Between the in-and-out of a Box!

Cornelia Parker's Cold Dark Matter - A Deconstructed Shed

When I re-invented myself as an installation artist, I had no previous training in the visual arts - (my drawing skills are shocking). Through my degree and subsequent career, I have found this lack of formal 'skills' in the subject a really useful tool for always forcing me 'out-of -the-box'. When I start a new project/creation I have nothing to draw on, no technique, I just think to myself what do I need to do to get this done, and what is this 'this' that needs to get done? My media is anything from a shoe to a beach-hut, from video to sticky-back plastic - whatever feels right and through process, both practical and conceptual, connections and communication, I arrive at a 'this' - I'm surprised at how often it seems to be the natural path, the route that I was always going take to get me to where I end up.

With dance I find the complete opposite is true; having had many years of dance training and a good solid foundation of technique to draw on, when I've tried to create dance in the past, I seem to be smack-bang in the middle of the box - repeating and repeating the convergent information referred to in the video. I'm not afraid of the unknowing, I just not sure what not to know?

MAPP is my way of encountering the 'unknowing' - hopefully finding the experiments that will take me to new ideas, new research and a whole box load of divergent journeys.

How old is too old to dance?

Wednesday evening is my company class with Encore East, a Dance Company for the older dancer housed at Dance East, Ipswich - We are 14 dancers over 50 - I am the youngest at 52 and Pam is the oldest at 78.

Last night was our first class back after summer break and we are privileged to have a new tutor/mentor, dancer Chris Owen (The National Dance Company of Wales, Scottish Dance Theatre, Candoco Dance Company, National Theatre of Scotland. Christopher has worked with international choreographers including; Emanuel Gat, Hofesh Shechter, Nigel Charnock and the Trisha Brown Company)

Chris began the class with the expected introduction during which he told us he was in his mid-thirties and was still dancing - 'hanging on by his fingertips!'
What does it mean for an art-form when you struggle to sustain a presence after thirty?
I was surprised to be confronted with the embodiment of my research so soon after starting the course, I plan to use Chris as research.

On the drive home, Leonard Cohen's 'Hallelujah' came on the radio, I found myself immersed in his gravelled voice, rasping vocal crescendos and mature celebration of all that is life - not once did I wonder about his right to create and perform his artwork at the age of fifty.
Much to ponder as I proceed on my MAPP journey.

Induction MAPP 13th Sptember

After a bit of a rush to sort out Skype, as my laptop decided it wasn't going to hear anyone, I started the call a bit flustered and apprehensive. but ended very positive and exited about getting started.

Adesola's introduction to Unihub was very helpful; I'm sure it will take a while to get to know it and utilise all the areas effectively, but at we now have a good starting point.

It was great to hear from students who have already completed the first unit - It was interesting to hear about how useful the blogging process is, both as reflection and connection to other peoples ideas. Being new to blogs it feels a bit alien at the moment but I'm sure it will become inherent in my learning process in time.

I would have liked to have more of an introduction to the other students (especially those just starting)  but I image that will come later.

'Focus on what you know and enrich it' was my favourite piece of advise - I thought I had a clear idea about my particular area of research, but just over one weekend I have become a little overwhelmed by the many possible pathways of research opening up to me - If I keep circling back to what I know I think it will help the path I choose going forward.

MAPP Professional Practice Dance

Where do all the dancers go...
When I turned 50 I looked at the work I had been creating as a site-specific installation artist and wondered where I had disappeared to?
Having started my career as a dancer I was surprised to discover, 30 years later, that there was no physical presence of me in my work - ever!
So I began a journey back to dance - It is invigorating, frustrating, challenging, wonderful and ongoing. 
Many questions have arisen but none greater than; Where do all the old dancers go?
If we accept that dance is an art-form, and that one of arts' roles is to 'hold a mirror up to society' - reflecting back, highlighting and challenging our preconceptions of the world around us - Then how does dance do this, when the majority of work created is for the under thirties, created out of only a third of life's experiences.
So I am excited to begin this new chapter of research and reflection on MA Professional Practice Dance, to discover and hopefully disrupt traditional ideas about age and dance.