Throughout this period of time, I rely on the contributions of the architect Lawrence Halprin, who gives the score a constitutive function during the processes, both aesthetic and ethical, and even in social constructions; and in this case the classroom is an example of this. During the previous months we have been perceiving the configuration of a kind of meta-score that is nourished not only by the physical material, but also by the ideological and even geopolitical material of each of the teachers, where I found similarities, coincidences, but also offering a critical thought towards the information that was transmitted.
I understand that the use of the expanded score can allow to make a process readable, it is then that the class appears for me as a changing device, demanding a wide reception towards fields before not explored by me. In this case, it was complex to understand the first organization in charge of Philip Berlin, maybe because of the lack of some information that I could later obtain thanks to my internship with Anna Grip which gave me some context and experience; what I remember is that a lot of material resonated with me but I could not find a way to approach it. It is until the arrival of the Graham Technique block that my body begins to move more comfortably with this score and its logics, which is very concrete and defined.
I recognize that since these were places that my body had already visited before, the ways in which I constituted my practice were repeated. I consider in this case, that the absolute non-governance of the processes gives the necessary freedom to be able to have an approach towards the experimentation of the material of study, and therefore, they give place to the elaboration of an answer to this process in a more spontaneous way. That is to say, a discovery is made. This discovery has been made in my practice in the form of drawings, the drawings documenting some sensations and some principles dealt with in class in a much more general way. Avoiding somehow to name the information with normative aspects, or at least under my own rules.
To this, I find that Simone Forti mentions that, the score is constructed from heterogeneous materials, more or less restrictive, such as the slogans, the objects, the sound, the presence of the spectators, which she included as the “tasks”. So, if through my drawings I had documented a task.
How could I integrate this information into the practical part of the class?
The way to find an answer was that after the class I focused on doing an investigation of these drawings or symbols looking for references, trying to generate a rhizome, which led me to other disciplines. Thus transforming what would be isolated information into building a constellation of knowledge. Thanks to this, I started to be able to approach the different interactions by the different teachers being less specific, and rather look at my practice in a global sense, where a lot of information circulates and is able to find connections between what was happening today and yesterday, and between what was happening in my present and my past.
As the sessions went by, I obtained more information from my images, and it is when I consider that in a consequent way it started to happen that I related my drawings translating them in sensations with internal forces and with thoughts towards the interior of my body and the other bodies. I fixed my attention in perceiving the marking of the teachers and in the execution of my companions in relation to these principles. At the beginning this happened only during the contemporary dance class, but later my intention began to contaminate the other classes that involved any type of movement, noticing that one of the consequences was a development of external forces or what I begin to understand as thoughts on the outside of the body. I reflected that if this image or images were in my mind, in my intellect, then it is time to practice them in the body and wait to see what happens. Then the drawing as a meta-score began to help me find more anchorage points and congruence.
I consider that it is necessary to apply different forms of documentation in the pedagogical experience that allow a slow digestion of what has happened, therefore I consider that the partitural option in dance training appears as a means and an opportunity in the open and evolutionary processes of exploration, composition, construction and non-restrictive register, where it is no longer necessary to adhere to a specific model in the body, nor to the unique transmission of values and above all, of established beliefs. Everything is questionable and all information is feasible to have a review and that through another approach can enrich it by converting it into knowledge and promoting its integration.
– Halprin, Lawrence (1970). The RSVP Cycles: Creative Processes in the Human Environment. G. Braziller. Inc. NY.
– Banes, Sally (1987). Terpsichore in Sneakers: Post-Modern Dance. Wesleyan. Unversity Press. Pp. 21-37.