As the performance is site-specific and mostly dependent on the fog installation, Mattia and I practiced whenever we could right on site. We ended up in performance mode each time as people would watch us, but neither of us are shy about showing process so publicly. It is important to both of us that we’d rather people access performance however it comes in a moment in human history when people are so disconnected with their own bodies and not so coincidentally when performance work is so devalued. We appreciate that through organizing atleast this past decade, the City is providing more opportunities for public performance.
The form I mostly elected to be in when animating our characters is what I call contemporary temple (demi-sitting resting pose) and faux kathak (straight-legged and fast footwork typically done on polished springboard floors). This meant I had to get used to dancing on earth that was both uneven and absorbed every attempt at footing cutting into my bounce.
I hope to adapt these dance forms originally developed for indoor courts to shifty earth in a way that works more organically with the body and kind to grounding our bodies to earth
I learned that the performative displays of passion happen at court very differently than on soil that checks us and insists we be our authentic self at all times – even in performance. Something profound in this embodied experience that is shaking up my core.
Rehearsal at home
FogxFlo continues through Oct 31! You may follow the current performances using #fogxflo on any social media platform