Ann Carlson, our intrepid artist in residence and the creator of The Symphonic Body UCLA, joined the participants of the Fifth Creative Coding Labs on Wednesday to talk about her aesthetic, share insight into her approach to movement and explore what she calls “the movement of the movement.” Ann is the architect of a unique dance performance under construction that will be performed by workers from this campus on Nov. 21 in Royce Hall. (Check out videos of the progress of this piece here).
For Ann, the word “gesture” is synonymous with the word “dance.” Much of her work, The Symphonic Body in particular is focused on accumulation and inspiration, on “the aesthetic of the everyday.”
“The movement of the movement is taking a functional gesture of utility and moving it to something more abstract, metaphorical or ripe with symbolism,” she said.
Carlson talked about triggers in her conceptual development as an artist (hearkening back to moments that snapped her attention away from her childhood traditional ballet training). She talked about dismantling conceptions that surround what a dancer should look like and false constructs of what dance language should be comprised of. She talked about movement as both a memory trigger and memory preserver.
CCL participants got a minimalist sneak peek at The Symphonic Body, with two performers rehearsing segments of the ever-evolving performance work in front of a rapt audience who seemed fascinated not only by the intricate and unique social structure of the project, but by the potential for emotion and self discovery that can be triggered by having an artist observe a person’s everyday movement and physical gesture and then collaborate with that person to manifest a highly personalized and idiosyncratic movement vocabulary based on it. This is what The Symphonic Body is all about.
It’s interesting to watch Ann’s own gestures as well as they rehearse and create, to witness the gestural language she has developed that will allow her conduct the movement and score the physical symphony.
Her projects and presence seemed to energize the room and play on themes that had already started creeping in to this experimental space.
We’ve been working on this project with Ann for the better part of a year and have been enmeshed in the very UCLA-specific nature of this work, so it was also quite fun to see shades of Symphonic Body in a piece Ann created almost 20 years ago, titled Sloss, Kerr, Rosenberg & Moore. For this, she shadowed four young lawyers in their daily work lives, then created a dance piece based on their movements, rooting their feet to the floor.
Here’s a look at an early performance in the mid 1980s
And the lawyers are still performing it. Here’s a 2007 interpretation of the piece.
“You can dance doing anything,” Ann said, quoting a lecture from Murray Louis that had inspired her as a child.
You can even dance while being a lawyer….
Photos by Calista Lyon