Improvisation Class
The Oxford Dictionary (still) defines improvisation as an act of creation that was enacted spontaneously or “without preparation”. The way I understand it, improvisation—or how i like to call it, improvisation proper—isn’t determined by one’s level of preparedness; improvisation proper is determined by one’s willingness to face and keep facing the unknown.
This class is intended for anyone who is tickled by the aforementioned statement.
In this class, I will be discussing two points: how does one determine what the unknown is (how do we face the unknown)? and, how does one engage in an act of creation whilst maintaining their relationship to the unknown (how do we keep facing the unknown)?
Please bring to class any instrument or tool you need to engage in the practice of improvisation.
Practice Sharing
I still don’t know why i woke up on a random day in February to decide that it’s choreography that has the capacity to recognise and take note of whatever parameters phenomena are made of. Up until that point, I was convinced that choreography was all about the external, superficial values and their preservation. And it could be that, in traditional terms, choreography remains oriented towards the external. But the way i saw it on this random day, choreography had a much more sophisticated capacity. For in recognising what they’re made of choreography makes phenomena observable that previously weren’t.
On this occasion, I would like to discuss the importance of observability [one’s ability to observe and/or make things observable] for the articulation of any experimental or creative practice; improvisation notwithstanding. to that end, i will share several examples of practices i’ve been developing over the past decade; performative and pedagogic. I imagine this session to be in which you can reflect on something you were told, something you had the opportunity to witness, and something you had the opportunity to try or test for yourself.
