Counter patterns, angular unconformity, shifting divides, rootless mountains, stream capture, fatigued rock, surface of no strain. Beginning from explorations of surface contact, texture, and pressure and using these <<< geological terms as tools to find somatic relief, we will mine openings for performance-making in collaborative vibration with our environments.
In this workshop, we will explore somatic and choreographic movement practices with fiber and textile materials as body-building objects and collaborators: drag, extension, adornment AND mirror, reflex, enabler, facilitator. Enlisting Bebe Miller’s proposal to consider ourselves “animal citizens, in view,” we will use surface contact, texture, and pressure as it resonates through our bodies to ground in the material moment and pursue the implications beyond. This process is a choreographic measure to examine “what is actually happening?” Using objects available to you in your home and being in community with your space, we will move concurrently, watch each other, and talk.
These practices are informed by Meg Foley’s current research into geology and parallels between ourselves – social and physical selves – and geological phenomena, in particular aligning principles of the Earth’s movements with bodily experience, sensations, and practices. The movement practices embrace a kinship-based relationship with rocks, as our ancestors, co habitants, enablers, and who will remain when we are gone and as a way to further understand gender, queerness, and family-building.
About the Facilitator
Meg Foley makes performance- and body-based explorations of identity, belonging, and time from a queer, nonbinary perspective. In a loving tumble with formalism in dance and what constitutes performance, and influenced by intersections of parenting practice and artistic practice, Meg works on a research continuum that centers the 24-hour body and asks how identity is occupied: an all-the-time, ever-shifting self, a sacred site, a portal, a prism, bloody, sweaty, sexual, mundane. It is interwoven with relational aesthetics, play, and group-building.
Meg builds elaborate text and movement scores that mess with time and memory. In 2016, she began using fabric, foam, and carpet to extend embodied space through interactive objects and installations, trying to present ontological experience through other media, affording somatic life to objects and exploring her body as an object in dialogue. www.megfoley.org
beautiful crystals imply slow growth IS PART OF THE 2021 COUNTERPULSE FESTIVAL. LEARN MORE AT COUNTERPULSE.ORG/FESTIVAL2021
Pictured: Cadence in Ice Primordial; Photo by Carmichael Jones.
Image Description: A gently folded, dusty gray blanket mound with scraps of bright orange fabric peeking at the edges is centered in the photograph, on a shiny frozen lake in front of a bright, clear blue sky. Under the blanket mound and not visible in the photo is Foley’s child. In the distance are small black dots, ice fishing tents.