Solo makes a seemingly light reading, captivating and inviting the reader to celebrate with its author an exceptionally rare and extreme occasion. It is a dual excursion, touring both space and time, public spheres and private domains.
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Peregrinations through continents blend with wandering along cutting-edge philosophical shores, acute socio-cultural diagnoses intertwine with courageous personal insights. Sassower is a prolific philosopher; in Solo he is coming of age-a towering thinker. Help Centre. Track My Order.
Colin O'Brady attempts first solo, unaided Antarctica crossing
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Industry Reviews In Solo, Raphael Sassower takes his readers on a remarkable personal and philosophical journey. In Stock. Capital in the Twenty-First Century.
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Breaking the Sheep's Back. Garments Against Women. Europe, Austerity and the Threat to Global Stab A Brief History of Neoliberalism. This Changes Everything Capitalism vs.
Are we trying to surround ourselves with people who are like-minded? Are we trying to sell more tickets? Is it purely economics? There are a lot of different ways to curate. Are you trying to start a conversation? Are you allowing yourself to be influenced by the work? What is the process of creative cross-pollination? Curating raises questions not just for artists, but also for audiences. Is curatorial activity for the audience or is it for the artists? Similarly, Stephen Petronio announced the creation of Bloodlines.
It is not only a way for these choreographers to maintain some iconic work alive, it is also putting their work within context. How do you see this fairly recent need for contextualization in the dance field? It gives contemporary artistic practice context. Defining our relationship to influence is related to the articulation of our voice.
MT: In addition to your dance making practice, you write.
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The dialogue between writing and choreographing permeates s oft is hard , which you previewed at Take 5 as the result of a process of transferring thirty years of journals onto the moving body. What elements were you hoping to retain in the process of translating content from the static, somehow virgin vessel of the page, to the living vessel of the body? HM: There is a raw intensity in my younger journals. Originally the solo embodied only that quality. It was very hard to watch.
It was too unrelenting. So I worked with Peiling to find a range of qualities. Now the solo holds some shards of that intensity but also some softness, which makes it easier for her to perform and easier to watch. The process of moving from hard intensity to softness echoes my experience of ageing.
When I was younger I experienced anger as my primary means of female power. Making the solo has been an exploration of the possibility that softness can be powerful. MT: Journaling is an intimate practice in which the writing is meant to remain undisclosed. Would you say that your improvisation practice is akin to choreographing journaling? I journaled as a way of hearing and finding my voice. S oft is hard continues my interest in writing as part of choreographic thinking. Starting at age nine, I kept a journal to hear my own voice.
Journaling is a form of repetition, but also change: at some point, I no longer needed it. My last journal dates to , when I landed my first contract with a professional dance company. As I birthed a public identity as an artist, a private writing self became less necessary. The process of making s oft is hard involved sifting through 89 journals spanning twenty years.
I kept the first and last, but the rest went into the recycling bin. For me creative practice now takes the form of improvisation in the studio.
Blogging is the new journaling, for better or worse. HM: The score consists of a series of dates. Journaling has been more of a medium for women than for men, due to the traditional relegation of women to the private sphere.
https://stopkokmecajo.tk This program is about the passage of time. In making s oft is hard , I was thinking about the passage of time as it imprints on the body. I was also thinking about how, in the practice of journaling, entries are a series of windows in time. Underneath that series of dates there is the ongoingness of the body. While journals mark time through dates, the body continues to move and age.
HM: The postmodern aesthetic is not monolithic. This program does not claim to represent all stories, all trajectories nor all lineages. It is simply my personal window into the question of lineage. Even with respect to my personal artistic lineage, there are many more people who could also have been on the program -Trisha Brown, for example. The program offers one ecology of ideas that I hope will in turn feed back into the larger ecology that is dance making in the Bay Area. You are commenting using your WordPress.
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