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What’s next for “Chalk Boundaries”

February 18, 2010 Leave a comment Go to comments

I realize that I never wrote a post about the final experience at the Wexner, but it’s mainly becuase my experience with “Chalk Boundaries” doesn’t feel over. Performing on the Mershon stage was an amazing opportunity to get my work out there and to jump start my creative process. “Chalk Boundaries” is beginning to become a project curious about the term masculinity, but also it is also beginning to bring up the idea of power, a characteristic that we can choose to associate with the term masculinity.

I’ll be combining the male and female cast next week, which will change the feel of the work entirely and I’m excited. I’m sadly losing one male dancer, and scheduling is always a headache, but what I’m discovering while I’m at OSU is that it’s part of the process. Things happen. Problems occur, but what’s most important is how I’m dealing with those problems in order to grow as a choreographer.

So what’s next for “Chalk Boundaries”? More development of phrase material, researching the term masculinity (any suggestions?), generating a safe space for the performers, gaining a better understanding of myself as a choreographer, and lastly, creating a positive experience.

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  1. February 18, 2010 at 7:06 pm

    I think Judith Butler is a primary go-to-gal for issues of gender, gender identification, gender performativity, etc. “Gender Trouble” is the seminal text, but she has also authored lots of articles and other books.

    The anthology “Dancing Desires: Choreographing Sexualities On & Off the Stage” (ed. Jane Desmond) has several great articles looking at the concept of masculinity within dance (which may not be your stated purpose, but will definitely figure into your process of choreographing about the social phenomenon of “masculinity”). Great articles by Julia L. Foulkes (“Dance Is for American Men: Ted Shawn and the INtersection of Gender, Sexuality, and Nationalism”), Susan Leigh Foster (“Closet Full of Dances: Modern Dance’s Performance of Masculinity and Sexuality”), Gay Morris (“What He Called Himself: Issues of Identity in Early Dances by Bill T. Jones”), and David Gere (“Effiminate Gestures: Choreographer Joe Goode and the Heroism of Effiminacy”).

    That’s what pops to mind immediately. Karl may have other resources; that’s an area of interest for him.

    Hope that helps,
    -M

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