Reading my submission for funding about why going to Porter's Moving and Writing workshop was important, I have to say - that yes, I got what I was after - to examine storytelling as well as Porter's pedagogical style. What I learned will undeniably influence my final MFA project, but a little clarification is in order. What I was looking for was intentionally general. One can never tell what discoveries will be made at a retreat. That's why retreats exist, right? Here are more specific, important things that I learned:
- We didn't study storytelling in the workshop. I knew going in that it wasn't a narrative writing class. Instead, we examined words, which is exactly what I wanted. I have always been leery of using text with movement. Both elements need to stand on their own or one shouldn't combine them. That said, I'm very attracted to voice and movement work that works well together. To me, Porter is a master. Throughout the week, she took us through exercises that allowed us to explore sounds and movements that words can inspire. While I understood the improvisational exercises, I really didn't know where it would take me. Not every attempt worked well for me. By Friday, I think I arrived at a place where something made sense. I had the beginnings of a new solo, that without forcing a narrative, will certainly tell a story. I'm really glad that I took notes on the exercises we went through so I can refer back to them. I also started a reading list based on Porter's library. In this sense my initial requirements and reasoning for funding were fulfilled.
- To go further, I also found space. The unique environment of Bearnstow and the peacefulness the land affords gave me room to listen and be ready for ideas and directions. It gave me a chance to see others; to be quiet until it was my time to say something somewhat worth hearing. (I am almost nervous about starting the Fall quarter. So much noise, so many distractions.)
- I also had time to do a different kind of writing. I mapped out my professional interests and what I believe in as an artist. I came up with the following mind map for the next couple of years:
- I also had the chance to talk one on one with Porter and about how she markets herself as a soloist. I am always amazed by a successful choreographer/soloist. A solo artist has a lot to take on alone. After showing her Bear Traps and Other Impressions I was able to talk to her more extensively about what didn't work this time around. More specifically, we talked about vocal treatment that needs a little work. I'm not sure I'm ready to advertise myself as a soloist, but I do think I have more solo performances that need booking. Solo or not, I discovered that I am nowhere near ready to stop performing. I found this realization reassuring.
- Most unexpected were my discussions with Vicki Angel. I keep thinking about the Lincoln Center Institute and how I need to take at least one of their workshops. I'm curious how an artist can maintain artistic vision and still successfully engage in public service. I think my next step is to talk to as many long-established artists regarding their work and how they've maintained their vision. I'm interested in talking with Liz Lerman. Eventually, I want to talk to Bill T. Jones. However lofty these dream conversations may seem, I think both Lerman and Jones (whose Ghostcatching project is in public schools via a partnership with Lincoln Center) could teach me a lot about community and artistic vision. I also can see how my continued conversations with Columbus artists and educators will help me understand the community in which I'm currently involved.
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