She just brought this today.
Check this out: now it’s a bag!
Obviously, I cannot hang this right now.
And my musicians are not here.
Allie Hankins
who walks out resolutely
told me Sunday.
“Nijinsky’s Golden Slave” by Kevin Kopelson in Dancing Desires—-> Ida Rubinstein danced with Nijinsky in Michel Fokine’s Schéhérazade (1910)——> Rubinstein commissioned Boléro from Ravel (1928) ——>Rubinstein hired Bronislava Nijinska (Nijinsky’s younger sister) to choreograph the ballet for Boléro (1928)—>Nijinska was originally supposed to dance the role of the sacrificial virgin in Rite of Spring but got pregnant——> Jorge Donn danced Maurice Béjart’s Boléro II (1979) ——> Jorge Donn danced in Béjart’s Nijinsky, Clown of God (1971)——> I read A Leap Into Madness by Peter Ostwald (the title of my piece came from that book)—->I read a lot more about Nijinsky, including his diaries, which weren’t that crucial to the development of the work.
Idarubinstein-dancing-1913.jpg
this history space. the slight musty smell. its old floors. their dappled patina.
http://www.conduit-pdx.org/detail_allieH.html#.VEhLOVvqmHo
I was recently showing someone a video of what I was doing in the studio earlier that same day, and it was like—WOW—it’s so amazing to watch, video of yourself rehearsing, but with someone else. I think it’s good. It’s insightful. Yeah, that’s one word for it. It’s like WOW, watching this is very different than when I’m watching it by myself. Or I feel very differently with one other person watching it with me. Because when you’re watching it—you’re looking at it way differently than they are.
Totally.
The craft of resolving an evening length work. God, how can you know? It’s been three years of development. Three fucking years of perspective and exposure. I’m more comfortable being angry at myself for not knowing how to put a work together.
In the course of locomotion, movement can be compressed; its only reflection an afterthought—a necessary reconstitution
attended by both one’s memory and the once-moving body, Allie’s, now holding with us a moment of pause.
it won’t just be that melody over and over again
ok, we get it, it’s very pretty
to pivot lends an air of assertion
this pivot lends a net the size of a windshield
put slowly off balance atop a ramrod leg
and
this
is hanging
and I pull it
down
a fusillade clicks placements and positions
held long enough for dispersion to begin but not resolve.
lycra
spandex
futurefabric
It is an elastomer
spandex fibers can be stretched to almost 500% of their length
I just want to wear leggings and no top
Continuous motion might make it less of a big deal
A gaze glanced back
So I don’t have the music to this section yet.
I don’t even have, a sketch of it…
Elbow up over head—sagittal symmetry
put some intention in that space
so it’s not just some incidental jerk hanging out
a plane a plank
a hand positioned
Jesse composed an aria that will bewho is standingacross soon
Zac then comes in and takes the fabric down from the window
*improvised section that I haven’t really sorted out*
Then there’s Boléro and then some final joke.
Elbow up,
Written at the invitation of Portland-based choreographer Allie Hankins.
Allie Hankin’s Like a Sun That Pours Forth Light but Never Warmth runs October 24-27th, 2014 at Conduit.
