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| markbrown09 | New Thoughts Pt.2 | 0 | Mar 24 2009, 6:45 PM EDT by markbrown09 | ||||
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Thread started: Mar 24 2009, 6:45 PM EDT
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Two, although I do love being in the part and I am able to bring something new to it I do miss it being an all-female part of the show. There is something very powerful about a group of women dealing with the issues of vulnerability/love/sexuality/power/agency (isn't that a mouthful?) Three strong women projecting such strong energy is such a GREAT moment on stage. That being said, i LOVEEEE it. This part of the show really allows me to show a part of me that I don't allow out very often. I have chosen to make my part more dark, scary but sensual (think snake about to strike - you want to watch but you know it's gonna end horribly). I'm not a dark person and definitely not scary but that's what I want to do. Its also about me being vulnerable - which is the next step in my part of the choreo - where does dark become vulnerable? Third, its interesting to embody something that I have read about in theory - that being DeFrantz thoughts on 'versioning.' I take the movements that Sele has put into rep and I do the same movements but I now make them my version, which I have spoken about before.
Living with the material: I have found that some of the things do seem to become embodied. I find the groove to be more a part of myself and the bounce. I find some of the hip connection to be cool. I still find it hard to do aggressive movement but that is a larger struggle that I have. Having done some of the movement already I find that I can focus on subtlety and I don't have to think when doing the movement. |
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| markbrown09 | New Thoughts | 0 | Mar 24 2009, 6:26 PM EDT by markbrown09 | ||||
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Thread started: Mar 24 2009, 6:26 PM EDT
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So I guess this is my post that you wanted in regards to new thoughts on the process/new pieces I'm in/being with the material for a while. I like to do things in order and in bullet points so sorry if this all seems compartmentalised.
Thoughts on the process: So this time has been really fun for many reasons. One, with fewer people you see/work with the same people over and over again which brings a great sense of familiarity to it. Two, I personally feel that you have allowed me to ask more questions of you in regards to the piece. Not that you were anti-questions last year but maybe its a mix of knowing you more and me wanting to be a better dancer that have led me to asking you more specific questions in regards to the movement itself. I have found not only here in dance but also in acting that my favorite part of it all is the transition period. How do I take what I know/feel/do and make it into something that is outside of me - with this being Chicago House. I haven't lived in that world so in being able to ask questions I work harder and harder to get to the point in the movement that you want me to. It's not about doing these movements/embodying this culture as Mark but rather its Mark trying to really embody house - if that all makes sense. Also, in having the space to ask you about the piece I am gaining a stronger sense of what the piece is about and how all the different parts fit together cohesively. By being knowledgeable I am then able to allow that to influence how/why I move which has been cool to watch/feel. Being in New Sections: (and by this I mean Fierce) So being in fierce is SOOO FUNNN/ challenging. In the piece I am working on Sele's part of the trio. In regards to this I have multiple feelings. One, I didn't realise that what I saw as bigness was actually an aesthetic of subtlety. I i think it really reads a lot different than what the dancer her(him)self feels. |
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| micaheli | 3/8 Rehearsal - 3rd time with the group | 0 | Mar 10 2009, 12:55 PM EDT by micaheli | ||||
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Thread started: Mar 10 2009, 12:55 PM EDT
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Sunday was nice because we were able to work with things we had already heard as opposed to starting from scratch. Lindsey is still stuck in the choreography at this point, which is to be expected, and less free to respond and react to sounds that I'm pushing her to work with, the Aeroplane mix of Grace Jones' "William's Blood" and the Beatfanatic mix of José Gonzalez' "Killing For Love."
I agree that "Killing" needs to fade in sooner. I'm hoping to get it to where the disco twirl ends with a drop of the piano line that we like so much. Gonzalez is a Swedish/Argentine folk singer who's voice goes right to the heart of that Balearic House style that I associate with Ibiza chillout compilations - though its far more evocative than most of the mix cd fodder. The feeling I'm trying to create here is like you say Meida, cosmopolitan, confident and a bit guarded, opening up to let the guard down with the piano line. For Starchildren the transition worked pretty easily between "God Is Good" and "Can I Get a Witness" when Michelle started her solo in the cypher. This is going to be the church section : ) The family portrait looks like its coming together nicely and I can't wait to see how it works when that breaks free into the various machine-like movements. Micah |
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| Anonymous | Love it | 0 | Mar 10 2009, 12:06 PM EDT by Anonymous | ||||
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Thread started: Mar 10 2009, 12:06 PM EDT
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Meida, nice work capturing this. I think the solo piece is working really well with the music, and I actually think the point of transition will work really nicely. I'll be trying this next time with more of a drop rather than a cross fade, and then I'll pull the Grace Jones out so that the José Gonzalez is established more quickly.
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| micaheli | Second Rehearsal | 0 | Feb 22 2009, 4:22 PM EST by micaheli | ||||
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Thread started: Feb 22 2009, 4:22 PM EST
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Today's rehearsal felt less frantic for me. Without the headache of dealing with the burden of the full kit, I was able to listen, watch, reflect and begin to communicate with the dancers and with our choreographer. I loved seeing the noticable difference in the gestures and attitude during "Queen" when we switched from the more even-keeled track "Moan (Trentmøller Remix)" to "Cardiology (Isolee Remix)." Katrina and Mark were able to nail the head tilts and the kicks with a hard up-beat in place and it made them more, well, fierce. I think that's appropriate vernac for this venue : )
I was glad to get a hang of the piece of "Fly" as well. I have a better grasp on my repertoire and my practice equipment, though I'd like to keep the full turntables in the mix for tech/dress and performances. I look forward to playing in more club-like spaces such as Black Rep, where the lights and system will further facilitate the ferocity of the choreography. Next week in "the cave." Micah |
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| micaheli | First Try | 0 | Feb 3 2009, 3:57 PM EST by micaheli | ||||
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Thread started: Feb 3 2009, 3:57 PM EST
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Meida, I felt good about our first steps the other day. I think as the choreography settles, and I'm able to respond better to their changes, and also the vibe you want to create, I'll feel more comfortable. Also, I don't need to bring that whole PA, just my turntables which I can plug into the house system (saves us all a lot of shlepping). I am also kicking myself for not having my disco cache (the one we listened to together) loaded on my DJing computer. That bounty, once loaded - and that can happen before next rehearsal - will enable me to really work in that Alicia Myers vein. Looking forward to the next leg of this!
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| isislady | Pleasure, Excess, Fierceness | 0 | Jan 27 2009, 2:12 PM EST by isislady | ||||
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Thread started: Jan 27 2009, 2:12 PM EST
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What work does pleasure do? What purpose does this feeling serve? Is it a part of our general wellness, a balance to the range of emotions we experience (pain, sadness, love, etc.)? Is it cathartic? Is it indulgent? Hmm, the idea of "pleasure" and its form/functions: how we create it, what it stems from, how we induce it through music and dance, how we hold on the feelings generated post-experience as lingering sensation, as memory, as reserve power to draw on when you need it.
They are related to this idea of "fierceness." There is pleasure in that excess. And both the pleasure and excess are doing something that offsets, balances out, speaks to our actions in daily life. We need to keep coming back to bringing that to your solos and to your performance intentions. |
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| isislady | OK. Nice one | 0 | Jan 27 2009, 1:56 PM EST by isislady | ||||
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Thread started: Jan 27 2009, 1:56 PM EST
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Note to Self: Add a stroll to the intro section built out of steps in the style(s) of the groups' alter egos...Everyone adds a "signature" step.
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| markbrown09 | My Other Me | 0 | Jan 25 2009, 10:44 AM EST by markbrown09 | ||||
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Thread started: Jan 25 2009, 10:44 AM EST
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Description:
Direct - Challenging - Cut Eyes - Slicing - Smooth - Terrifying - Cute but Damaging - Fluid - Ecstatic - Pushing Boundaries - Territorial - Fireeee Walk: Not a lot of movement. Take up space through attitude. Hands by the side but the eyes are thick with eyeliner to make sure the eyes are the focus. Serious face. S/he's that "it bitch" when she enters a room. S/he doesn't play. S/he doesn't front. If you talk to me then you better have something to say or else s/he will SMASH you. Distinct hip pops. Calf-high boots. The walk doesn't take up a lot of space physically but people know to move. Stank-ass face. Think older black woman ("take no mess") meets high calf-boots. Pretty bitch. Media: AKA Strolls: http://www.youtube.com/watch?v=M6Wp-0A_3mk&feature=related http://www.youtube.com/watch?v=rtzxesumD3U&feature=related Kappa Strolls: http://www.youtube.com/watch?v=qjn9aa1oy28&feature=related The idea of both of those is the idea of being smooth and bitchy with little movement. Like in the AKA strolls I love the fact that they use a mirror in the stroll - making sure people see that they are pretty. The slowed down sense of time. Time works on MY watch.My altar ego also has a perm. (I know, problematic).The lip gloss is poppin. Manta: Pretty bitches cut dirty muthafuckas. Name: LaTavia. Shanae. Lucas. Need Most: I think I need my alter ego the most when I enter parties or things with mostly black people/people of color. You have to make sure that people know that you don't mess around and you don't play - note that I found my alter ego in black fraternity/sorority strolls. I thinks it's because in those situations with people of color dancing is key and if you can't do it then go home. So the ego allows me to show off myself in the midst of all that history/performance/expectations/rubric. |
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| pookie986 | My Other | 2 | Jan 24 2009, 8:46 AM EST by isislady | ||||
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Thread started: Jan 23 2009, 9:28 PM EST
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My “other” is a combination of all things that I keep held up inside. Feelings of rage, animosity, hostility, constantly building up without any opportunity to release are on display with this character transformation. I imagine a battling persona, some kind of high energy mix of confrontational krump with the style and fierceness of ballroom. Like Tight Eyez meets Leyomi Mizrahi. I imagine this persona being difficult to categorize, as I believe that categorizations are another way we limit and hold ourselves in.
Instinctually, this character is looking for confrontation, demanding and always fighting for respect. Whenever engaged in a battle, he/she enters into state of trance, focused only on victory, or exhaustion, one of which always comes. Within context of this piece and community, I believe that this persona emanates vigor and passion, bringing out all of the negative feelings we are constantly forced to subdue, or find other outlets to portray. When this persona enters the room, I have the utmost confidence, commanding – but not acknowledging – everyone’s eyes on me. Walking with shoulders back, its almost as if time has slowed down as I prepare for some kind of battle/confrontation, prowling almost catlike. Some vids. <object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/NfaYNaKgrl4&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/NfaYNaKgrl4&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>
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| Miche_the_Killer | good times | 1 | Dec 18 2008, 5:20 PM EST by Miche_the_Killer | ||||
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Thread started: Dec 18 2008, 5:19 PM EST
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i like to pla all four of these at once. btw, had some ideas about projections & mud , can't wait to see u!!!!!!!!!
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| Miche_the_Killer | "radical shifts across gender play" | 0 | Nov 13 2008, 5:40 PM EST by Miche_the_Killer | ||||
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Thread started: Nov 13 2008, 5:40 PM EST
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i like the questions of gender that arise: what exactly are masculine and feminine movements, when our bodies aren't physically limited by gender? I think this is the sort of question house raises- How did aggressiveness become masculine and fluidity become feminine? House became an extension of the sexual revolution with its challenge of learned gender roles in physical expression. It celebrates that sexuality is not just what you do in the bedroom but is present on the street and on the dancefloor. And especially mixing the sacred with the secular, how's it celebrates the incarnation of life & mind thru the amazing body- it's more than the stuffy church most us knew, but seems like a real, pagan celebration of LIFE and the gift of the body...
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| la.miura | EPIC TRANCE | 2 | Aug 21 2008, 5:34 PM EDT by la.miura | ||||
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Thread started: Aug 21 2008, 1:09 PM EDT
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for me, this leads to Epic Trance; entering the realm of the spiritual.
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| kikezoe | Reflecting on the Househedz experience | 0 | Jun 19 2008, 9:40 AM EDT by kikezoe | ||||
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Thread started: Jun 19 2008, 9:40 AM EDT
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As everyone has already said, it was truly an honor to be a part of this project: to learn a completely new culture/style of dance and performance, to work with Meida and take on her choreography, and to be able to share the whole experience with all the other dancers as well as the audience members each night of the performance. Now that I've gotten a taste of house music/movement, and have had the amazing opportunity of working with Meida, I'm eager to learn more.
I also wanted to say (and this might get me into a little bit of trouble if certain people were to see this but...who cares, I'm being honest) I've worked with a lot of choreographers, both at Brown and in general, and I'd have to say that I don't think I've come across a choreographer who I respect and admire as much as I do Meida. She has such a strong, clear vision for her pieces and choreographs with such detail that it always made me want to work harder and strive to bring that vision to life on stage. Also, I think Meida gives so much of herself in her movement and her pieces that it's hard not to feel the need to do justice to her work. I think the night Michele and I performed the Fierce Section as a duo during the commencement dance show is a perfect example of this: I don't usually get nervous about performances anymore, but for some reason, that night I was so anxious! I think because it was the last time we were performing it, I felt this added pressure (all coming from me) to perfect the movement because it would be my last opportunity to get it 'right'. I also wanted to just say thank you to Meida for being so patient with us and working around all of our schedules (which was a MESS in the beginning). Searching for rehearsal space until midnight that one night was quite an adventure- even the not-so-good times became good times:) -Karina |
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| markbrown09 | Thoughts on the Project | 0 | Jun 9 2008, 12:09 AM EDT by markbrown09 | ||||
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Thread started: Jun 9 2008, 12:09 AM EDT
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I want to echo Sele when I say that it was an honor to be a part of this project!
Househeadz/"Give Thanks" was also an important event for me as a performer. It was my first dance in a dance concert and I must say that this was the perfect way to begin. The movements were not exactly because I feel that, in a way, all black vernacular comes from a similar place with individual spins and styles. I found myself feeling the moves and grooves a lot easier than I thought. Although I had not done these particular moves before, such as jacking and the reebok, I found that they were fun to pick up. That is one thing I must say about this process - it was always fun! Even when it took me a while to learn movement I always felt support and Meida was always willing to go over things again. I must say that I LOVED being given the chance to vogue on stage! The Queen section of the piece made me happy every night. I loved being able to show the movement style created by queers of color on a concert stage. I felt like I was giving back to those who paved a way for me to be a more-open queer man of color - that we are people and dancers as well - that our movement can/should be respected. This piece really laid down a strong foundation in my thoughts from multiple perspectives in terms of dance, the concert stage, black vernacular, and other things. The FIERCE TRIO also made me very happy every night! The choreography and attitude that those ladies gave was so juicy to watch every single time. I must admit those ladies would always set me into a fierce mode every performance. The only note I would give is the fact that I wished I had learned more about the intention behind the movements and maybe that was my fault for not asking but I wished I had known more. They were BEAUTIFUL movements and I wish I had known about their origins and thought process. Thank you so much for your patience and for giving me this opportunity! Mark |
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| 2amarilla2 | Giving thanks for this project | 0 | May 11 2008, 5:40 PM EDT by 2amarilla2 | ||||
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Thread started: May 11 2008, 5:40 PM EDT
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It has been an honor to be part of this fabulous project!
Househedz/"Give Thanks" has been an important path on my personal journey, and rounded out both my first four years of graduate school, and my journey towards considering myself a performer. I find that Chicago House movements did not come 'naturally' (as few dances could-especially the codified movements of regionally-specific, vernacular dance), but once they got locked in, are here to stay. The day we were given the task of Giv[ing] Thanks on paper, free-writing on the topic of gratitude, I did not expect to use my poetry/text/literalization of my spiritual beliefs in performance, but I am grateful that I did. Each night my vocalized prayers recentered me, calmed my nerves, and brought me back to what this piece was about. And it is my distinct pleasure to say that I Give Thanks for this project in large part for it marked the very FIRST time I enjoyed performing as much as I enjoyed creating/learning/practicing the choreography. Thank you Meida, thank you co-members of the group, and thank you audience for sharing in this experience with us. May your blessings be bountiful. May you be surrounded by love. May your life be peaceful. May you have joy. These are my prayers, Querida Diosa. May they so. Namaste. Ashe. |
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| penny_dreadful | soulful redemption | 0 | Feb 8 2008, 1:28 PM EST by penny_dreadful | ||||
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Thread started: Feb 8 2008, 1:28 PM EST
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so, i watched Black Snake Moan last night and there's this juke joint scene where Cristina Ricci is just losing it and it's this whole allegory about her freedom from her vices. It reminded me of some of the HouseHedz writing- about that expererience being religious. The whole movie is about redemption and being saved....
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| ShaSha76 | dreamz | 0 | Feb 5 2008, 1:06 PM EST by ShaSha76 | ||||
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Thread started: Feb 5 2008, 1:06 PM EST
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Last night I dreamt that we were on some muddy red-earth road...rain falling...and we had to dance or die
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| penny_dreadful | dubstep/house | 2 | Feb 2 2008, 12:30 PM EST by bigMini | ||||
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Thread started: Nov 5 2007, 11:18 AM EST
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i just fell in with a bunch of friends who DJ and are into dubstep. Anyone see any similarities to house?
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