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Househedz

isislady — Fri, 05 Jun 2009 07:11:50 CDT

HHouh

Give Thanks /
The Househedz Project:
Chronicles of a Creative Process
(or the story of a Chitown music/dance/life movement)

Note of Introduction

Why a Wiki

Phases: 2009 - 2008 - 2006-7

Current Highlights:
Give Thanks: an urban folk dance (2009)
Video documentation w/ Choreographer & DJ Collaborative Analysis

Creative Process Clips for 09version

Performance Analysis of Give Thanks (2008)

Link to Pump up the Volume, a 3-part video documentary on house music from its Chicago roots to NYC/Detroit and its explosion in UK & Europe

Creative Process Clips & Working Notes

isislady — Sat, 02 May 2009 18:13:52 CDT

Avatar solo material

Starchildren

Comfort

Urban Waltz

Queen

Gayelle duet (first half rough, 3-19-09)
Gayelle duet / Revisions (Nov-Dec 2008)

Feel Good phrase material (for Coda section)

Finale Section, April 2009 (Raw)

Finale Section / Raw April 2009

isislady — Sat, 02 May 2009 18:12:18 CDT

There is no abstract available for this page revision.

Queen, April 09 version

isislady — Sat, 04 Apr 2009 16:20:48 CDT

There is no abstract available for this page revision.

Starchildren (April 09)

isislady — Sat, 04 Apr 2009 16:08:22 CDT

Urban Waltz (Oct 2008)

isislady — Sat, 04 Apr 2009 16:07:18 CDT

Reset April 2009 to Sunshowers (Dr. Buzzard's Original Savannah Band)

Comfort / Revisions as solo section

isislady — Sat, 04 Apr 2009 16:03:26 CDT

Avatar solos March & April 2009

isislady — Sat, 04 Apr 2009 15:51:31 CDT

Starchildren

isislady — Sat, 04 Apr 2009 15:31:27 CDT

There is no abstract available for this page revision.

Karina

isislady — Fri, 03 Apr 2009 12:52:40 CDT

So, sorry if this seems hastily written and not so thorough, but I actually wrote a really in-depth description of my 'other self' last night, and it all got erased, so I was too frustrated to write it all out again. I'll try to remember as much as I can of what I wrote, though.

My "other self":
When I got to thinking about my alter ego, and how I envisioned/wanted her to be, I realized that, rather than being a totally different character, she was a heightened version of who I am, or appear to be (or maybe even would like to appear?) to those who don't know me/just met me. I realize that I am constantly wearing a mask of some sort when I function in a new setting with new people, until I feel comfortable and safe enough to slowly start revealing my other, more vulnerable side. It's part of the wall I put up to protect myself. In this way, my other self is more of a hyper-exaggerated version of the mask/persona I put up to the outside world (or at least how I think, and have been told I am perceived by others on first-impression.)

Her name is "Kaiya" and I imagine that she is a fiercely strong, confident, and independent woman. She is a woman of few, but meaningful words, and always says what she means and means what she says. Her gaze is sharp, almost to the point of being cold and intimidating; and her eyes have a look that says "I dare you to try me." She definitely has a presence when she walks into the room, and she probably knows it, but she acts like she doesn't. She acts like she doesn't notice heads turn when she enters, looking straight ahead as she glides across the floor, walking with impeccable posture. She acts like she's not trying to turn heads either, but secretly inside, she's probably smirking with satisfaction.

When I imagine her walk, I keep thinking of Aaliyah's character in the movie "Queen of the Damned": http://www.youtube.com/watch?v=ojfbNnAsbwE&feature=related. There's so much subtlety in her movement that I find incredibly sexy, and yet intimidating and playful/sassy at the same time. She knows she's got it, but she doesn't need to try too hard to prove it- it just emanates from her body and her every move.

At the same time though, I do feel that the whole 'fierce/confident/intimidating' front is a huge mask to cover all the vulnerability and insecurity inside of her. It's part of the wall we all put up to protect ourselves, and fool others into believing we are as confident as we show we are.

Gayelle duet (first half rough, 3-19-09)

isislady — Fri, 20 Mar 2009 09:51:46 CDT

There is no abstract available for this page revision.

DJ & Choreographer Forum

isislady — Tue, 10 Mar 2009 19:06:09 CDT

MM (1/27/09)
I love that your entry into our rehearsal space was so hardcore. Bringing all your equipment. What you did was stronger than words - dedication, interest, willingness to co-create and contribute to an artistic vision. I am looking forward to this exchange. And while I know it will be still hard for me to let go of the music, I am really delighted that the soundscape for this work is going to more closely reflect a true house set and have moments of unpredictability (and which hopefully will keep the act of performance fresh and pleasurable). Also, this way I can concentrate more closely on the content & staging of the piece. So, thank you for adding your presence to this mix!

MM (2/23/09)
Once we got the table facing us and we could connect performer to DJ, I think things got going quite well. Definitely, think we need to stay focused on that kinetic/visual link between dancer & DJ. I am looking forward to getting material set more quickly so that we have time to play. As a choreographer, I relish changes in movement quality and watching you try different tracks with Karina & Mark and paying attention to how musical shifts effected their execution was great. I think as the dancers and you become more comfortable with each other and as we collectively develop a language, other creative spaces will open up in performance. I also look forward to your own commentary as an artistic collaborator. I would love to hear if/when themes/thoughts/feelings are sparked by relating musically to the movement.

On another note, I had a couple of strange moments during rehearsal - you played two tracks I know as home anthem songs - Is it All Over My Face? and another I can't recall at the moment. Hearing those tracks in the studio and in the company of a group of younger dancers who don't carry the same meaning/attachment to those tracks made for a self-reflexive experience - witnessing myself in a home memory while being very aware of my own generational difference.

I am also looking forward to working in the cave. Smaller, more intimate. We'll see what happens.

MM (3/10/09)
I am thinking about last Sunday’s rehearsal working on Lindsay’s “Comfort” solo. I had been playing with the idea of Deneice Williams’ song “Free” as representative of the new sonic accompaniment I wanted to support the piece.

NOTE: I like the whole performed monologue about "freeing up" that's in the live version, but this is not that version.

Sketch notes Jan 18 09

isislady — Wed, 04 Feb 2009 20:48:03 CST

Starchildren
Mini-battles & Introductions (see me/see us)
Embraces sensuous body, arms, torso, hips, shimmies/shake, isolations, playful
Layered structure in spacing (3-tiers) & tempo (1+2+3+, 123, 1e&a2e&a3e&a)
A multitude that signifies Greek chorus/contemporary dance crew/Wiz's Munchkins

[Segue - live polyrhythm accompaniment - resetting opening chain gang]

My People/Hold On (E. Kendricks / E. Badu) - Restage 3 duets

[Segue - 2 "other me" solos]

Fly (Music: Can You Feel it; "Fly Away")
Material: "Wanna Thank You" feel good phrase; Gospel material; line dance theme

[Segue - 1 "other me" solo]

Comfort - Reset as Lindsay solo (use Deniece Williams' live version of "Free" to reset the piece, want to feature the talking)

Urban Waltz

[Segue - 3 "other me" solos]

Fierce - Karina, Erin, Michele
Gayelle - Michele, Jake
Queen - Mark, Karina

[Segue - 1 "other me" solo]

Melodies/Finale

Performers' Workspace

isislady — Tue, 03 Feb 2009 18:59:14 CST

As part of this next version of Give Thanks, each of you will construct your own character. Here are some opening guidelines to start you off. Following their completion, feel free to take your character exploration and development into other directions that feel right to you. We will use these beginning studies as raw creative material when we return to the studio in late January 2009.

Exercise: Building your "other you"

Performers' Spaces
Lindsay
Karina
Michele
Jake
Mark

Feb 3 2009 / other forms of excess

isislady — Tue, 03 Feb 2009 18:56:26 CST

Feb 3 2009: Camp, Cabaret, Hoe-Downs and Lounge Singers (& other forms of Excess)
Crosslisted with discussion thread: Pleasure, Excess, Fierceness

Some features of house shared with above formats of expression:
Tautness & Spill (a measured excess)
Caricature, Masks & Brutal Honesty
Sensual, Sexual, Toeing the line of appropriateness/crossing lines of decorum
Embracing paradoxes, both/and realities
Expressive virtuosity
Making alternative worlds present & valuable
Invested in emotion (torch songs, vamping, hoots, hollers, etc)
(to be continued)

How to make house's loose vocabulary structure more identifiable: Identify its parts. Its aesthetics/feel/properties/qualities....

Choreographer's Notebook

isislady — Tue, 03 Feb 2009 13:25:54 CST

This virtual notebook/blog documents my overall thoughts as co-collaborator & choreographer/director/project manager of the Househedz project. Though it contains entries regarding past incarnations of Househedz, it will most closely map the newest generation/version of this creative process. It will work to articulate concepts and themes emerging from the piece as it develops combining my reflections on the creative process (illuminations, issues and problems to be confronted in making the work) with sketch notes and video/aural clips from the rehearsal process.

Feb 3 2009: Camp, Cabaret, Hoe-Downs and Lounge Singers (& other forms of excess)

Dec 23 2008: Documenting House as popular cultural politics

Nov 22 2008: Choreography & Writing

November 2008: Intimacy & Generosity

Jan/Oct 2008: Managing house's musical overload

Feb 12 2008: Initial Questions & Comfort Zones

Feb 1 2008: Riff on House

Jan 2008: Staging the Vernacular

Michele

micheleakameesh — Thu, 29 Jan 2009 21:12:09 CST

12/13/2008
okay - so in thinking about kinds of "fiercenesses" that speak to me, that inspire, things that i want to work with...i'm automatically drawn to gigi torres's work. i took a class with her two summers ago. this woman has fabulous control - her isolations are RIDICULOUS. plus, she's consistently working on choreo that has a grace, an elegance to it. using songs like lauryn hill's "ex-factor"...leona lewis's "yesterday"...other songs by monica, toni braxton, etc.

gigi expresses vulnerability and strength all at once. she's a choreographer who makes the audience notice nuances in the music she chooses. she gets intricate, which i like. and the music - i like the juxtaposition of the strong, soulful, vulnerable female vocalists with the sharp basses and snares that function as the beat of the music that accompanies their lyrics.

since i'm in the middle of finals, i think i'll just post a couple of gigi's videos herer and come back to this after my papers are done.....when i'm home in cali where i will have more time to develop, i'll return to what i like about gigi and other artists into how my fierce other will be.

the vids:
Gigi's piece to "Ex-Factor" by Lauryn Hill
Gigi's piece to "Yesterday" by Leona Lewis
Gigi dancing to "Make it Hot" by Nichole Ray
Gigi dancing to "Still Standing" by Monica

also, i just thought of jilly meyers, whom i also admire and took class with. so i'll post a link her and come back to jilly later:
Jilly's piece to "I Want You" by Common
Jilly dancing with David Moore

something else to add: both of these ladies hit it just as hard (harder) than the guys. i love that about them. perhaps this tough female (border-line male) persona. reminds me of what i loved about getting to do a summer intensive with funkanometry sf: i got to dance with mari martin. talk about hitting it hard(er) like (than) a dude.

Mari dancing to "Wreckless Love"
Mari dancing to "Go 'Head"

til next time.
~ meesh

1/29/2009

alright, so i'm posting much, much later than i would have hoped, but so goes a holiday break packed with family events, volunteering, california cuisines and much sitting around and doing nothing for a change.

thinking about why i am such of fan of the females whose videos i posted above, i can see that i like the pairing of vulnerability with strength. as a woman who takes pride in her steadfast independence, i realize too that having to keep up a strong, stable persona 24/7 is neither possible nor desirable, seeing as some of our best moments come from when we are vulnerable and exposed. i don't want to take my movement from gigi, jill or mari, persay...i actually think i want to work with a pseudo-feline aesthetic because i'm a big fan of the "big cats" (panthers, tigers, jaguars, etc.). i think they are beautiful and fierce creatures who embody both smooth and elegant movements as well as sharp and agressive ones.

when i felt drawn to having a feline alter-ego, i remembered the pet name that my dad has used for me since, well, as long as i can remember: "tiger." i would like to think that meesh and feline were just meant to be (i'm a big cat person), that at an early age my alter-ego had already been christened "tiger" by my own father. it should come as no surprise, then, that i chose to name my other self "TORA" meaning tiger in japanese (yes, karina? i need you to double check because my nihongo isn't that great). i thought i'd use another language because for my other self because i really like the idea of using a language other than english. also, i'm half-japanese(-american), and using japanese feels most authentic to me at this point in my life as an "other" language from which i can fashion a name for myself.

okay, so i'm going to look into how big cats move, how fierce females working on that strong-vulnerable spectrum move....i will hopefully then get up a descriptive list asap, as well as a mantra and other things.

til then,
meesh

Give Thanks / The Househedz Project (2009)

isislady — Tue, 27 Jan 2009 19:24:19 CST

Choreographer's Notebook

DJ & Choreographer Forum

Performers' Workspace

Performance Sketches & Working Notes

Creative Process Clips & Working Notes

Mark

isislady — Tue, 27 Jan 2009 12:52:48 CST

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:

Kappa Strolls:

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.

Jake

isislady — Tue, 27 Jan 2009 12:45:13 CST

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.