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Assignment 3: Theory, Methodology, Terminology

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Assignment 3: Theory, Methodology, Terminology

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It was wonderful to have the experience of listening to Rosalie Jones, a woman who creates from a place of great wisdom, honouring her origins and ancestors. To be honest, I was not familiar with her work before this course, but seeing the excerpts from "No Home but the Heart" captivated me, as there is a very personal imprint in her creation, which transcends that individuality to become a universal experience—an essential element as an artist.

Rosalie Jones has also managed to bring her history as a Native American to the stage ("Concert Dance") as a response to an integration of the worlds that inhabit her, without losing the essence, without appropriation, on the contrary, from an authentic place.

During the interview, I was highly inspired to witness how Rosalie uses archetypes, such as the Trickster, as creative elements. I am fascinated to see how these symbols are repeated throughout history in different cultures. It reminded me of Rodrigo's thesis, my husband, who used the Trickster from his perspective as a painter. For him, as Rosalie explained, this figure represents a dichotomy in his being, perceiving events from a vision he knows but at the same time being "playful" or "tricky", feeding on chaos and order, just like the artist. I connect this to something she mentioned during the interview: "Through modern dance, you can create from who you are; you can find yourself and what you want to express through dance (Jones, 2023).  How Jones has integrated her embodied history into her artistic creation leads me to affirm the importance of questioning "who we are" and "why we do what we do as dancers and choreographers."

Over the past few years, I have been trying to find the answers to these questions, and this MFA gives me the tools to "connect the dots" and dive deep into finding the essence of what I am trying to capture in my art.

As I was listening to Rosalie Jones during her interview, I would probably keep asking similar questions throughout my artistic career. This is because, as human beings, we are constantly evolving and transforming ourselves, and dance is one of the many aspects that contribute to this transition. As Jones points out, the artistic process leads us to a revitalisation where our resilience and resistance converge, and it is clear how she exposes this in her work.

Another aspect of Rosalie Jones that I would like to emphasise is the honour with which she gathers experiences from the past to return to them, relive them, and create.  During the interview, she encouraged us to communicate with the previous generations, seeing them as an essential source for the stories or ideas we, as artists, seek to capture.

I agree with her that it is in this exchange that the work's authenticity emerges, the element that takes it from a personal experience to a human and authentic experience. Connecting with our roots is a cathartic act within the creative process, and Rosalie Jones is an artist who has honoured her ancestors by connecting with her culture ("The Medicine Wheel").

I take this experience as a moment of transcendental learning. I had the honour of listening to a woman who showed us that creating from our memories and intimacy is possible.

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Assignment: Research's Title and Questions

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Assignment: Research's Title and Questions

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Potential Research Topic: “Dance Genealogy Research on Ohad Naharin.”

The development of the "Gaga Movement Language" by Ohad Naharin through the use of somatic tools to encourage physicality in the creative process.

Interview: I plan to interview a Gaga Teacher who bases their creative process on the tools Gaga offers.

Questions (Draft):

-       What are the beginnings of Gaga?

-       What distinguishes Gaga from other "movement languages"?

-       What are the main somatic techniques that inspired the creation of Gaga?

-       Can you talk to me about the sensations and images Gaga encourages the dancers to explore, such as "external forces", the taste in the mouth, the softness of the jaw, tension, the space between the ribs, etc?

-       What are you trying to get the dancer to accomplish through this exploration?

-       How do you see it evolving?

-       Do you recognize techniques or movement languages that have emerged today that reference Gaga?

-       What does Gaga allow a choreographer to do and achieve creatively?

-       How did you initiate in Gaga? What was it that first caught your attention?

-       How does Gaga contribute to your practice as a dancer and choreographer?

-       How do you see the future of Gaga?

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Cuando me aproximo a un tema:

encontrar la fisicalidad que radica en relacion a ese tema del que quiero hablar en mi propio cuerpo para luego encontrar qué prompts me permiten llevar al bailarin a explorar esa fisicalidad desde su propia experiencia/información.

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Reflection on: Border Crossings, Exile and American Modern Dance 1900-1955 (01/09/24)

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Reflection on: Border Crossings, Exile and American Modern Dance 1900-1955 (01/09/24)

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