I would like to imagine the presence of dance locally, though the dance of
which cris writes, developed, as I understand it,from the New York-based
1960s Judson Theatre.
cris wants to make the poem do. Making do: improvisation. Car-dodging
steps & placing the body just right by the tube track. Sluicing through
the exit. Walking wider round the blind corner. Dog-shit shoe scrapes.
Kinetic memories. Dance as topography, reading the space it constructs.
The dance cris did is urban, perhaps it could only be an urban presence.
cris, is 'contact jamming' the same as 'contact improvisation'? Steve
Paxton. "The communication between two moving bodies and their combined
relationship to the physical laws that govern their motion: gravity,
momentum, friction and inertia"?
I had a thought that Allen Fisher's 'Gravity as a Consequence of Shape'
was related to this dance form. I don't mean its titles, taken from blues
dances, because they float over the body of the text like a memory of
jouissance, but the dynamic of those poems, cuts & cross-overs, the
sudden phrase, urban topographical. I was intrigued about this & asked him
at CCCP and he mentioned his interest in the Judson Theatre.
At Cambridge we are not encouraged to take an interest in the Judson
Dance Theatre. Perhaps this is why academics move about absent-mindedly.
Karlien
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|