of “of a groove;”
In slang sense of “excellent,” from jazz slang phrase in the groove “performing well (without grandstanding).”
As teen slang for “wonderful”
To enjoy intensely.
To take gratification
To go with the flow
These 3 sessions are inspired by our curiosity about ‘groove’ as a captivating phenomenon that once it is housed in dance and music it elevates the composition to a ‘higher’ and more exciting level.
Performers are very much aware of the moment a groove is established in their music or dancing and usually this groove also communicates directly to the audience: something swings, flows and takes us with it. A groove is like an undercurrent with its own particular rhythm that we immediately pick up on a bodily and intuitive level and engage with.
It is a kind of feel that makes you move with.
‘Being in the groove’ is like an evoked field in which ‘forces of unseen connections’ are come into play directly altering our experience.
Although we can all feel when something grooves or is groovy, ‘groove’ is a phenomenon that is almost ungraspable and unexplainable.
So, what is ‘the secret’ of the groove? What are its hidden underlying dynamics and ‘ingredients’?
From ground to groove
In order to find our way into the world of ‘groove’ we will take a closer look at our relationship to ground and gravity as a way to open up our bodies to the passage of time.
- How to use the ground as a dynamic rather than static element within our movement?
- How can we give ground to a movement / to a sound / to a phrase / to a duet?
- And how does a sense of (common) ground effect the overall composition?
- How does the play with gravity open the channels of the body to time and activates our awareness for pulse and rhythm?
- How can we then invite a groove into our actions?
- And how to place then your following actions within that groove in order to sustain it?
- How do ground and groove connect the performers? How do they effect the audience?
- We will instigate ‘hidden grooves’ as an undercurrent in movement or sound in that it is palpable but not necessarily audible as such.
The sessions are open to any professional improvisers, no matter their discipline. We will approach the subject from a music and dance perspective in first instance, but it could be taken into any other artistic discipline from there.
We have a preference for a stable group to work with. Please let us know whether you would be able to come to all three sessions, or which session you would have to miss. We will then put the group together for the research.
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