You’ve got this injury you just can’t shake.You take time off. You ice and stretch and do all the right things but you’re still limping home. You spend too much time trying to articulate your particular brand of hurt to those loved ones who still put up with you. You follow referrals to physical therapists and massage therapists and you’d go to an aromatherapist if it’d help you run again, but nothing does.
So important to learn about the inner workings of your body.
The truth. I’ve always felt looked down on for crying, that it was something that was “wrong” with me….getting comments that i am weak…. I’ll never get a job if I can’t keep myself together. But to be honest, when I’m holding all that I’m feeling inside… It’s bound to leak out. I’ve spent 5 years trying (at first) to “control” myself in these moments when everything seems to come spilling out… And now, now that I have gone through hell and back, I realized that it just means I need to be more balanced. And instead of shoving my emotions into myself. Hoarder of all my compassion and love and fear and anxiety…. When true moments come up, I have begun to “retrain” myself to let myself feel in the moment…. To not be completely overwhelmed by what you are feeling, but be honest and understand that you are human, and humans were made to feel….Because that’s how we will be able to move on, forward, and out.
Happy thanksgiving! Thoughts on gratefulness!!!!
Take a minute to watch this. It really makes you question, and perhaps understand the trajectory social media is leading us.
Autumn stuffed portobello mushrooms
All sautéed in olive oil and stuffed into….
Parmesan cheese on top
Cooked at 400 for 15 minutesInspired by: http://colorhungry.wordpress.com/recipes-of-a-mad-scientist/butternut-squash-and-apple-stuffed-mushrooms/
London-based, Israeli choreographer Hofesh Shechter. Former dancer with Ohad Naharin at Batsheva Dance Company in Tel-Aviv. Now an associate artist at London’s Sadlers Wells theater.
Last fall I saw his company perform “Political Mother” at the Brooklyn Academy of Music (BAM), last spring “Uprising” and “The Art of Not Looking Back” at Sadlers Wells, and last night, his newest work “Sun” at BAM. Needless to say, I am a fan.
The thing is, I am in awe. His work is sublime, terrifying and incredibly beautiful… there are elements of which that are so mysterious to me, it keeps me intrigued, ravenous for more. “Political Mother” changed things for me. I had become disenchanted and disappointed with what is happening with so much contemporary dance right now…. Specifically in New York. I had been feeling that there just wasn’t anything new and exciting happening, nothing moving or challenging… Everything I had been seeing was either drooling-ly safe, or copying some other commercial company making a go of it in nyc. It just so happened that at this time, I won a ticket through BAM to see “political mother”. Unfortunately, I couldn’t go. I gave the ticket to my brother ( a former dancer, now composer, intellectual, philosophy student, and art enthusiast) who, after the performance promptly called me, ecstatic! “Meg, you have to see this. I can’t say any more than that.” The next night I got a rush ticket and my life was changed.
"Political Mother" left an impression on me that I know will last my entire life. I was literally blown back in my seat by the sheer volume and force of the music, dancing, and message. As you entered the theatre, the ushers gave you ear plugs, and for good reason… There were 4 live drummers, 4 electric guitarists and a man in a suit screaming into a microphone on scaffolding… The energy was intense, in-your-face, and unapologetic. This, in conjunction with the movement…. People. Raw. Real. Downtrodden but with the strength of community. Moving with a sense of ease, intense strength, abandon, constriction, and flow, like water… Paradoxes, yes, but that’s what sucks you in, they seem to defy all preconceived norms of dance and movement. You can’t tear your eyes from them, their vulnerability is out there for you to grasp and breathe in…wrapping in and in to this meditative folk dance. The pain, love and hope are so clear in the body-minds of these dancers…As a choreographer, he skillfully tailors the piece to put you, as an audience member, right where he wants you. Shocking, penetrating, filling every pore with movement and sound. His choices are bold and each one, intensely intentional… the production… Hit me so hard, I had tears running down my face for the entire hour long program.
“Uprising”, a piece with only the men of the company. Exploring he world of masculinity, the strength they exhibit, but also the pain and the need for community and support from each other. “The Art of Not Looking Back”, for the women. Shechter’s exploration of abandonment by his mother. Lights come on to a stage with a line of the women standing there… Blank…And you hear him telling you about himself. His name, where he was born, fast-forwarding at points, leading to his declaration that his mother left him, followed by the most visceral, primal scream I have ever heard. It goes on and on and morphs into harsh gasping into yelling once again. And then the pulsing dancing starts. He pushes you to come with him on this emotional journey, giving you a taste of what this is all about, bringing you there so that you can experience the movement in the emotive state he needs you to understand.
"Sun" is a bit different than these other 3 works. A satire, with a mood reminiscent of the renaissance, using reoccurring scenes including ‘puppets’ of sorts, interspersed with folk dance moments, brutal beatings, a farce on the nature of performing, and fear of the unknown assailant. The devices he uses as a choreographer are akin to film, cinematographic, if you will. With snapshot moments juxtaposed to bring you closer to the truth, but never blatantly force-feeding you the message he’s trying to say. You either feel something about the issues, the images he puts out there for you… Or not. But regardless, the journey is one of a dark nature, leaving you uneasy but hungry for more.
I am fascinated by hofesh shechter as an artist, choreographer, composer, and dancer. His point of view so clear to him, and necessary to convey. My questions are incessant in my mind:
-How does he work with/treat his dancers?
-What is his process?
-Is he collaborative in his efforts of creating movement or does he have a very clear image in his mind?
-Does he know the intention of each piece before he begins the process?
-What is his story? does he follow his own emotional impulses?
Walking away from these performances, I am nothing but awe-struck and inspired, not only to find answers to my questions, but to create my own work, unafraid to be bold with the choices I make… And I urge this on all artists. That is how we grow and how our culture will grow as well.
One last thought from “political mother” that I think rings true through all his work… And in life.
"When there is pressure, there is folk dance."