ARCHIVE: LIVABLE FUTURE IN RECALL

Livable Futures Community Archive Site Taken in October 2017

Q&A

LF: What makes more livable futures for you?

LROD: For me, a pursuit to re-imagine justice, resiliency, and love against the current oppressive or destructive ways of living would be a start in making the future livable. I believe it is crucial to create a realm of care, ethics, and compassion to work towards balance in our overly consumptive world. These liberal acts help to reconstruct/heal dilapidated structures in our social, economic, and industrial ways of living but prioritize these acts within the environmental sphere. As an artist, I think creating performative/experiential environments in a community of co-creation kickstarts the imagination needed to unlock the potential of our future.

  • A livable future responds to crisis, injustice, and inequality.

  • A livable future is continuously adapting.

  • A livable future makes and holds space for all.

  • A livable future is a possibility manifested through imagination.

  • A livable future redefines freedom.

  • A livable future is not always polite.

  • A livable future is transparent.

  • A livable future thrives in equity.

  • A livable future redefines love and care.

LF: What are you reading, viewing, listening to right now?

LROD:

Emergent Strategy: Shaping Change, Changing Worlds (2017), Pleasure Activism: The Politics of Feeling Good (2019) by adrienne maree brown

Chicano and Chicana Art: A Critical Anthology by Jennifer A. González

Black Brown & Beige: Surrealist Writings from Africa and the Diaspora (2009) edited by Franklin Rosemont and Robin D.G. Kelley

Dawn (2012) by Octavia E. Butler

On Fire: The Burning Case for a Green New Deal by Naomi Klein

The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins by Anna Lowenhaupt Tsing

Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary (Ahmanson-Murphy Fine Arts Imprint) by Ronald Rael

LF: What practices are sustaining you?

LROD:

Sustaining my practice is daydreaming, hyper-creativity in co-creative environments, performance as protest, and ritualized self-care.

  • Sun’s kiss on my skin

  • The desert

  • Aesthetics in environmental design

  • Home

  • Community

  • Daily improvisation

  • Mi Familia

  • Napping

  • Sustento

  • Artmaking in all its capacities

  • Deep conversations

  • Immersing into books/movies/shows

  • Truth

  • The moment when I am told something is impossible

©LROD

Re-Creating the Stage Roundtable

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Creative Discipline & Training During COVID-19

Panel #2 | 2:45pm - 3:45pm (PDT) | 5:45 - 6:45pm (EST)
Panelists: Elbert Joseph, LROD & Margaret Odette
ASL/English Interpreters: Rachel Judelson & Sho Devon Guion Grant
Moderator: Kezia Waters, KB Associate Theatre Director

I am honored to be apart of this wonderful panel this coming Saturday. Muchas Gracias to Jesús López Vargas for connecting with me and inviting me into this wonderful roundtable. Anyone can sign up to gain access to free events by visiting our website: https://www.kbtheatre.org/re-creating-the-stage.html

Adelante y see you there!

MORE ABOUT THIS WEEKEND

Re-Creating the Stage is a digital summer program produced & organized by K.B. Theater Company members & collaborators, offered to the public free of charge. This program is predominantly aimed at undergraduate/graduate-level students or young industry professionals in the U.S. who have lost their internships, apprenticeships & summer work opportunities due to the COVID-19 crisis. Our program consists of panels of both up-and-coming & established industry professionals as well as 1hr. creative workshops centered around the collaborative nature of theater-making & storytelling. Our program will begin on July 11th and run through August 15th, 2020.

PANELS

WEEK 1, PANEL #1 – Acting & Performance Saturday, July 11th | 1:30 – 2:30pm (PDT), 4:30 – 5:30pm (EDT) Category is: Navigating Culture & Identity in Acting & Performance Panelists: Terrell Donnell Sledge, Linedy Genao & Chris Mansa

WEEK 1, PANEL #2 – Acting & Performance Saturday, July 11th | 2:45 – 3:45pm (PDT), 5:45 – 6:45pm (EDT) Category is: Creative Discipline & Training During COVID-19 Panelists: Elbert Joseph, Margaret Odette & LROD (Laura Rodriguez)

WEEK 2, PANEL #3 – Theatre Directors Saturday, July 18th | 1:30 – 3:00pm (PDT), 4:30 – 6:00pm (EDT) Category is: Tokenization VS. Representation Panelists: José Carrasquillo, Rebecca Rivas & Mei Ann Teo

WEEK 3, PANEL #4 – Producers, Managers & Technicians Saturday, July 25th | 1:30 – 3:00pm (PDT), 4:30 – 6:00pm (EDT) Category is: Personal Finance & Self Sustainability in our Industry Panelists: Michaela Bulkley, Veronica Hernandez & Ross Jackson

WEEK 4, PANEL #5 – Producers & Leaders Saturday, August 1st | 1:30 – 2:30pm (PDT), 4:30 – 5:30pm (EDT) Category is: Producing for Social Change & Accountability Panelists: Jeffrey Lo, Arpita Mukhherjee & Víctor Élan Vázquez

WEEK 4, PANEL #6 – Producers & Leaders Saturday, August 1st | 2:45 – 3:45pm (PDT), 5:45 – 6:45pm (EDT) Category is: Inciting Change; How to be a Leader in the Arts & in our Communities Panelists: Patrice Amon & Armando Huipe

WEEK 5, PANEL #7 – Projections, Lighting & Sound Designers Saturday, August 1st | 1:30 – 2:30pm (PDT), 4:30 – 5:30pm (EDT) Category is: Skills Learned by Practicing Design & How to Navigate the Freelance World Panelists: Melanie Chen Cole, Sherrice Mojgani & David Murakami

WEEK 5, PANEL #8 – Costume & Set Designers Saturday, August 1st | 2:45 – 3:45pm (PDT), 5:45 – 6:45pm (EDT) Category is: Challenging Stereotypes in the Design Process Panelists: Valarie Sue Henry & Ramaj Jamar Schedule of Workshops

WORKSHOP

WEEK 6, WORKSHOP #1 – Creative Collaboration Saturday, August 15th | 1:30 – 2:30pm (PDT), 4:30 – 5:30pm (EDT) Category is: Creative Collaboration & Devising New Stories Hosted by: TBA, with Jesús López Vargas & Brandon Ray Alba

WEEK 6, WORKSHOP #2 – The Art of Storytelling Saturday, August 15th | 2:45 – 3:45pm (PDT), 5:45 – 6:45pm (EDT) Category is: How to Share Difficult Subject Matter Through Art Hosted by: Ryan Trecairtin, with Kezia Waters & Stephanie Carrillo Schedule of Affinity Spaces

AFFINITY SPACE

WEEK 1, AFFINITY SPACE #1 – The Latinx Community Saturday, July 11th | 11:00am – 1:00pm (PDT), 2:00pm – 4:00pm (EDT) Category is: Conversation with the Latinx Community Facilitators: Roslyn Cecilia Sotero & Addys Maria Castillo

WEEK 1, AFFINITY SPACE #2 – The Black Community Saturday, July 18th | 11:00am – 1:00pm (PDT), 2:00pm – 4:00pm (EDT) Category is: Conversation with the Black Community Facilitators: Kezia Waters & Addys Maria Castillo

WEEK 1, AFFINITY SPACE #3 – The Womxn / Fem Community Saturday, July 25th | 11:00am – 1:00pm (PDT), 2:00pm – 4:00pm (EDT) Category is: Conversation with the Womxn Community Facilitators: Roslyn Cecilia Sotero & Stephanie Carrillo

WEEK 1, AFFINITY SPACE #4 – The Asian & Pacific Islander Community Saturday, August 1st | 11:00am – 1:00pm (PDT), 2:00pm – 4:00pm (EDT) Category is: Conversation with the Asian & Pacific Islander Community Facilitators: Kelley Ho & Elijah Punzal

WEEK 1, AFFINITY SPACE #1 – The LGBTQIA+ Community Saturday, August 8th | 11:00am – 1:00pm (PDT), 2:00pm – 4:00pm (EDT) Category is: Conversation with the LGBTQIA+ Community Facilitators: Ezra Anisman & Elijah Punzal

Motion Capture: The Quarantine Salsa

THE QUARANTINE SALSA

Choreography, Dance, and Lighting all collide in this motion capture edit and render to explore not only the current state of quarantine but exist alongside the movement exploration of Latin forms. Vamos a bailar! Enjoy!

Made by LROD

©LROD

NYC: Livable Futures: Climate Gathering and Performance Ritual

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Livable Futures is headed to New York City to kick off our national tour. We will start at Barnard College at Columbia University’s Motion Lab from January 12-17, 2020. Read more about this event here.

Recently, I was awarded a Livable Futures Grant for collaboration. I was asked to respond to three questions on the community page. Visit the Livable Futures website here.

Here are my responses:

What makes more livable futures for you?

For me, a pursuit to re-imagine justice, resiliency, and love against the current oppressive or destructive ways of living would be a start in making the future livable. I believe it is crucial to create a realm of care, ethics, and compassion to work towards balance in our overly consumptive world. These liberal acts help to reconstruct/heal dilapidated structures in our social, economic, and industrial ways of living but prioritize these acts within the environmental sphere. As an artist, I think creating performative/experiential environments in a community of co-creation kickstarts the imagination needed to unlock the potential of our future.

A livable future responds to crisis, injustice, and inequality.

A livable future is continuously adapting.

A livable future makes and holds space for all.

A livable future is a possibility manifested through imagination.

A livable future redefines freedom.

A livable future is not always polite.

A livable future is transparent.

A livable future thrives in equity.

A livable future redefines love and care.      

What are you reading, viewing, listening to right now?

Emergent Strategy: Shaping Change, Changing Worlds (2017), Pleasure Activism: The Politics of Feeling Good (2019) by adrienne maree brown

Chicano and Chicana Art: A Critical Anthology by Jennifer A. González

Black Brown & Beige: Surrealist Writings from Africa and the Diaspora (2009) edited by Franklin Rosemont and Robin D.G. Kelley

Dawn (2012) by Octavia E. Butler

On Fire: The Burning Case for a Green New Deal by Naomi Klein

The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins by Anna Lowenhaupt Tsing

Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary (Ahmanson-Murphy Fine Arts Imprint) by Ronald Rael

What practices are sustaining you?

Sustaining my practice is daydreaming, hyper creativity in co-creative environments, performance as protest, and ritualized self-care.

Sun’s kiss on my skin

The desert

Aesthetics in environmental design

Home

Community

Daily improvisation

Mi Familia

Napping

Sustento

Artmaking in all its capacities

Conversations

Immersing into books/movies/shows

Truth

The moment when I am told something is impossible

-LROD 

©LROD

Field Review

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©LRODFor my MFA field review, I read sources and viewed films that canvas the field of studies related to my final project to deepen my inception. One of the most relevant resources I read was Phantom Sightings: Art after the Chicano Movement because it outlines a Chicana art-making structure I can identify choreographically within my project. A choreographic strategy, perhaps. Lineage. This book goes into depth about using identifiers such as Chicana/o and makes visible the precautions one might need towards not essentializing the identity, but moving beyond. The next book, The Surrealism Reader: An Anthology of Ideas connected many ideas because it draws from the minds of surrealist painters, sculptors, and fabricators and compiles their theory, poems, and process notes alongside their artwork. The spider-web of information resonates loudly because the surrealists were not all dreaming about surrealism, investing in surrealism, and consuming surrealism to produce surrealism. No, these artists were living and breathing while putting forth efforts to contribute to areas of phenomenology, perception, haunting, sciences, politics, and social constructs. These areas outside of surrealism better inform their art.

I am aware of the lineage.

I am active in the conversation.

I am prioritizing presence.

I am re-imagining the alternative.

Countering the perspective of The Surrealism Reader is another book called Women Artists and the Surrealist Movement. In this book, the experiences, histories, artworks, and theories of Frida Kahlo, Remedios Varo, Dorothea Tanning, and Leonora Carrington are all captured and interwoven. The relevance here is the detour away from the inner circle of surrealist ideology which tends to be driven by patriarchal standards and erasure. Surrealism itself is the ability to continue to expand and shift ideas so that they do not remain fixed. I can use this as I begin to engage more with the choreography of the final project. However, I tend to be drawn more toward expanded perspectives and transgressed perspectives, so we will see how much of the surrealist inner circle maintains its presence. I do like the way the information is organized and accounted for in this book while directly speaking to the art produced.

On the other side, the viewings most influential were Yanira Castro’s Court/Garden and Alex Rivera’s Sleep Dealers. Castro’s work encompasses the designed choreography, audience participation, and media installation and sections the piece into three parts. This work is relevant to my project because of its attention to the audience’s role in the work. However, by focusing here I am not neglecting my attention to costumes, choreography, and media, but if the audience’s design is not woven into the main components then my outcome will be not so subtle. One would not recognize this device, however, the subtlety of the design makes this experience magical. Out of my research so far, I can weave three different levels of engagement to support my project and involve the audience in different capacities.

Lastly, Sleep Dealers is like watching someone depict the future. While I can only hope Rivera’s future does not come to pass in the era of trump politics. This film is powerful to watch, noting, a sci-fi narrative constructed through the Latina/o perspective. This film at times was hard to sit with because of how real it seems with the current political USA/MX tensions. An important part of the film unites Mexican and Mexican Americans to overcome the USA’s oppression. This is not a common narrative and was refreshing to see.

As someone who has wondered much of this world existing in-between-ness the word—affinity—comes to find its importance. For even in this global trade of information there are migrations of movement, bodies, and materials, speaking to the larger ideas. Beyond the dualism. Even this I believe Donna Haraway wrote about already. So what is performing art doing?

Citations:
Ades, Dawn, Michael Richardson, and Krzysztof Fijałkowski. 2016. The Surrealism Reader: An Anthology of Ideas. Chicago: The University of Chicago Press.

Chadwick, Whitney. 2002. Women Artists and the Surrealist Movement. New York: Thames and Hudson.

González Rita, Noriega Chon, and Howard N. Fox. 2007. Phantom Sightings: Art after the Chicano Movement. Los Angeles, CA: Los Angeles County Museum of Art.

Castro Yanira. 2014. Court/Garden. Vimeo

            https://vimeo.com/145859179

Rivera, Alex. 2008. Sleep Dealer. DVD. 90 minutes. Maya Entertainment.

SHORTLIST (email LROD for LONGLIST)

©LROD

Obscura by LROD y Artistas

A short dance-film inspired by Frida Kahlo’s The Wounded Table. I am not only thinking about rituals, offrendas y mi Familia but also what is the camera’s (me essentially) relation to the people in the frame.  I wanted to produce vibrant color in juxtaposition with darkness or the feeling of darkness. Creating worlds where inter-generational populations are included as well in the dance canon. Adelante!

Made by LROD y Artistas
Music: “Death Bed” by Alex Somers (Liminal Remix)
(I do not own the rights)

©LROD

MASK MAKING

I usually get asked this question a lot: Why the masks?

Well, I started wearing the masks back in early 2014, I didn’t have the context as to the why but I had the feelings. Reading many great Chicano/a scholarships has enhanced my understanding of the masking culture that is alive and well today in Mexico and the Borderlands. This vein of studies also operates as a creative and productive outlet for my work as an artist. More so many of my abilities are navigating a world not meant for me usually–I feel.

Back in 2014, I was drawn to omitting my identity and obscuring the image of the body onstage. The mask work has added a layer of surrealism that I am researching from a feminist perspective and admire works from Frida Kahlo, Remedios Varo, and Dorthea Tanning. Masks in these studies stem from Luchador culture which came out of the Tejas Borderlands and is now a pop-culture Mexican staple, however, the use of masks is relevant in Dia De Los Muertos and other traditions.

Starting this semester with a Costume Practicum with Lindsay Simon for 6 hours a week was such an outlet for creativity and production, and gave me time to understand the process of making masks.

To get started, I create a storyboard and gather materials. I created an inspiration board (Pinterest) to gather ideas for the Lucha Libre, Animal designs, and LROD masks I was interested in producing. Since I had only made these masks by hand I was ready to produce a pattern so that I could easily make more on a sewing machine rather than hand-stitch. The goal was to experiment with many fabrics and styles to gain experience making the masks and practicing my sewing machine abilities. For the animal heads, what was the next level of design besides making, shaping, and coloring them?

Here are some previous masks I have made for my work:

Innominate Performance – LROD + Artists Dance Artists: Sierra Hendrix, Levi Ryan, Kince De Vera, Scotty Flores, Hannah Cavallaro, Becca Blackwell, Molly Levy Lighting: Meg Fox Photo: Devin Munoz

Innominate Performance – LROD + Artists Dance Artists: Sierra Hendrix, Levi Ryan, Kince De Vera, Scotty Flores, Hannah Cavallaro, Becca Blackwell, Molly Levy Lighting: Meg Fox Photo: Devin Munoz

BORDERLANDS

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LOS MUERTOS

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RUPTURE

PUEBLA

PUEBLA

PUEBLA

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PUEBLA

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STAG FOR DAYS

BUNNY IN BLOOM

THE REVOLT

 

 Until next time – LROD

©LROD

Intermedia || Interactive Audience

For our last study this semester, we were thinking about how the audience can participate while also folding in the first two studies and reshaping the work. We considered taking an easy approach to lighting and technology limiting down to what and why we use tech, light, sound, and movement. We chose to begin with making a dinner table set with place settings digitally. This work was inspired by Judy Chicago’s The Dinner Party (1974-79), a monumental feminist work of its time. Then, we decided to interact by having our cell phones engaged in the work. To talk through with the audience, to text other performers, and to capture video of the event. We also set up an interactive movement study to see if the audience would pick it up and – they did!

Feel free to skip through:

In reflection, this work seemed to be the easiest to complete, and we found a balance between interactions, technology, and movement that seemed to create a holistic environment. While it is important to consider what Marshall McLuhan said, “the medium is the message”… well, we are responding to the message (Dixon 2004). A couple of key questions sit on my mind: What are we saying with the technology we are in collaboration with? What are the stakes that surround this interdisciplinary landscape? The work feels open, free, and uncontained to a specific genre. In a sense Intermedia is freedom.

While maintaining a sense of freedom, I turn to Faye Driscoll’s (2014) Thank You For Coming: Attendance has been a huge influence on the work I do in considering interactivity and connection with the audience. I referenced Faye’s work in the earlier blog post. So when we talk about the community making the work and co-creating, co-authoring, and co-generating the outcome – we are interested in separating from technology for a moment to connect. This is a driving part of the work created in the final study. However, we demonstrated the interference technology has in our daily lives. The way we connect through media to interact has certainly come in full force.

Take a moment to enjoy this work and commentary:

 As the semester came to a close, Norah Zuniga-Shaw asked us what Intermedia is. I responded:

Intermedia is a radical space that allows for interactive engagement that activates the performers, technology, and audience to explore a liminality of openness. This interdisciplinary space transforms the environment to teleport all parties to a sub-dimension of the unknown. Intermedia creates a visual distortion and appetite fostering the collaboration of technological humanness.

Intermedia moves without a container and allows your imagination to run in any direction possible. I gained more insight into the importance of light/projection, how to formulate collaboration within this setting, and how to build a structure around integrating technology. While also learning the array of equipment and programs in the MOLA lab. I am leaving this course with more questions than I entered, but I feel ready to engage and continue the exploration forward. Digital self-signing off for now.

Sources:

Dixon, Steve. 2004. “The Digital Double.” New Visions in Performance: “The Impact of Digital Technologies. Ed. Gavin Carver. Lisse: Swets & Zeitlinger, 2004. Print.

Driscoll, Faye. 2014. Thank You For Coming: Attendance. (Film) Walker Art Center. Published 2017. https://www.youtube.com/watch?v=dlB3MrBr2_M

©LROD

Hero Project: GoPro + Community

Archive Date: April 30, 2018

“…everyone who loved sports and adventure wanted a GoPro, and from a niche brand, it moved to being a household name. With GoPro, anyone can be a star. In a context where everyone is self-obsessed and “selfie-obsessed” GoPro’s success was certain. Gopro BE A HERO. Their slogan, and their focus during their entire journey.” – Guilia Berardinetti

What does it mean to be a hero? Hero of what by definition? Why GoPros? What is a love ethic in regards to approach? What makes GoPros and community work important? What is humane about recording people in the community? In capturing care how do I ethically insert the technology and my presence? What is relevant? What is important?

I started this semester in the deep pit of these questions. The questions were in surplus and I was unsure about how the work would unfold moving forward. I knew in the beginning that I wanted to work with a community and Champion Intergenerational Center, and the center was a great match to gain wide perspectives through the community of generations with GoPro Technology. However, I was still missing the scholarly backing for this research for developing my approach and foundation. I felt a little lost and unsure at the beginning of this project.

Creative Knot Session

Taking the new information of Mr. Rogers I began to construct my Creative Knot Session for Research Studies. This knot is specifically for the workshop and gathers information that can help forward the research.

Who gets to be a hero was one of the first things I thought when looking through the GoPro webpage. Browse here. So what defines a hero? Merriam-Webster records the definition of a Hero by 4 main categories:

a: a mythological or legendary figure often of divine descent endowed with great strength or ability

b: an illustrious warrior

c: a person admired for achievements and noble qualities

d: one who shows great courage

(Definitions lifted from here)

I am fascinated by the roles that Hero takes on. We go from the extremes of Superman, Iron Man, and Wonder Woman to the Doctor, Firefighter, and Good Samaritan. However, what about the unnoticed heroes that lurk outside of our traditional thinking? I wanted to explore this in the Creative Knot and with Champion IG Center to recognize those who go unnoticed. Originally thought of the care team, but there may be a shift, so staying open. We may shift to the elders and children who are showing up for each other daily.

So, thinking ahead that I was going to be integrating myself into the Champion Intergenerational Center, I was thinking about how the guests would wear the technology and what perspectives were central to the end video compilation. Some questions that framed my Creative Knot:

What makes people at IG heroes compared to everyday heroes? 

What is relevant about filming the interactions of everyday heroes that exist daily vs. the radical interactions of athleticism?

What is it like to be a hero for a day and have your experience captured?

How do peacefulness and tenderness translate on film? What does tenderness look like in action form?

Here is the first archive of footage (Research Studies peers featured) I gathered and framed by perspectives of movement I was cataloging:

Experiencing bell hooks All about Love reading where she says, “For example, revolutionary new technologies have led us all to accept computers. Our willingness to embrace this “unknown” shows that we are all capable of confronting fears of radical change, that we can cope.” Her words came with such power, I created a vivid response called a Love + Ethic Manifesto. I am drawn to the notion of change and the constant restructuring of how we operate as human beings through interactions and causes. I am searching for radical change step by step inside my thinking structure and outside of my internal state.

Next came…

Building on Care + Well-being + Ethics

During this course, I read three books that have forever changed my thinking structure: Matters of Care by Maria Puig De La Bellacasa, All about Love by bell hooks, and Art of Relevance by Nina Simon. What does care mean? How do we care? What are the staples of the caring movement? How are we ethically caring? How do we perform well-being? When using a GoPro what actions of care am I capturing? Also, what kinds of care are accessible?

Where do I begin? Maria Puig De La Bellacasa’s Matters of Care: Speculative Ethics in More Than Human Worlds. Bellacasa says, “Care is a human trouble, but this does not make of care a human only matter” (Bellacasa 2017, 2).  Bellacasa uses Toronto’s definition, “care about” vs. “care for” as a means to situate the dimensions of care into effect for aligning with the ethical and political questions that arise per this poignant matter. I realized I was not going to be able to fulfill this project by dropping in and recording with my GoPros. There was much more of myself that I would have to offer to understand this approach and community. I wanted to absorb the community, be present, be still with my observations, and trust the work would develop.

Some key developments:

Being fully present

Actively Listening

Touch (assist a child or elderly navigate space)

Eye Contact

Engaging in a complete conversation, before changing focus.

Smiles and laughing.

Important Quotes:

“I believe relevance unlocks new ways to build deep connections with people who don’t immediately self-identify with our work” (Simon 2016, 23).

“The sooner we start focusing on becoming relevant to the people we most care about “and “Relevance is relative, and people are busy”, not only approaches the word “care” we were just analyzing but reference something other than yourself or desire (Simon 41-42).

“When we see love as a combination of trust, commitment, care, respect, knowledge, and responsibility, we can work on developing these qualities or, if they are already a part of who we are, we can learn to extend them to ourselves” (Hooks 2001, 54).

Champion Intergenerational Center

This part of my journey hits will full force and I still am unable to move past how deeply I am affected by the human beings in this community. I find myself drawn to the energy and goodness that seeps into the foundation of this center. The community is full of bright lights, Elders and Youths, energized, thoughtful, and ready to share at any moment.

Here is where I needed to approach with the Love Ethic Hooks suggests, “A love ethic presupposes that everyone has the right to be free, to live fully and well.” (hooks 2001). How was I going to approach the people, room, and environments I entered? I started by visiting and being a part of the Sign Language Intergenerational class. I made myself available for interactions and conversations. I did not introduce technology into space for a couple of visits. I participated and was present. How would sign language become a part of the sessions and recordings? Would the technology distract? Then when I introduced technology I wore the GoPros and did not live film. Making sure I was available for any interactions and questions the community of elders and children might have.

“To live our lives based on the principles of a love ethic (showing care, respect, knowledge, integrity, and the will to cooperate), we have to be courageous” (Hooks 101).

Over my time there the visits, interactions, ways of filming, and containers for footage have shifted drastically. Eventually, many different ages were wearing and capturing footage, Elizabeth Speidel the director was wearing the GoPros and interacting with the community, and I was set up to teach my session with the IG community about GoPro’s, Care, and love rituals. Thinking about the love ethics and love rituals that are primary in this experience, and reflect the care that happens in this community. We will also bring in our superhero movements to give energy to the room and spark creativity.

When I think about this work I am currently reflecting on my traces and the artist mantras that I created along the way to support the daily intake of information. These tiny mantras have supported me when I am too tired or unsure of what is next.

Artist Mantra

Don’t lose hope.

Do the work.

There is much to be done.

With Love…

Radicalize the space.

Listen actively.

Love accepts.

The challenge is to think collectively.

Think more about equality and equity.

Who are the love ethic heroes?

We are not alone.

Being an artist keeps me sane.

There is more to be done.

I am constantly rebelling – it’s ok.

Be free to do the work.

Being an artist defies reality.

I have permission to make what I want to make.

I am constantly changing.

Next & Final Phase:

I still have a session this Wednesday with CI to deepen the footage and love ritual perspectives and will have a compiled video of edited material by the end of the week that culminates my time there. This last video should run at 6-8 minutes in reality but my end target is 10 minutes. Consent has been a consideration and something to hold care around. Also, just letting the community shape the narrative of the footage each session has become relevant.

Editing will be done through my final artistic perspective on the work framed by the community at Champion Intergenerational Center to celebrate their daily heroics and the environment of care they share. Sign Language has also come up as the sessions are around this and we have talked about weaving heros and sign language themes.

Looking forward to sharing this footage with them, and seeing their reactions when they see themselves on the TV. The celebration of their daily, caregiving, experience, and community witnessed.

Many thanks to all of the community involved in this project. This research is made possible by Norah Zuniga-Shaw, Humane Technologies Fellowship, Elizabeth Speidel Champion Intergeneration Center Community, and Research Studies peers.

 

Citation Station:

Bellacasa, María Puig de la. 2017. Matters of Care: Speculative Ethics in More Than Human Worlds. Minneapolis, MN: University of Minnesota Press.

hooks, bell. 2001. All about love: new visions. New York: Harper Perennial.

Simon, Nina. 2016. The art of relevance. Santa Cruz, CA: Museum 2.0

©LROD

Improvisation: Graduate Movement Practice

Archive Date: February 19, 2018

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Facilitator: LROD

For my facilitation, I was initially going to do Lisa Nelson’s “Tuning Score” and then move into Barbara Dilley’s “Red Square” since they complement each other nicely.

My foundation for the day was the focus of love, care, and ethics that surround our daily ritual of a rigorous movement practice together. I was also interested in researching some models that I have been working on for developing community connections that can be deepened with every practice using the material from my ancestor’s lineage. So preserving the past connections here but moving forward.

First: The Gift

This piece of paper was given to me as a gift with no ties to any resource or page number (Cornish: Alia or Wade). However, I cut it into parts and as each person came into the room I offered them to choose a gift. I hope that one day I will find its home, but for now, it sets up some wonderful values for space, time, and movement. We used this in our walking structure for our pre-warmup and dropping into connections. We used voice, movement, memory, and care during our interactions and explorations. These words became one of the containers for our time together.

The Outline:

Care + Senses + Imagination + Attentionography

Lineage Building from Lisa Nelson, Barbara Dilley, and Alia Swersky/Karen Nelson. Some viewpoints work has been integrated.

  1. Welcome + Clearing

  2. Gift exercise (vertical space and 360 perceptions): Walking pre-warmup for connection. Exit Space.

  3. 2nd sequence: You are cared for, you are safe (building sensory awareness, listening inner/outer and close and far space): Take a moment to answer your own I am _____________ mantras. Moving practice deepens in space – Group: You are cared for, you are safe mantra incorporating self-mantras and noticings inner and outer. The end was felt and happened collectively.

  4. Reflection: I noticed the warmth, connection, and depth of space gained from these awarenesses. I was able to drop down to many levels with the group and explore movement attention, with my senses inner and outer. I felt at peace to experience what was there, and I was drawn to the other humans in the room. Touch, tenderness, care, warmth, present, here, and open are words I found myself collecting. Everyone shared beautiful reflections and thoughts during this time.

  5. Break for Dept Announcement.

  6. Communal Warm-up: to reinvigorate our body after a break I shared a version of a communal warm-up practice for care. Elevated music is played to motivate the working body to investigate movement. (vertical space, horizontal space, and 360 perceptions deepened)

  7. Lisa Nelson Tuning Score: Laboratory on composition, communication, and the sense of imagination within a community. Dual dialogue of inner and outer organization, space, time, movement, and desire. We chose collectively to change the “insiders” and “outsiders” to “witnesses” and “doers.” Noting the emphasis on Lisa’s choice to specifically implement these words with an intent.

Lisa Nelson’s Tuning Score: We chose these words to start a 25-minute dive.

Begin – signal a shift of attention.

Pause – as long as you like or as long as you can (resume movement when you choose).

End – Dancers choose to exit or remain.

Reverse –  movement as far as you can remember without effort, then continue in real-time from a new starting point.

Replace – One dancer replaces another dancer’s activity – all dancers exit and begin again.

The collective was off to an energetic start and was well cared for by our rigorous communal warm-up. The group managed 25 minutes and passed through initial reserves quickly. It would be nice to develop towards an hour and a half dive with the score to experience where the “Go” phase happens or when Barabara Dilley would say the “river stage” appears. The point where we are operating without direction and the sequences have aligned. Or we could increase the words used by Lisa Nelson in the score or decrease it. The score came to a collective end while noting, we all wanted to continue for a longer duration.

Biography

LISA NELSON is a dance-maker, improvisational performer, and collaborative artist who has been exploring the role of the senses in the performance and observation of movement since the ’70s. From an investigation of video and dance, she developed an approach to real-time editing and performance she calls “Tuning Scores.” Nelson travels widely to perform, teach, and create dances and maintains long-term collaborations with other artists, including Steve Paxton, Scott Smith, Daniel Lepkoff, and Image Lab. She’s been encouraged by receiving an NY “Bessie” Dance and Performance Award and an Alpert Award in the Arts. She has co-edited Contact Quarterly dance and improvisation journal since 1976. In recent years, she’s been constructing two interactive computer video games with the Brussels publisher Contredanse that provide tools for players within a field of movement, sound, and touch.

http://www.movementresearch.org/publishing/?q=node/305

Contact Quarterly click here. 

8. Closing Circle: Share – energy in a close circle with I am Mantras.

There was so much care and charge in the room.

©LROD