The 19th Step Development Day Eight Dancers and Marcus explore shape and pattern of the hexagon and the circle

Carol worked with the dancers Rose, Marina, Dylan and Marcus, drawing shapes with the body. Marina and Rose trace the sides of the Hexagon, and develop shapes creating a hybrid language.
Marcus and Dylan continue to develop their equation moves.

Marina and Dylan develop their dance of circular shapes.

Clips below show Marina as she traces the shape of a hexagon joined by Rose who traces her own hexagon shape. The final clip show Rose and Marina devloping an alphabet which will be accompanied by Sarah on flute.

The 19th Step Development Day Three, Patterns, Shapes and Tango

"Musically, the tango is not important; its only importance is what we give it. This reflection is correct, but perhaps applies to everything."
"The tango can be debated, and we have debates over it, but it still guards, as does all that is truthful a secret"
Jorge Luis Borges, A History of Tango.

Today Marcus our mathmatician had his first ever tango lesson. Using the shape of the circle the dancers and Marcus improvised moves drawing circles on the floor inspired by tango.

Marcus drew the diagram of the dance moves he and Rose had developed. Inside the circle the 6 triangles make a hexagon, the shape of the rooms in Borges story the Library of Babel.

Dancing is Drawing

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http://users.pandora.be/Tango-E-Vita/tango/Caminar.htm

Dodecahedron

Found these images on Wikipedia am enjoying the shape of the Dodecaheron, would be interesting to make one that would be human size from some light material, plastic or hardboard that would be hinged, (maybe covered with blackboard or a wipe clean surface that could be written/projected on) that comes apart to create the 2d flat shape, joined to create the 3d shape while the performance adds the 4thd ??

19th step performance sketch 2

Been thinking about your responses, have tried to simplify and create a more fluid performance space. Just been looking out some photos for Dorothy and came across the images at the Laban in the room with mirror. Thinking about it as I write this I realise the corner would need one plane side and one mirror side. Was thinking about the idea of infinity and how the mirror does this. Also about Carols idea of Marcus describing the Maths of the space is intriguing. I was imagining the 6 corners were like nodes of the space described by the music and dance. But the nodes could also be moved so different surfaces come in the projection light they would also come in and out of focus. The shape of the space could be assembled and altered during the piece. I keep thinking of ways to work with the projected image on to the screen, a screen is a definite screen and the corner screens are really physical things that can be moved around the performance area, they become screens if they enter the light of the projected image. I think I'm trying to make the experience of viewing the projected image to have a physical presecence, although we are dealing with lots of virtual/abstract things like the projected images, maths and music.
Wondering if this may be why I'm still a bit reluctant to use hanging screens as they often seem like a facade where you have to suspend your disbelief, a I think find this a bit difficult to deal with, but I realise the performance space is very different :-)

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”