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Eclipse Dance Movement and Creative Workshop I – Notes 3 from September 22, 2019

May 3, 2020

Day 3:

Shared how we are feeling.

On Meditation, as you see in the diagram from last time, Zazen is Heart to heart communication which is quivalent with dance and Bodhidarma story: “If you wish, the flower blooms.” 

Also, I shared the story from Momo by Micheal Ende (The originally published English translation seems out of copies, yet I found it audio version on YouTube! HERE) In the book, there is the scene of a lotus-like flower blooming one by one whenever pendulum sways and then the flower disappears. The Meister in the book tells what Momo saw is not the clock time, it’s time within Momo and not necessary all the people can sense/see it. Also, he shares that in the universe, there is the moment the stars create the timing for something miraculous can happen. Yet, again, not many people can grasp the timing. 

The time is running within us. We ourselves are time.

We did 15 min of meditation of your choice. (Possibly: Samatha to begin with, then Vipasana, reflecting on what you are currently wondering, or maybe none/emptiness, just sit).


Circular Arm Pattern for sphere and planes in three different degrees of awareness.

Lying down on your back and bringing knees close to your chest, push knees from four directions to activate the leg muscles. Push ceiling with soles of the feet and palms, with imagery of pushing the books, feather, or anything you like back, shifting the imaginative weight and texture of what you are pushing back. Feel the difference between the speed of the movement and tone of muscles through your movement. 


Push partners and pushed by partners (Try this with wall, floor or even some other thing can be pushed. Maybe even air.). Sense intention, feel the difference (different pressure/texture/weight shift etc.) by shifting your intention (strong-soft, passive-active). Try to push, using many different parts of the body. Try pusing with multiple parts of the body (even to the differnt directions around you).

The words for the day from stück 1998/anchor 2018 by Ayako Kato:

Independence does not mean standing alone

We cannot stand alone. All of us need relationships. Everything is both independent and interdependent. It takes time to deepen the quality of independence. The learning process happens both when we are alone and together. True independence must be led by balance and harmony. It contains reciprocity.

Gradually become apart, and keep pushing your partner in the distance, some objects in the space, some emotions, complicated emotions, some thoughts, some incidents etc. 

Push music as your partner. Explore/Establish varieties of relationship. Be independent sometime or interdependent. – Remind Arc- Pick one instrument as a partner or all instruments as partners.

Reflection:- Awareness 360 °was felt and seen- The state of being was heightened- Ayako witnessed “Time” within and Transparency as a group. Air moving in and among you all. Air influenced by the movement of each. The dance was quite fascinating with heightened awareness. You all looked like the stars/planets. Thank you so much for the beautiful dance, grasping the moments within you and you as moments.


Eclipse Dance Movement and Creative Workshop I – Notes 2 from September 15, 2019

April 12, 2020

Shared names and what is improvisation

1st week, we did Samatha meditation

Last time, we reflected Vipassanā meditation

We did 5 minutes of Samatha and 10 minutes of Vipassanā.

I sensed the emptiness means fullness: acceptance of everything, eventually including the acceptance of impermanence/constant ever-changing, suffering, non-self. 

Thanks to Vippasana, the observing state/seeing deeply, I sensed the time before, reasoning behind and process of each of you coming into the room for the present moment. Thank you for coming!!


– Started from pushing the floor with fingertips and sensing your weight on them

– Move the gaze and sense the shift of weight through fingertips/tip

– Eventually going to the floor

– Being aware of the space between your body and the floor

– Bring the awareness of the movement choice for the placement of your legs. Be aware of how the head or other parts of the body move along with the leg movement/placement

– Sphere arm exercise 

– Let have the sphere around your right index fingertip. Let the fingertip explore the space in between the planes. May close your eyes.

– Start to make circles, initiated from the fingertip. Then, develop with other parts of the body

Keep going. Let each landmark of the body have the sphere. The sphere starts to extend its world through time & space; starts to connect with other spheres and extended time & space. It can happen not only externally expanding, but also internally expanding (at the same time deepening). The circles become figure eight.  You can look at yourself from a bird’s eye view.

Develop your own worldview.

Explore and/or notice: texture, mass, weight, size, length, speed, and find out the interrelation between those, for example among texture, mass, weight, and speed. Useful image: feather, rock, sand, leaf … 

Reflection: From Ellenor: How does impulse interact with a concept of improvisation? Does improvisation have a concept?

If we replace “improvisation” with “life,” rich dialogue can emerge. 

Wannapa experienced conversation in between herself and something else/out there, and she felt the impulse.

Anonymous: Seeing externally while moving and impulse kicked in.

Ayako: “Nothing is nothing/everything is something” (later this semester, we will focus on this sometime), and everything starts to have meaning and relationships when it exists. While we generate movement, it starts to have meaning. It means something. As we feel internal impulse through the autonomous heartbeat, we are living in the edge of the Big Bang.  

Introduced from Ayako’s “stück 1998/anchor 2008” calendar publication:

“It is OK to see the limits”
“Our Mortality is a limit. Yet life has existed on the earth for 4 billion years. So in a way, we are an extended part of the infinite cycle of eternity. We often feel a limit in one’s ability at a particular moment. However, it may not be so in the long run. We need to make an effort to make things happen step by step, and the effort doesn’t need to be made just from within. Something happens in collaboration with others and other things around us. Limits can make our relationships unique, nurturing the sense of admiration, respect, kindness, and generosity.”

Last time:“Every moment contains infinite possibilities”
“You make a choice. Yet based on what? Our mind is often the basis of our choice and action. Our subjective experiences, knowledge, and emotion are great factors in making the choice. When the objective moment arrives, suddenly all probabilities are revealed. “Impossible” is an illusion created only in our mind. Wherever we stand contains infinite possibilities.”

Overlapped with the technical practice of ARC (I am capitalizing just to enhance) by mentioning about Japanese traditional approach of Jo Ha Kyu and suggesting the practice method of starting from the shortest time/movement phrase to extending the time/phrase step by step, being aware of ARC.

Jo (序): Beginning

Ha (破): Break

Kyu (急): Rapid/Wrap up

The original words and concept can be found at the pages from 463 bottom through 465 first paragraph of A Mirror of the Flower.

While moving, I advised sensing not only you initiating the arc, but also get the sense of arc through the natural flow of the movement. For example, dropping something has the arc. How long does it take?

– Everything has arc. A leaf falling, seasons passing, each of us heading somewhere . . .

– Jo Ha Kyu can experiment in any order. For example, you can start from the Big Bang as Jo. And it will lead to new Jo Ha Kyu

– Jo itself has its Jo Ha Kyu. Nesting.

– The event can be stretched or shortened from the time which usually takes. For example, the change of the seasons can happen/be expressed in 5 minutes

– Even between or among body parts, you can change the time/dynamic running

– Placing/moving the center (sphere) in other places.- People can sense what you are sensing

Reflection, watching the group improvisation in the end:

I felt Dynamism, the full of spirit, and the liveliness. What I witnessed was opposite from the stream of consciousness. To present dance improvisation as work of art, having the determination and commitment to improvise is the must. It’s the same as good speech/conversation. Or spending a good day, even including a rest. 

Eclipse Dance Movement and Creative Workshop I – Notes 1 from September 8, 2019

February 2, 2020


What is improvisation? Everyone shared the current perspective:

Sol: Investigation of your own instrument, the body
Laura: Emotional response to the moment
Kinnari: Letting go, allowing things to happen organically
Vijay: Endless possibilities
Tuli: Freedom of choice. Looking back to your history, drawing from it.
Ranjana: Observing. Be a part of it. Embellish your own being/moment. Meeting with people and the environment. 
Ayako: Everything and Nothing


Samatha: Single pointed meditation to pacify the mind: Focusing on Breathing for 15 minutes: 
What we experienced: A baby crying … Cicada crying … Siren … Hammer sound of building … The baby crying again, then people talking [A lot of sounds expressed and resonated through air and breathing. Connected air … Everything is breathing]


Looked at the Chinese Meridian Chart- Foot massage- Meridian Stretch Exercises, incorporating X, Spiral Line awareness, & Standing PNF exercises; New Arm Patterns


Improvisation 5 min- “Where were you?” Everyone shared where you were / how you were doing while improvising → During this workshop, developing your world view more and more during improvisation would be great.

– Shared my sample world view chart above: I perceive my world as sphere sustained by coronal, holizontal and sagittal planes and all the space in between. A line extending all the way from the front to the back through me can express diachronic time. I am connected with the earth and sky through the vertical plumb line. Space around me based on the holizontal plane indicates the synchronic connections and relationships with other people, places and things. Also, I am internally and externally connected with beyond and elsewhere. My entire body is the eye which perceives and senses 360° sphere degrees internally and externally.

I am the conduit which has consciousness, subconscious, and unconsciousness (this world is bottomless), seeing, sensing, hearing, and feeling. When I dance, I mirror and perceive others/viewers in the same manner (I am practicing to do the same in my daily life).

Or, we can be anything: Metaphor, Principles, and Fractal of nature and the universe.

– Shared from my calendar publication on “stück 1998/anchor2008”“Every moment contains infinite possibilities”
“You make a choice. Yet based on what? Our mind is often the basis of our choice and action. Our subjective experiences, knowledge, and emotion are great factors in making the choice. When the objective moment arrives, suddenly all probabilities are revealed. “Impossible” is an illusion created only in our mind. Wherever we stand contains infinite possibilities.”

– Having above in mind, improvised another 5 minutes without sound, & kept improvising another 5 minutes while I was reading the text above again and putting the music “Sunday” (around 1’13”) from Sunday in the Park with George. 

Blowing in the wind: Magnetic Field of “Masterpieces” I

February 24, 2019

Japanese education never missed teaching about Western classical masterpieces and I confess that I went crazy to witness those in front of me while I was in Italy. Growing up, I have seen those through books or Sunday Arts section on newspapers. I assumed that I knew them. I just wanted to see them in front of me. However, those were actually far beyond my expectation. I was struck by the aura and their magnetic field which draws people. Those works were breathed in and the spirituality was endlessly flowing. I physically understood the reasons why those are called “masterpieces.”

In Rome, I decided to visit Vatican Museums and Sistine Chapel. First, as I witnessed The School of Athens by Raphael (Raffaello Sanzio da Urbino, 1483-1520) especially to be inspired by the scene of Aristotle, who is known for his original Rhetoric term use of “ethos,” being taught/discussing with Plato.

“The School of Athens” (1509 – 1511) by Raffaello Sanzio da Urbino (1483-1520)

“The School of Athens”

Seeing Aristotle, the father of ethos, in this way was a blessing. With Plato’s right hand pointing the heaven (his left-hand holding Timaeus), Aristotle’s left-hand palm facing to the ground (his right-hand holding Nicomachean Ethics), and the two historic philosophers’ feet shifting forward, their active and cosmic discussion was placed in the center front of, presumably discussed by some scholar, St. Peter’s Basilica, witnessed by the statues of Apollo and Athena (Minerva in her Roman guise) and surrounded by well-known ancient Greek scholars in the circular formation continuum with the dome ceiling and even with the sky. I learned the colors Plato is wearing are purple which represents ether/air/wind and red which represents fire. The colors Aristotle is wearing are blue for water and brown for earth. Both air and fire don’t have weight and water and earth have gravity/weight. Plato was interested in more ethereal/theoretical ideas and Aristotle was more practical and interested in empirical observation. The gestural hand shapes, to the heaven and the earth, are reflecting their essential ways of thinking, and the other philosophers on the left and right are also decided in the way.

One question I had was who is the lady in white on the left side. She looks at us with mystic expression and she is the only female figure who are drawn clearly. It’s told that she might be Hypatia (350/370-415 AD), Hellenistic Neoplatonist philosopher, or Fornarina who was Raphael’s lover and is guessed symbolizing Love. Love moves all the humans as the primary force of energy. Her eyes with a gleam looking upon us captured my attention, and I am not sure whether this is discussed, yet there are only three people who are clearly looking at us: Raphael on the far right, Fornarina and a baby child, guessing his child, on the far left. I guess Raphael drew those three humans, with a little mischievous smile, who are tied beyond any human reasoning/philosophy, retaining both intangible love and tangible physical self as the truth and existence in themselves.

Blowing in the wind: The Center of the Earth-Visiting Greece, the origin of ethos

December 4, 2018
The Parthenon from Ancient Agora 
When I just looked up the museums in Greece, I was overwhelmed by finding out the artifacts from Cycladic Civilization. A musician’s figure from 2800-2700 BC let me wonder what is the oldest dancer figure? (Then, after 15 minutes later, I found this. A dancing figure, somehow defined so, from 32,000 BC

I would say, it’s been my dream to visit Greece since I was in college since I studied the philosophy of Socrates and Plato under the theme of “What is seeing?.” So when I stood at the Zeus Eletherious Stoa of Ancient Agora where it’s told that Socrates was hanging out with his philosopher colleague, I was just speechless, imagining him, feeling the wind and looking at the swaying grass around the foundation stones of the monument.

Climbing to the top of Acropolis to see the Parthenon was also one of the highlights. Even if those ancient people who built these amazing monuments and walking there are gone, the spirits are still remaining and contemporary humans can sense and reflect them. I got emotional by reflecting the fact that the teachings of those Greek philosophers are passed on and influencing us internationally beyond cultures even after thousands of years later. 

For the second day, I went to Delphi. According to the Greek mythology, Zeus wanted to decide the center of the earth and sent two eagles from both edges of the horizon and the Eagles met in Delphi. I was curious to experience the atmosphere of the place where the Apollon’s oracle was given. Taking two hours by bus from Athens, I arrived at Delphi on the part of the range of Mount Parnassus, went through Stoa of the Athenians, and visit the Temple of Apollon, listening to the story of Ancient Greek people visiting Delphi, for common people through the once in a lifetime long trip, believing it as the center of the earth/the world. Surely, omphalos, the navel of the earth, was memorable to watch. So later, I ended up using this idea of “the navel” and “the center” for my Ethos solo which I presented my work-in-progress piece at the end of the Camargo residency, thinking everything and everybody is “the center” and “all” is “the center.” 

Mt. Parnassus
Omphalos of Delphi

Blowing in the wind: Let it play on you-Collaboration with saxophonist Urs Leimgruber

December 3, 2018
In Motion by Urs Leimgruber and Ayako Kato, Photo by Urs Schmid
I visited Lucerne, Switzerland to collaborate with saxophonist Urs Leimgruber. Lucerne is famous for its Lake Lucerne, Mt. Pilates and Mt. Rigi. As soon as getting off the train, the freshness of the air because of the water and mountain can be felt. When I visit here for the first time back in 2007, Yodel Festival was happening. All over the town, you could encounter the group of yodelers and alphorn players and could experience performances here and there. Urs says this horn tradition is residing in him and other Swiss wind instrument players even if they are contemporary artists. The food in Switzerland is very expensive. For example, the simple baguette cheese sandwich at the station costs 6.50 CHF ($6.52) minimal. So naturally, you feel like cooking by yourself if possible. Yet interestingly, being able to get fresh vegetables and fruits as well as delicious cheese and bread from farmer’s market and stores, drinking tea/coffee with the quality tap water, the level of contentment increases and I feel less hungry even the amount of food is smaller than I usually eat.

I see on my diary I am jotting down:

       Time to create, taste and move mindfully. 

Time. In Chinese characters, time writes “時 (time)” “間 (in between).”

       I hear the church bell for 7 o’clock. I noticed one hour passed. I somehow think of Japanese author Soseki Natsume from a hundred years ago. 

Urs does his everyday practice routine in the morning, Vipassana Meditation and Tibetian Yoga, before his musical practice and very grounded. Through not only the performances but also the conversation we exchanged as well as witnessing the way he works, I could learn a lot. After the first concert, he advised me, “Be more still.”

       Be empty. Then, let it play on you.

I realized Urs is the artist who is achieved to execute the principle of being 0%, to be ready and be a conduit for what comes, and 100%, to fully receive and embody, in the performance. Not doing by yourself. It’s the training of the mind.

When we were talking about the long silence of Urs with his collaborator Jacques Demierre and Barre Phillips during a piece (Jacques shared with me once before, they experienced over 5 minutes of silence during the piece, no one clapped, and started again), we discussed the different silence between which comes in the end and which comes during the piece. We also discussed the ending, how we know etc., and Urs shared with me, “the beginning is the end.” It is very common to perform in different types of space for music & dance improvisation concerts. Therefore, interestingly, the same duo becomes uniquely different and transform. After the first concert, what Urs adviced me, “Be freer.” In other words, this means, “Don’t be afraid” or “Trust (yourself, others, space, time what is running all around you and internally).”

When I was having a conversation over dinner with Urs and his wife Sulla, who is a breathing therapist, she shared with me that emptying our lung first to breath fully. She also practices Vipassana Meditation, and shared with me, “Don’t evaluate, just observe” during meditation. This state of mind is very similar to Taoist way of viewing things objectively as if it’s through bird’s-eye view. I am not sure how performing music and dance improvisation is similar to meditation, yet this objective perception from the distance, while you are performing, is also talked by the Noh master Zeami in “花鏡 (Kakyo or A Mirror of the Flower).”  

From the next day, I started to try meditation in the morning. I sensed me being one with all the moving things. I sensed “it” or “all” is moving me. Leaving the space. Be there. Create there. Improvisation is similar to meditation. Connecting with the world, moment, and the universe.

FIM, Basel on May 29, 2018. In Motion duo excerptReflection group
Hauri Atelier, Langenthal, May 30, 2018.
Kunstplattform Akku, Tanzstudio Irina Lorez & Co., Emmenbrücke, June 1, 2018.

*Urs Leimgruber is coming to Chicago in May 2019 and we will be collaborating! Please look forward to the performance announcement!

Blowing in the wind: Backpacking through the winding road to unwind

December 3, 2018
IMG_5030.jpgThe last view of Cassis on July 7, 2018 from the deck before I left there this summer: Cap Cànàille and Mediterranian Sea

Thirty years ago, I backpacked Europe with my friend in college and visited Switzerland, France, Germany, Denmark and a little bit of Norway. I really wanted to go to Spain, Italy, and Greece at that time. Yet, we didn’t have enough courage to execute. I was young and intimidated to go around the new lands which sounded familiar, yet stepping into for the first time. Back then, interestingly, the trip triggered for me to start to wonder about what is Japan, who we are and how we are seen by people overseas. After that, I aimed at being a person who can explain the reason for Japanese ambiguity in communication known as reading the air or Haragei* which could be an enigmatic culture to foreign people. At the same time, realizing everything humans cause and create is the manifestation of our mind and learning beliefs should help, I committed to taking the Christian, Buddhism, and Islamic cultural and religious introduction courses, to begin with, offered in the international studies department.

Thirty years later, this summer, I realized that I am traveling alone in Europe. I made my dream to visit Greece and Italy come true. I wondered what is allowing me to travel by myself, and noticed that I lived in a foreign country and has been speaking English for 20 years. Of course, I wish to be speaking other languages such as Greek, Italian and French to visit those countries. Yet, it seemed my guts were definitely trained enough to go around those new lands just by myself.

I am now in Cassis, France to research on Ethos, being welcomed by the 10 playwrights/scholars of the Cultural Diaspora group who are also artists in residence here now. Yet before I arrived here, I went to Switzerland to do some performances with legendary saxophonist Urs Leimgruber and went to Athens and Delphi in Greece to get inspiration from the sign of Greek gods and goddesses and ancient philosophers, and Italy to bite some history of Roman Empire, Middle Ages and Renaissance.

Here, I would like to share some of my transformative thoughts through my experiences after I came here** and how they are influencing my notion on Ethos.

*Haragei: the art of conveying unspoken messages; implicit signaling (alc, Eijiro Web Dictionary)

**Then, the summer passed and I am reflecting on all the things I experienced after I came back to Chicago, and still, my thoughts keep transforming amazingly along with my experiences.

Art of Now: Movement/Dance Improvisation practice II Day 2, Fractal, 1/26/2017

February 2, 2017

We worked on Fractal as one of forms of multiplication/repetition. Here is the quote from Patterns in Nature by Philip Ball.

If we look at an aerial photograph of a jagged coastline, without a scale bar we can’t be sure if we’re seeing a stretch that is a mile long, or ten miles, or even a hundred. This indistinguishable appearance at different scales of magnification is a property called fractal. It is a remarkably common feature of nature: think of the fluffy edge of a cloud, or the way twig from a branch tip mimics the shape of the whole tree, or the repeated branching of the lung’s passageways. In fact, fractals have even been called the geometry of nature. Many natural fractals look disorderly when you first see them: there’s no exact symmetry in a tree or a mountain profile. But the fractal property discloses a kind of ” hidden logic” to the pattern: there’s a hierarchical repetition of the same general form at decreasing scales. What are the processes that create this logic? And why is it useful for living organism? (48)


For the day, I (definitely) asked people to include intangible/invisible entity as Fractal, which can be size, a path of movement, rhythm…basically grasping all the essence of movement and sound as the matter of Fractal.

Exercise 1:

We moved to find fractal through “spiral” in and out of the body. We tried not to do it, rather let it happen.

What we found were:

  • The spiral fractal cannot exist alone or cannot be isolated. It was found all over through the body.
  • It was sensed happening from within. The seam of the sleeve being spiral is the result of the movement done inside.
  • Found crescendo and decrescendo of spiral and it was natural.
  • The body was easy to find the balance because connection throughout the body was sensed and there more than just focusing on movement in the moment.
  • It was tough to find stillness among the spiral movement. Continuity must be the nature of “spiral” motion though the shape or trajectory.
  • It was good idea to let IT, the movement, grow, among the cyclical/circular nature of the movement.
  • Noticed which part of the body creates spiral, and how those spiral can be multiplied, as Fractal, in combination with other parts of the body.

When I asked Wilson Smith to explain the reason why J.S.Bach’s Cello Suite No.1 Prelude sounds like spiral, he said it’s because of the gravitational harmony is arranged in the cyclical manner and the sonic pattern visually and kinesthetically appeals as spiral.

We also somehow convinced the spiral is the form of eternity, and the fluid form is the reason why the world is continuing.

Exercise 2:

One by one, people presented their own spiral fractal dance.

Corinne Imberski presented a beautiful spiral/figure 8 dance, presenting all the different/gradational sizes, spacial orientations, patterns of spiral through all the different parts of the body, letting the curvy and circular energy freely pass through inner and outer physical space.

Rose Bouboushian presented very interesting long line spiral dance. Her dance proved that  spiral exists even in straight line in many ways when the body is moving. Her hair is curly, so it was adding good accent/hint to observe the spiral activity happening in the parts of the body as contrast. When her full body was used on the floor, the expansion plan was pretty intriguing to observe how the body moving from one to the other through the spiral connection of muscular tensegrity. Rose expressed that she challenged to find stillness and also present different spiral of each rendition. She experimented also how her mental state influence the spiral motion.

Wilson is a musician, so I asked him to be aware of rhythmic Fractal. He presented various wavy Fractal patterns, using the wide range of space and speed. It was fun to experience the accentuated gravity and rhythmic patterns of the simple repetitive wavy pendulum motion  blended with multiple sizes, timing, duration, direction, dimension and force. His hands which was naturally hanging were mentioned as not intended physical elements, yet memorable parts of the performance since those were necessary so.

Fractal is there. Already there. We just extract and express it because we are Fractal of nature itself.


Work Cited:

Ball, Philip. Patterns in Nature: Why the Natural World Looks the Way It Does. Chicago: U of Chicago, 2016. Print.







Art of Now: Movement/Dance Improvisation practice II Day 1, 1/19/2016

January 29, 2017

We started out from stabilizing ourselves, breathing, and went on creating paths/conduits throughout the body and the space. Later one of participants expressed that the attempt of connecting inner space and outer space around axis/plum line of the body, through the paths in bones/muscle fibers, breaking the skin wall, felt like butter churning.

Exercise 1:

After we stood up, putting sound by Taku Sugimoto, we worked on repetition and variations supported by the notion of: the same thing never happens twice. However, the suggestion was to let it happen, rather than trying to make it happen, tuning and succeeding the sense of gravity through the physical entity and sculpting and connecting the air through the inner to outer and outer to inner space with breathing / respiration. Another suggestion was to be aware of the distance between movement and sound.

Exercise 2:

Breaking the group into pairs, next additional attempt was to be aware of Surprise. Here again the effort to keep our own independence as movers is important although it’s coexistence, with sound as well as other mover(s), I decided not to leave how to deal with the existence of the other in the space as a performer up to those performers for this time.

I witnessed beautiful performances. Movers worked on Surprise in various ways. The surprise doesn’t mean by:

  • Charging up space through stillness
  • Shifting/Transforming energy flow through speed, spacial direction/levels/facing/size/dimension of movement execution based on the listening of the moments.
  • Defining the (negative) space, taking long time
  • Drawing the viewer’s perspective into micro to macro through the use of the space and the body.


Exercise 3: Drawing Score:

After we perceived some scores by John Cage, we draw our own scores based on what we did. Below are some beautiful drawings:


Score Drawing by Ambrosia Bartośekulva

Above by Ambrosia Bartośekulva



Score Drawing by Krist Krueger

Above by Krist Krueger



Score Drawing by Corinne Imberski

Above by Corinne Imberski

Exercise 4: Exchange Score and Dance Other’s Score:

Exchanging scores, movers tried to realize the scores. The result was:

  • Definitely the original person’s dance was memorable and inspiration to move, yet movement done based on the original score was totally different and it was done by the person who realized.
  • On one hand, we, to the certain extent, could see why score/notation for dance/movement hasn’t been super successfully established particularly for dance of more free styles such as modern and contemporary dance although score can be used for structured improvisation to maintain the certain agreement to reduce unknown factors or to have shared perspective for the work/piece. It’s challenging to notate all the information of the physical entity precisely for: size, texture, placement/orientation of the body in the space, direction, nuance and quality of all the body parts even though, to some degree, notating time line, facing, which one of right and left extremities moving are possible as well as quality in certain degree. (Please see: Dance NotationLabanotationBaroque Dance Notation).
  • On the other hand, reflecting now, the origin of the score is based on improvisation (which usually notated as music composers originally did so to keep their improvisation) and since this particular workshop is geared toward improvisation, being free and creative as possible, the score was not used to regenerate the original movement, and the purpose of the score was not directly to keep and realize the movement happened as it is. Rather, it was almost to take a note to reflect what happened and what the mover did. It can be called as the notated inspiration both for the original mover and a new mover who wants to try the score. The score here was not used to regenerate exactly how the movement went, but worked to generate new movement.

This may prove, we cannot live other’s life even though we can get very much inspired by others. Repetition, Variations, Surprise and Stillness…keep happening. 


Art of Now: Movement/Dance Improvisation practice Day 8, Guest Musician: Peter Maunu, 12/8/2016

January 25, 2017


Art of Now invited Peter Maunu, guitar, violin, mandolin, to speak about and play improvisation. We moved with his sound after he introduced himself, improvised about 15 min, and talked on improvisation. Hope many people will enjoy those clips.

After we moved, we exchanged Q & A. Topics were (below in Part II):

0’04”: Not watch or watch in collaboration
7’35”: Repetition, Leaving Space, Relationship with dancer
10’10”: How you have been practicing/rehearsing?

Art of Now is hoping to invite musicians for presentation for the future, too! Stay tuned!!