IT WILL BE FOR THE STRANGER, THE FATHERLESS. AND THE WIDOW
Physical Research of Public/Private Space, Structure, Memory, Ownership, Authenticity, Narration & Play
Ultimately, my intentions for choreographing “It Will Be for the Stranger, the Fatherless and the Widow” is to offer a deeper look into the intersection of public/private spatial occupation, anti-colonial performance structures and the memorialization of dancing as a way of knowing/unknowing. Within the scope of these three intersecting themes, my primary research resides in the realm of corporeal story-telling, poetic narration, and movement research. Questions that provoke my research are as followed: How might we be the governing adjudicators of our own stories? Though the labor of tactile narration can be rigorous, how might we begin to reconfigure the role that the body plays within performative structures?
I imagine that within these performative structures our corporeal memory is delegated not only by structural repetition, but also by the pace at which our most visceral selves collect information. And in order for the body to retain memory of movement, it must succumb to the iteration of rhythmic, systemic patterns. Although rhythm is often taught secondary to musical notation, it is in actuality the prospector of the dance, the song and the stage. In this context, I define dance as the shape the body takes, the three-dimensional imagination that revels in the audacity of fleshy realness and opposes that which is false. Even though the body in an effort to perform might adhere to fiction, it does not falsify the character, but instead, converts to the nature of a shift in personhood. When the flesh yields to patterned pulses and an imagined realness, then the contextual nuances that inhabit us become authentically performed.