2 Open improvisation operates without the use of scores, leaving all decisions regarding space, timing, movement quality, relationships, and so on to be made during the unfolding of the performance. For example, One day we had a set of ‘action’ words and a set of ‘framing’ words. There is always the option to not use a score or set of scores. On other days, I abandon some or all of the scores almost immediately. How do we use them? Recent performance work includes dance generated in and for particular sites with About Now (Peter Fraser and Shaun McLeod). What are scores? Recently, I have been using lists of words that I have gathered because I see them as being part of a certain category. He describes a painting as being autographic (1976, p. 113): it has been produced by one artist and cannot be reproduced unless it is forged of course. I was watching myself all the time. We quite often talk about what a score might ‘mean’ in our bodies or in/with our dancing at a particular time. You might wrap your body around that furniture or pick up and put down objects or, say, wash your hands — never too often now — all while maintaining a steady walking rhythm, which, the mainstay of the whole enterprise. The verbal scores that I use in my practice do not represent a ‘work’ which was or will be created. For an artist, this opportunity to become conscious and work with limits and habits holds great potential for expansion and growth. We practise in a similar way each week although at the start of each session, I introduce a new set of scores. Anna Halprin felt liberated by working out that she could vary her work in terms of how ‘open’ or ‘closed’ she made the scores she worked with. Over a period of a few years, I was involved in a project with Crisp, which she named the ‘d a n s e’ project. The fluid, controlled motion is mesmerizing to me and takes strength as well as focus. Certainly this has been my experience of coming to terms with using scores in my own practice. A Practice for Performers and Creators of All Disciplines. Examining my use of scores in my own improvisation practice it discusses what scores might be and might do and how they relate to the real time composition of dance in the present of its making. A performance, according to Goodman, must be compliant with its score in order for it to be a true instance of that work, and a score must unambiguously stand for the work. There is a third division of the stage empty of objects labeled “nothing.” Each of the objects is “something.” One performer combines and activates the objects as follows for any desired duration of time: 1. something with everything2. As Warby explains: Deborah’s choreography is articulated by a series of instructions and spatial pathways. When we discover a true sense of being non-selective, of having no agenda, in terms of what arises, more is allowed and available and the range and palette of expressive possibilities are expanded. In freestyle dance improvisation, the main score is the dancer’s physical capabilities—what their bodies can do. The participants are able to go on and perform that solo in the contexts of their own choice but they must first have practised for three months. Scores can generate movement material, or it could support us as ‘a prop, a ruse, a pretense’. One day I was stumbling in my body in many different ways without pause even after I thought I had stumbled enough. The high frequency of such cues should prevent extended stalling. We use scores while we are dancing and we use them as a way to communicate about our dancing. Dancing participation: Observations of a long-term group dance improvisation practice, Haptics and the fall: spaces of contact improvisation, Improvisation—a continuum of moving moments in choreographic imagination and performance, Business practice (copyright, tax, insurance), Newism - Newcastle Web Design & Development, What’s the score? We call this warm-up period the solo warm-up. The audience person moves into the witness chair, when the witness enters the performance space and the event unravels in this manner; as each participant moves through the various roles/time frames of performer, witness and audience. You might jostle a piece of furniture. The small dance as a verbal score is at once a physical instruction and an invitation to be attentive to the (dancing) body. These impressions seem to be physical as well as imagined memories (Benoit 1997, p. 105). In performing improvised dance, there is a difference between, on the one hand, not knowing while dancing, (not knowing what movement or impulse or relationship will come next), and on the other hand, searching for that movement. At the beginning of each session, I introduce a score or set of scores, words or verbal propositions. I've been exploring adaptation of this score for online sharing. It may be that there are only one or many properties of a complex idea or object that are being exemplified. Or perhaps they have had no experience with each other but are interested to see what would happen if they leave the possibilities very open. Of course then you’re using the score, the score enters your body, so you have the score work your dance, make your dance (Satin 2009, p. 43). In our practising, we have talked about scores being generative of movement and also ways of noticing. In our practising, the starting point of a score, the whisper of something which we think we might know or have an association with, allows us to enter in to dancing, into an unstable situation and find, in our bodies, what that dance could be. Here are elements in improvisation in divisions of time, space, design, sound and choice. A dance that exemplifies ‘fast’ is both fast and refers to the nature of being fast. The term ‘action’ as suggested by Hannah Arendt in her book The Human Condition, is used as a concept with which to think through the dancers’ experience in a shared practice. ISSN 1322-76545. The basic structure is simple: a mover moves with eyes closed in the presence of a witness, attending to impulses that arise from within and bringing them to from through movement. Finding a felt sense of the moment, an uninterrupted connection of impulse into action, learning to self-witness, to stay aware of what is happening without prematurely shaping it, are all essential understandings for an artist. If I use the example of falling, holding, reaching, riding, it is likely that falling, holding, reaching and riding will have taken place at least at some point in our dancing with that score. Where the cadences of time improvise themselves within various art practices simultaneously. The site at which the ‘creation’ is taking place, rather than in the instance of the single author conceiving the score, occurs as the dancers dance with the score. As Goodman suggests, exemplification is potentially much more complex than its starting point as a word or a perceived meaning of a word. I would also suggest that even within my own practice, I can only be an authority of my own experience of scores. I have no interest in our dancing standing for or referring to the scores in a way that would be able to be apprehended by a witness. In Holmes’ workshop, I was first introduced to Steve Paxton’s small dance (c 1972). What they all have in common is that they are related to physical, kinesthetic or movement ideas. Watch "Back Dancing Improv… What does it do? You can decide on several verbal cues from the radio or TV to put yourself into motion again, like ‘virus’ or ‘pandemic. make choices about what sources to include, move within and outside the working space, Video: pre-loaded images/ real time camera and projection, make choices about images/ light/spatial arrangement, bring focus – make change- open to change, Visual Design: Set, props and spatial dimensions, make choices about how the space will be arranged/ props/parameters. By practising with a particular thought or intention even if that intention is just to dance, the body is becoming tuned with that intention. You’re only busy with that score. In Winter Quarter 2015, the Theater and Dance department offered DRA 43A, contact improv. The body is seen less as an object to be trained or brought under control and more as a source and inspiration, to be attended to with its stories, intelligence and perceptions. They often come from what I have encountered during the week, particularly in dancing. This paper explores the use of scores or verbal propositions in improvising dance. When I was practising with Crisp, she did not did not name the choreographic principles, or any verbal propositions with which we were dancing, scores. Over my years of my practising dance improvisation in this way, I have not questioned whether to use ‘scores’. A score, according to Goodman, is the means by which a work can be authoritatively identified from one performance of it to the next. [from Alison Knowles - 'by Alison Knowles' see bibliography]. They can often be both of those things but on some days or at some times they may be more one than another. Working with Warby gave me a new perception of improvisation. For Mark Tompkins scores allow us ‘to do anything because at the same time, we’re supported‘ (Benoit 1997, p. 225). Often these instructions are nonsensical and apparently impossible to execute, such as ‘take six steps into the light without taking a step’ (in Dempster 2007/08, p. 77). Other ideas including Claire Bishop’s participatory art and Tim Ingold’s discussion of ‘drawing together’ are explored to define participating in dancing in a studio practice, and to articulate what is happening and how that participation can be observed. This is the work of the performer as he or she meets an audience. 9, 10, and 11: Backward going downwards, maintaining the level or going upwards. It was much more than a tool for creating ‘interesting’, virtuosic or non-habitual movement; it could be a way of noticing and exploring the many experiences of a dancing body both in private and in performance. Following are examples of sets of scores from two separate sessions. Scores have many definitions, as in Olivia Millard’s piece it states that ‘each user of scores in the dance improvisation finds her own use and meaning for them’. Initially, I had assumed that scores had an easily perceivable effect on dancing, for those dancing and those observing. Setting aside the desire to invent, to direct, to be creative, the mover learns instead to listen and allow. To help explore these ideas I refer to the theory of Nelson Goodman and discuss the use of scores by other dance practitioners including Steve Paxton, Yvonne Meier and Anna Halprin. It needs to be a symbol of it, ‘to stand for it to refer to it to denote it’ (Goodman 1976, p. 5). Some techniques are meant to cultivate a group connection or build compositional ideas. and Clear the space, Roles: Players, Light, Video, Sound, Visual Design. Giving up controlling, pre-deciding or censoring, we enter a realm that is unplanned and often surprising, one that invites direct experience of personal and creative truth. In an interview in 1994, nearly twenty years after the transcribed workshops, Paxton described the small dance. The group should not discuss ideas- just take a few seconds to be in the space and go. As I offer a new set of scores to the group I do also try to convey why I grouped certain words together, such as the ‘framing’ words. Each group is labeled “everything.” These groups may include several people. Editor: Olivia Millard ‘Meaning’ seems to be a good word to use because it allows us to discover, through dancing what the relationship between the score and the dancing could be without the expectation that the score commands us. Improvisation in dance is the art of executing movements without any prior preparation. The invitation implied in the small dance shared between many dancers over many years is a suggestion for possibility as well as an instruction but not a means to achieve something particular. The support that I hoped for, however, was not the direction or inducement to do anything in particular (or anything at all) but the momentum or opening to begin dancing. have they noticed you standing here yet? In his book, Languages of Art, Nelson Goodman discusses the concept of scores as linked to the idea of a stable, repeatable work, and in terms of his distinction between autographic and allographic works of art. 2—3). According to Goodman, a picture needs to do more than resemble something in order to represent that something. The choice may be blurred, not consciously decided, or may be a bodily response to the perceived meaning of a score. everything with everything5. • Be aware.• Be available.• Be responsive.• Be clear. 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