I am re-posting this article
Please read it again before you continue below
When I published it last term Helen commented:
" I find interesting how theories of connectivism manifest through movement in the practice of improvisation. Improvisation relies of a trust in individuals, in self and others, with a shared understanding of the co-creation of the space, the dance, through the networks that underpin the practice and the patterns that emerge as we interact. As we offer and respond through improvised movement encounters we share, I feel, elements both of Downes and Siemens theories here. Look forward to talking more on this ..."
As you think about Connectivism as a way of engaging with the course, also think about what it says about larger connections with the world, with your practice. Helen has thought about this in terms of her practice of improvisation.
Often people describe improvisation as 'just doing something' with no framework. For me, through Connectivisum I can consider nothing is without an emergence of a framework (even if it is momentary and then changes). Sometimes engagement is through witnessing the framework, letting it emerge and not starting by confirming it before you agree to start. This could the difference between improvisation and codified techniques.
For me Connectivism and this course are about how you move within to understand the framework, how you witness the space. For me the arts are about how we witness the space. It is not about confirming a framework and then shoehorning everything into what you think it is. This is because a framework is only as useful as your understanding of it and as your understanding grows the framework changes.
Please comment below... what do you feel...?
I consider by allowing a framework to emerge during Improvisation provides a deeper understanding and meaning to codified techniques. If too much direction is given or preordained then this removes the opportunity for an individual to develop their ‘self’. Such as the MA course recognises experience by doing, so does Improvisation through inter subjectivity and play. A tight framework may inhibit and restrict innovative movement by repetitive patterns and codes. How to put this to practise?? Accepting difference, pliability and open to new ideas.
ReplyDeleteLetting a frame work emerge, witnessing that also the framework is constantly evolving and in flux, allowing yourself to be in a process. Letting go of control and finding new ways to look at uncertainty? In improv you can not control the outcome, especially working with partners, you always navigate in an uncertain space, how will the other respond. How much do I allow myself to being open, being in the moment and listen to the present situation, not anticipating a certain out come?
ReplyDeleteI have experienced in many school projects, working with kids without a formal dance background, that there are many kids, when they are first introduced to improv, what they seem to struggle with at the beginning is the idea, that there is no right or wrong, that there is not "the" correct way to do something and that not knowing is ok. That they can create their own frame work together and it can be different every day. Many of them feel lost at the beginning, but once they embrace the idea its wonderful to see them move and connect/play with each other. Maybe the arts can bring more divergent thinking into class rooms and let kids experience a different kind of learning process, rather than just "information gathering and replicating?
How true! Could children need this in their everyday lives to alleviate stress, improve mental health? Divergent moving leads to divergent thinking?
ReplyDeletehttps://someofdavesdancebrain.blogspot.com/
ReplyDeleteVery interesting. Reminds me of an improvisation workshop I attended with Ana Catalina Román Horcajo, an ex-dancer who has worked very closely William Forsythe. From it she established that in all of Forsythe's creations there is a set framework which he encourages all of his dancers to explore. His end piece would be the product of the combinatorial creativity of his dance artists.
ReplyDeletehttps://jessemapp.blogspot.com/2019/02/connectivism-and-combinational.html
As usual thought provoking and interesting. My thoughts are on htts://dsmgdance.blogspot.com
ReplyDeleteMy thoughts on connectivism.
ReplyDeletehttps://jadenunn1986.blogspot.com/2019/02/connectivism-after-reading-adesolas.html
I feel that a framework is there and then dissolves as each time in my experience it keeps changing... while teaching my 5 graders a classical kathak composition the parameters keep finding edges to them for them to connect and as they get into and let go the space of movement the framework disappears. to know the edges and then go beyond them. I feel it helps to lay the movement and develop the choreography but it has to be loose for me where it can disappear too. its not concrete so that it dictates and takes out the freeness of the whole process.
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