a performance dialogue

Monday, November 19, 2007

Some thoughts about Borges, Tango......

Been reading Borges A History of Tango which is in The Total Library Non Fiction 1922-1986 came across these quotes and thoughts not sure what they have to do with 19step yet but here they are anyway

"Schopenhaur (Welt als Wille und Vorstelling I, 52) has written that music is as near to us as the world itself; without the world, without a common stock of memories summoned by language, there would be no literature, but music does not need, could exist, without the world. Music is will and passion; the old tango, as music, immediately transmits that joy of combat which Greek and German poets, long ago tried to express in words."

“We read in one of Oscar Wilde’s dialogues that music reveals a personal past which, until then, each of us was unaware of, moving us to lament misadventures we have never suffered and wrongs we did not commit.”

Was discussing with Dorothy idea of Tango as an example of passion and humanness being controlled and tamed through the structure of language, learning steps and routines and nostalgia rather than its original passion Borges describes it originally as The Fighting Tango, which now can only lament for what is lost…………..

Suppose been thinking about the differences between learning ballroom tango and argentine tango, sequences and patterns as opposed to intuition and improvisation and the relationship between mathematics, music and art……..

Dorothy keeps mentioning a primordial state…….do we make sense of this through patterns and geometry?

I keep thinking of the drawing exercise Carol led were we linked the hexagon to parts of the body with letters, which creates a dance sequence, the letters and geometry/numbers take over the body movements.... does it in Dorothy’s score?
Is Borges hexagonal library built to control all our physical and emotional needs?

“ To the left and right of the entrance way are two miniature rooms. One allows standing room for sleeping; the other, the satisfaction of faecal necessities”

1 comment:

Carol said...

I've been thinking about your relection on the two different kinds of tango - Ballroom and Argentinian - and sequences and patterns as opposed to inution and improvisation. Also the question of whether the library meets all our physical and emotional needs? I think about the words on the page running out of breath. About bodies squeezed between tomes of text, about Artaud who wrote, "I no longer have my language/ I no longer have my tongue". In Ann Hamilton's video installation (which I have never seen only read about) 'aelph' a room has a wall filled with thirty thousand boks on technology stacked in rows, between which were occasionally squeezed horizontal bodies made of muslin and stuffed with sawdust. In the centre of the work a performer sits at a table repeatedly taking mirrors from a stack and one by one rubbing off their silver backing. At the end of the room the visitor encounters a video image of Hamilton's mouth filled with small stones against which she struggled to speak. Hamilton describes how, in the work the 'bodies' are literally buried by the weight of the vertical climb of knowledge contained in the books, so "being pressed between the books is like having lost the voice, having lost articulation due to the weight of the strata." (19 Projects, p197) I think of the rubbing of the silver of the mirrors as a struggle for transparency, for a kind intuitive way of knowing. In dance of course the mirror is used alot with classical ballet as a way to empty out the individual into the image, so that the mirror image becomes more real than the actual body and its felt experience. How do we get a 'feeling' for words. Rafe has just started to speak and his first words (beyond mama and dada) are 'tiger', 'shell', 'sock', 'flower'. words of direct experience (the tiger he met at the zoo). Its later that writing becomes detached from speech and our ability to feel words as it becomes pattern, order and sequencing. A little like the difference between dancing as a series of steps and dancing as a felt experience of embodied realities.