These pages relate to several threads of research in and about improvisatory practices pursued by Vida L Midgelow.
This thread includes; making solo dance works, developing improvisation tasks and scores, undertaking the foolhardy effort of defining the features and significance of improvisation, as well as musings upon and proposals for the place of improvisation within the academy.
Listening on the inside – do you see my attention pulling me inwards, sideways, upside down? Head dropping backwards and recoiling, dropping and recoiling. I notice the left hand – it hangs loosely from the bent elbow – tucked into the waist – rippling with each fall of the head – folding at the wrist to uncurl in time with the drop and recoil, drop and recoil, mirroring with a fold and uncurl, fold and uncurl.
My, mainly solo, improvisation practice is informed by somatics, in particular skinner releasing, and offer a place for pleasure in the act of dancing, conscious unconsciousness and reflexivity, in the moment composition and exploration. The work is informed by somatic modes of attention (Csordas), nomadism (Braidotti), meshwork (Ingold), phenomenology (Merleau-Ponty) and relational ethics.
Insistent, driving, repetitive the music pulses through me.
Bah ba, bah ba, bah ba.
Knees bounce to the pulse and feet step.
Bah ba bah ba, bah ba.
A bouncing skip propelling me on a clear diagonal trajectory.
Then I hear it, a low tone, long and continuous – it is there, in the background. My arms open releasing the previous rhythm to extend out – fingertips reaching out on the horizontal, shoulders wide, like a bird of prey. I begin to take long sweeping curving rotations. Diagonal lines become arching curves.
I look out and I smile, my curving rotations meet the pounding feet of my
fellow dancers. And then. And then another arm glides open, the smooth
motion echoing my own and I see my body in hers and her body in mine and
we are flying.
In a forthcoming essay I elaborate improvisation as a wide field of practices and argue that improvisation may be considered “as a way of going about things for it has no inherent content”. As a “way of going about things,” we can think through the scope of improvisation as it entails entering a convergent space in which creative process and performance are one and the same generative occurrence, and in which the work evolves processually. In other words, in improvisation, thinking and doing, planning and executing, blur through a process of, at times, compositional, but always, in-the-moment decision making.
Often structured by various frameworks, be these shared movement techniques, compositional practices, tasks, scores or the like, in-the-moment nature of improvisation foregrounds irreversibility. This is a risky thing, for improvisation involves entering a space, often with others and believing something (even if that something is “nothing”) will happen. This something, in somatically based forms, is commonly developed through (inner) listening, initiating, responding and redirecting within more or less open terrains of possibility. This entails a willingness to be vulnerable and assailable, enabling the improviser to follow routes and note emerging pathways – to catch and respond to that which becomes apparent and sparks the imagination. This happens in real time and foregrounds how and what we (can) perceive is fluid. Open to each context the improviser seeks to let go of fixity through a deeply seated receptivity to self, others and the world.
Some materials in emerging from these investigations:
Blog – Improvisational Movement Practice (with video and still images by Tim Halliday)
Performance – Trace: playing with/out memory (with music by Tom Williams and video by Tim Halliday)
Video work – Voice (a retracing), with Tom Williams and Tim Halliday
Performance lecture – Everywhere and Nowhere
Professorial lecture: Dance and the Academy: Improvisation, (dis)appearance and language
Toolkit – Trace: Improvisation in a Box (including workbook, score cards, essays and video materials)
Writings / Essays:
Sensualities: experiencing/Dancing/Writing –
A way of going about things: An Introduction
Transdisciplinary essay (pre-edit version)
Phenomenology essay (pre-edit version)
Nomadic essay – http://www.criticalimprov.com/article/view/2001/2705
Voice (a retracing) – online essay and documentation – https://mairascirea.com.br/voice-a-retracing-an-emerging-lexicon/
Fleshy thinking essay
Workshops and research intensives:
Improvisation and dramaturgy – Canada
I also work with the research group: ‘Transdisciplinary Improvisation Network’ (https://www.facebook.com/events/1628399350779090/). With this network I can convened improvised research salons ( https://vimeo.com/203103535 and The Capstone Theatre – Improvisation & Research), a conference and events with The Cultural Capital Exchange (TCCE).