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Encore, Routine, Bravo!

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resume- not

best of luck

Dear colleagues,

those images of you at l’école des sables are great to look at. it seems as though things are changing pretty fast and i do hope that in this process you are not forgeting what motivates you initially to do that workshop and that you are finding ways to ‘position’ your voice within those fast changes; wondering even if there is a way for you to actually integrate in the process that very voice: saying what at stake for you in what you are doing; are you happy with what is happening? can you actually articulate that within what you are doing? one thoing that touched me is the comment of the dancers from l’école who seem to have noticed ‘unhappiness’ then i read about stones and weight, finding positions which lead me to send you this videos of Anna Halprin….

have you found YOUR model of theater? what is your ROLE? and what are you looking for through this experience, how is this visible, or made manifest?

from the images you posted (and this is difficult from where i am writing) I feel as though you have refined a form and I wonder how this very form is still addressing how the self is constructed…you seem relaxed, honest and comfortable which lead me to wonder whether addressing those shifts, mechanisms, perceptions within the performance itself with your own words is an element you thought of…

again communicating that happiness, the joy of making, communicating the pleasure of form:

“I want to do that” as opposed to “I can do that” remember?

thinking of you



anna halprin

this inspiring video of Anna Halprin whom i thought of while watching your images of Dakar, thinking of you and really wishing i were there to see the final piece you are presenting soon more comments to follow…

the last full day at the Ecole des Sables

we were sore from the African dance workshop – so good, so discovering new muscles and bruises on the thighs –

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we started by looking at the video of the run through of the performance we did the day before in the beautiful Henriette room. We talked about how many times the corners should return and how our movements should be articulated; what frustrates us, what works for us, which movements are strong and how could we time these better?

contract and expand, contract and expand – ok, then we should work the corners between the tourist and the trees, a frame, that continues to return… the frenzy in the trees makes more sense after the corners have been introduced, very well, that’s decided

the trees should cluster as a forest, rather than disperse across the space – ah yes, then we can frenzy between the trees as Vanja had squeezed herself yesterday. But why the frenzy? As we are trees, we are warriors, we collect our energy from the earth, just as during the African dance workshop – as we frenzy we recharge our energy in a different form, or perhaps we release the over-sourced energy we have gathered? We break out. Rattling the tone, harps serenade us from a ghetto blaster.

When the music stops, the frenzied person carries this energy towards ‘the corners’. The trees slowly disperse and also take this energy, each in their own way, to more frenzied actions in the corners. The frenzy speeds up the actions in the corners, multiple actions merge into new movements.

But still, the funnel was a problem, especially in relation to the corner structure. Solved, we take out the line, we introduce the funnels forms onto the stage, the triangular form and its entrance can occur deeper into the stage. We retain the turn from action to slow backward walking. The sound fountain doesn’t work, let’s introduce text, continuing further from our work with text in the last year. Sander had brought a great card game, small fragments – we translate from here to different languages – on je bio, for the baby, in the bar, in de tuin, para o ninho, must go, sedikit roti, hvis jeg må, zuhause, a big horse, kan rennen, will go.

I love to love, but my baby just wants to dance, he loves to dance, he needs to dance.

Eden sings to the stones. Quietly at first, unsure. Not finishing her sentences.
Eden, I can’t hear you!
How should I sing?
Much louder!
I don’t know the song, still not loud enough? How long should I sing?
Much longer.
And then it’s loader and longer and beautiful.

We change the song. A song Eric suggested and that fitted perfectly to our actions in the rest of the performance.

Je ne veux pas travailler
Je ne veux pas déjeuner
Je veux seulement l’oublier
Et puis je fume.

At night we meet up in hotel Isis. Tanja and Ian treat us to a drink.
We all wear a costume with intention.
What do we feel comfortable in, performing in public city space?
Everybody wears something a bit plainer and less naked than they were wearing during the rehearsals. Lots of black and royal blue.
Some people like all black, because discretion feels appropriate, or to withdraw the individual to form a group. Some people long for more colour.

Ian thinks -but this is really just his personal opinion- it would serve the performance best if we wear the clothes we wear during the rehearsals. Why wear a costume? What is its function in relation to our ideas?
Discussion to be continued. Now we relax, play pool and write in the guest book of Ecole des Sables. A map of our performance. We will walk to the baobab trees at 6.30 in the morning, swim in the sea before we go in the bus.

Bob Marley on the radio, in memoriam, we hit the Dakar reality.

day five (from Mercedes and Sander with love)

Day Four (4)

How do we begin?… worming up in a dog-cat stile… and… than… was worm… for the stone… outside… stone was placed… inside… lot of stones… heavy stones… hard to lift… beautiful, static… movement comes… in the corners… 1,2,3,4… or… A,E,I,O… empty corner… every time… different one… every time… monotony of life… repeated… many  times… dressing up… placing a box… running fast… but… individual… monotony… through the time… becomes shared one… funnel comes… stone is lifted… carried carefully… END… how do we continue?…

Male dancers from Ecole des Sables.
The working method was introduced in a circle through Eric. We asked them a creative response to our performance. The response was presented surprisingly fast in a from of a dance. They felt a lack of happiness. For that reason they suggest a more happier version, with a more cohesive group.