things to ponder in 2011

harvesting flax sprouts at Hut #5

Hut #5 was the site of 2 video nights, 4 thematic discussions, a dance party, and 4 performances of the 3 hour work “I set off to seek my fortune and I got a little lost and then I remembered what you said…”. These activities brought close to 200 people to Hut #5 and raised many questions throughout the 3 weeks of events— some in the thematic discussion events, some in performance, some in the artistic process, and some in casual discussion. Here are some of the questions that came up. If you were at these events and would like to add more to the list, please add your comments below!

Where are we headed as a society?
How does property engender the need for protection?
How does a structure define property and territory?
What is the relation between power and violence?
What is a home?
What are the pros and cons of trying to produce one’s own food sources?
What are the hallmarks of “civilization”?
Does not having to buy things mean freedom?
Are people who live in shanties under NYC ‘homeless’?
How do the huts relate aesthetically to the DIY movement?
Is making salad while people are having a discussion a performance?
What is permaculture?
How do oyster mushrooms grow?
How can we create living systems that do not destroy the earth?
What are the consequences of industrial agriculture and other food producing systems?
What can we do to help citizens be more connected to local waterways?
Do rights extend to non-human things?
Has freedom of speech become ubiquitous but meaningless?
What are the processes that affect where people choose to live when they come to NYC?
What commonalities are there between different population groups in Bushwick?
How can we build coalitions to unite citizens in Bushwick around common concerns?
What are the forces that affect the stores, bars, advertising that we see on a daily basis?
What is bagasse? (a compostable substance made of sugar cane, now used for disposable dishware)
How do you grow sprouts?

lentil sprouts

What is this ZSA ZSA?

ZSA ZSA?!?!         ZsaZsaLand        ^^^Zsa Zsa^^^

Is it a cattery in Sweden?

“Our goal is to breed healthy, strong boning, loving and well-socialized kittens with that special sweet open expression!”

“A DNA PKD-tested cattery”

 

 

Is it a legendary 91 year-old 7 time divorcee caught in a Ponzian pyramid who likes to eat fast food??

“I never hated a man enough to give him his diamonds back.”

zsa-zsa-gabor.jpg

 “There is nothing wrong with a woman welcoming all men’s advances as long as they are in cash.”

 

 

 

Is it that “sort of lovey, butterflies feeling when you just want to be with someone”?  No, according to UrbanDictionary that’s  zsa zsa zsu.

hong-kong-zsa-zsa

 It seems I must visit ZSA ZSA LAND to find out……  

Click here to buy tickets to Zsazsaland via smarttix.com

 

Fridays – Sundays at 8pm 
FEBRUARY 6-8, 13-15, and 20-22
 
Office Ops Project Room 57 Thames St., 2nd Fl. 
Bushwick, Brooklyn http://www.officeops.org

On Writing

Photo by Carrie Snyder

Jill Sigman in "Pulling the Wool" photo by Carrie Snyder

This is my first official blog post. I am a guest in the jill sigman/thinkdance house and happy to be here. I come to writing and dance writing in particular with excitement and trepidation. The excitement: I love language. The trepidation: I love language. This has not prevented me from making dances, but often prevents me from participating in the written discourse that is supposed to be so important in this or any field. A field whose non-verbal language often eludes or baffles those viewers outside of it.

So what is my beef with writing about dance? Shouldn’t dance writing be a way to help bridge the gap between audience and performer? Perhaps I feel most written language structures are limiters,reducers, codifiers. By choosing a certain set of words I eliminate some of the myriad of possibility contained within the experience of viewing the language of the human body with all five senses. While many would welcome this elimination of endless perspectives and crave certain knowledge, it often feels misleading and inaccurate to me.

Philosopher Jacques Derrida used a term I love : “sous rature” or “under erasure”. This means you write a word, cross it out, and then print both word and deletion. presence Since the word is inadequate, it is crossed out. Since it is necessary it remains legible. But then why write at all? Is the written word necessary? I don’t know. I worry that we have been myopically focused on verbal and written language over the past thousands of years: it has become highly evolved as a means of communication; drunk with power;used and misused in every field of study; extrapolated; taken out of context; bloated with meaning;meaningless. And what of the language of the body? Do we trust it as a site and source of knowledge ?  And contest body language with the same vigor?  Or do most view the body as just a container for the mind? Perhaps this is one reason why I feel dance writing is necessary: to remind us to screw on the lens of the body: to enliven the bones, nerves and blood within and call them to action in our modern experience.

I also feel that there are other verbal language possibilities out there. This brings me to jill sigman/thinkdance. Jill unapologetically uses spoken and written text in her performance work. Yet the language is used not to codify and put a cap on an interpretation, but as an additional texture or perspective. It can function as embodied language (sounds, whispers or shouts that seem to come from the inside out), or highly structured code(which is almost like viewing a strange object or person of unknown origin). The verbal language is not excluded from Jill’s investigation but travels down the same rabbit hole as every other piece that makes up a thinkdance production. It is an acknowledgement of the messy range of human experience.

–Carrie Ahern

Forerunner

Not having a good night sleep, I woke up today a little groggy, listening to WNYC with more commentary on last night’s debate.  I too am still wondering about a lot of things.  It seems like I wasn’t the only one that was appalled when McCain referred to Senator Obama as “that one.”  What was he really saying to the American people by acknowledging him in that way (or actually not acknowledging him) and was that a new economic plan he laid out when he talked about buying out the failing mortgages? How come Obama had to continually restate what he had already said after McCain would comment and mix it all up?  I also think that the end question should just be thrown out, because both candidates have an agenda for their last comment and the question is just turned and twisted to support the message they want to send out to the American people.  (I also thought Tom Brokaw was bit condescending with his New Hampshire Zen comment about the question, but now I just might be getting overly sensitive.)

 

My point is this, there is so much to take in from those debates and the amount of information we received is overwhelming.   What did we take in? What did we learn? Gain? What do we now know? (I know that I would never put so much red and blue together in flooring and wall covering and it makes me ill to know a team of people designed that with a clear idea of the message it was sending.)  

 

To get back on track, I bring this up because I remember in one of the first descriptions I got from Jill about what she was interested in exploring with this new work is how society today is bombarded with messages from so many different sources with incredible speed, force and volume.  It can make you numb, similarly to how I felt after the debates last night.  It is a personal thing for me, but I think a lot of information that is sent out is to lead to some kind of activity: buy this, do this, take this, travel here, eat this.  However, it makes me do nothing.  It’s as if there are so many options that I just can’t begin anything.  In the political realm it is a huge inner conflict for me, because I want to be actively doing something to change the current state of things, but I am inundated and most times I am stagnant. 

 

In rehearsal last week, Jill brought in the Longfellow’s poem, “Paul Revere’s Ride” and now we are using some of the text in the piece.  He seems to be the ultimate messenger in the truest sense.  He was a messenger for the Boston Committee of Public Safety and helped organize a Intelligence and Alarm system to keep watch on the British Military.  His midnight right on the 18th of April in Seventy Five, is glorified that he alone rode and shouted “ The British are coming!”  Of course, there are tons of inaccuracies to this statement and also in the poem by Longfellow that was created 40 years after Revere’s death.  He did not act alone and he did not shout, “The British are coming!”  I was reading about this and found it humorous to note because at this point in history most people were actually still considered British to some degree.  Jill then asked Toby and I what we had thought about bringing in this text and using it in the piece.  How did we think it related to what we were doing?  One thing I thought about after that rehearsal and reading a bit more about Paul Revere is that Paul Revere’s midnight ride is well known as a Patriotic symbol.  In Zsa Zsa Land, we are playing a lot with symbols or movement motifs and manipulating/expanding them.  Whether that is a torture position, a folk dance or a public radio broadcast fundraising drive, there are sections in the piece that at first you may think the message is one thing and then it is subtlety or drastically changed to make you think about something else. 

I am still thinking about lots of things and hoping to act soon.  

Message Translation

Message Translation

Eggshells VI

This was my favorite response to OPERATION: EGGSHELL. For me, it was exactly what the project was about. I doubt the writer ever came to the show, but there was an invisible thread connecting RUPTURE to her experience. I didn’t write to most of the people who sent in responses, but in this case I wrote to tell her how moved I was by her reply. Here is her original email:

Hi,
I picked up a card the other day with three questions on the back. I
wanted to reach out because I found that card under somewhat peculiar
circumstances and wanted to share the story. It was about 4pm and I was
leaving a nursing home where I visit my father in the afternoons. His
next door neighbor (in the facility) had died a few hours earlier after a
three year battle with a brain injury (she had been mostly paralyzed for
all that time) and the afternoon was a sad one. I was caught up in
thoughts about how much she had lost over that period of time and how her
life finally ended. I think about these things a lot since I am in an
environment where these stories are all around…in every room and on
every floor. all day long.

My father was a brilliant musician for his entire life and has now lost
almost all control of his muscles after having lived with Parkinson’s for
25 years. I spend days a lot of the time thinking about what he has lost
and how he will die and all of those sorts of things. I also spend a lot
of time thinking about what he must be thinking and how he would
articulate his loss, if he would choose to (he doesn’t).

In any case, this was my frame of mind as I rushed to make the downtown 1
train to get to work on time. When I leave the nursing home I always go
to the grocery store and grab a frozen dinner to heat up at work – I get
the same Amy’s frozen dinner from the same place each time I go there. On
Monday they were sold out of the thing I usually get, but in its place in
the freezer was your card. It seemed entirely appropriate and sort of
amazing to find it there.

So,

1. I have broken my silence.
2. I have lost a lot of my fears.
3. I want to die knowing, deeply, that I have lived.

Best,
XXXX