Each street, each site, each moment, each encounter perpetuates new forms of exchange; new paths; routes and ways of surviving and existing in each city. We can watch, observe, experience, notate describe all we see; the pavements, the spaces between buildings, the shopping malls, the buses, the trams, the electric buses, the underground; the cars; the spaces outside of apartments; the tram stops; the empty plazas; the public statues; the bike lanes; the back streets, the bus stops, the markets; the kiosks; the street stalls. The physical infrastructure of the city, a city, this can be any city any place. The materials, which allow the city to take a form and create an image, and a specific architecture which then allows it to become individual. Then there are the people; who, in their actions, patterns, routines, exchanges; jobs, recreations; social life and temperament; collaborate and explore; create; recreate; expand; destroy, fit in to; force change upon, struggle in; ease through this physical infrastructure to allow it to become human. How can a city be revealed through movement and how far can choreography determine this movement. From the mass; heaving through the crowded under passages at 9 am; the dance of the workers; to the quiet duet of the man and the sidewalk at 3am. The city can be seen as choreography; yet perhaps this is too vague; a personal methodology. Each walk taken becomes a solo performance; noting the textures; the sounds and the spaces; How can mapping of a city reveal patterns of spatial use and explore modes of spatial encounter? We will start with our eyes closed. We will listen. Guided by a partner; a route they see; navigate and construct. A gentle duet. Becoming sensitive. Finding in our steps some new understanding of the city. Each step some new landscape. What happens when we photograph with our eyes closed? What are we drawn to by sound and sensation? The passing wind, the empty space; changes in velocity; all becoming our experience of place.    

The duet of the body and the city.

Performance making workshop.

November 8th and 9th

At Universitatea Naţională de Arte. Bucharest

                         How  do  we  embody  the  experience  of  the  city?  How  do  we  overlay  that  reflection  back  to  the  experience  of  the  city?      Through  a  series  of  walks  around  3  types  of  city  areas,  how  do  we  learn  an  area  through  the  experience  of  our  body?  What  does  one  encounter?  What  does  one  experience?  How  can  the  city  allow  us  certain  modes  of  encounter?    And  how  can  the  city  allow  certain  modes  of  practice  to  form?  The  city  forms  a  test  bed  for  experiments  of  the  social,  the  body,  proximity  and  canvas  for  the  embodied  encounter.      How  does  the  city  permit  and  enable?  How  does  the  city  form  our  codes  and  conducts  and  how  might  we  use  performance  as  a  tool  and  resource  to  begin  to  understand  and  re-­‐evaluate  our  own  performance  in  the  city?      How  does  the  city  enable  or  disable  certain  modes  of  encounter?  How  does  one  ensure  certain  codes  are  understood  and  decoded  in  such  a  way  that  they  can  become  performance  resource?      To  look  at  human  movements  as  action  signs  is  to  conceive  the  human  body  itself  as  signifier,  to  conceive  of  the  body  as  a  signifying  body.  What  this  means  is  that  we  have  to  conceive  of  human  act/actions  as  embodied  intentions  and  that  we  have  to  be  able  to  see  a  lived  space  as  intentionally  achieved  structuring,  some  that  has  been  willed  or  is  now  willed  by  someone  

or  some  group  of  persons.’  1      

This  workshop  explores  how  performance  interaction,  and  choreography  can  be  used  as  tools  to  map  and  interact  with  the  activity  of  the  city.  Working  from  a  series  of  choreographic  scores;  we  will  explore  3  sites  around  Bucharest,  the  forth  site  is  the  studio,  and  form  a  short  series  of  interventions  and  spatial  reflections  forming  series  of  

                                                                                                               1  Farnell.  B  (  2001)  Human  Action  Sign  in  Cultural  Context.  The  Visible  and  Invisible  in  Movement  and  Dance.  The  Scarecrow  Press.  Maryland.  P53  

performance  works  which  can  also  be  explored  as  film  works  collaboratively  and  individually.      Creating  three  pieces  of  performance  reflection  in  situ,  which  will  then  be  used  as  resource  in  studio  setting;  the  workshop  will  encourage  consideration  and  production  of  solo  and  collaborative  performance  works  which  will  be  shared  on  Saturday  10th  November.      Through  a  series  of  somatic  exercises  and  performance  experiments  we  shall  explore  the  city  as  studio;  reflecting  upon  the  following  issues  as  we  explore  the  city:      

-­‐ Modes  of  being  in  space  and  place  (what  is  performing  and  what  is  quotidian  behavior  in  public  urban  space)    

-­‐ Character  development:  can  we  create  new  characters  to  explore  aspects  of  spatial  and  social  behavior  in  public  urban  space?    

-­‐ personal  context:  how  well  does  our  own  training  and  background  (social  and  spatial)  contribute  to  our  behavior  in  the  spaces  we  encounter)    

-­‐ Social  and  political  context  of  spatial  encounter  to  wider  contextual  frameworks;  how  does  the  act  of  performance  enable  certain  spatial  histories  to  be  re-­‐framed  to  enable  heightened  reactions  to  local  histories.    

 Generating  three  interactive  performance  processes  in  areas  of  the  city;  this  workshop  will  also  enable  participants  to  explore  issues  as  to  how  do  we  re-­‐present  the  experience  of  the  encounter  with  public  urban  space.  Combining  the  use  of  speech,  sound  recordings,  text,  photography,  objects  (found  or  made),  film  and  adding  the  possible  dimension  of  costume;  we  shall  explore  ways  of  allowing  the  initial  encounter  with  the  city  to  become  new  founded  mode  of  embodied  performance.        

Workshop  Overview:      Aims:      

-­‐ to  explore  the  city  choreographically  in  such  a  way  that  can  enable  more  diverse  and  engaged  approach  to  enabling  modes  of  urban  interaction  as  resource  for  performance:    

-­‐ To  engage  with  the  city  as  performance:  how  to  enable  the  city  to  become  means  to  develop  modes  of  performance  dialog  

-­‐ Exploration  of  collaboration  in  performance  making  -­‐ Exploration  of  multi-­‐  disciplinary  engagement  with  multiple  practices  to  

enable  through  exploration  of  notions  of  re-­‐presentation  of  experience.    -­‐ Exploration  of  notion  of  camera  as  performer:  how  to  integrate  the  camera  

as  ‘performer’  within  live  performance  scenarios.    -­‐ Dissemination  of  use  of  performance  as  archive  of  lived  experience  -­‐ Exploration  of  choreography  as  means  to  map  both  character  and  context  of  

public  urban  space    Tools:  Choreographic  scores,  using  camera  as  tool  (as  third  body),  photography;  notes,  sound  recorders,  costumes;  other  members  of  the  workshop,  editing  tools,  video.      Method:      Day  one:    This  workshop  begins  on  Thursday  8th:  we  will  meet  at  11am  at  Universitatea  Naţională  de  Arte.  Bucharest.  After  a  brief  introduction  to  the  practice  and  plan;  we  will  begin  a  series  of  exercises;  warming  up  the  body;  experiment  with  the  use  of  the  body  as  tool;  archive  and  signifier;  we  will  experiment  with  narrative;  memory  and  individual  approaches  to  life  in  Bucharest.  This  will  then  lead  into  a  conversation  in  which  we  will  select  three  sites:  (each  site  will  explore  the  following  patterns  of  social/  spatial  use)      

-­‐ Disuse/  shift  of  use/  use  in  contestation    -­‐ Regeneration  (in  process)    -­‐ Areas  of  specific  historical  or  political  significance  

 We  will  then  explore  three  performance  scores,  which  will  be  given  to  each  participant  in  a  small  pack  on  the  day.    These  scores  will  deconstruct  the  space  emotionally,  physically  and  through  the  use  of  narrative,  spoken  word  and  character.    The  outcomes  of  these  scores  will  provide  a  means  to  generate  an  interactive  performance  for  the  further  reflection  and  performance  making  within  the  studio.    We  will  explore  3  sites  on  day  1  (allowing  45  minutes  in  each  location);    

-­‐ Disuse/  shift  of  use/  use  in  contestation:  Suggestion:  Old  market  hall  on  Buzesti  and  areas    around  Buzești-­‐Berzei-­‐Uranus  

-­‐ Regeneration  (in  process):  Suggestion:  Lipscani;  main  busy  streets/  squares  There  will  be  a  small  set  of  performances  in  each  space,  which  will  then  be  repeated  and  taken  back  to  the  studio  space  to  form  a  prolonged  improvisation  under  a  list  of  considerations:      -­‐ Embodiment  -­‐ Memory    -­‐ Drama/  the  ordinary  -­‐ Characters  and  the  absurd    -­‐ Text  and  narrative  as  direction  

 At  the  end  of  day  one;  we  will  finish  with  some  exploration  of  the  camera  as  score  and  explore  how  to  represent  versions  of  experience  through  use  of  camera  work.  We  will  work  with  some  in  camera  edits,  live  feed  work  and  also  how  to  integrate  the  camera  into  the  making  process.  Ideas  of  the  frame  in  the  studio  can  then  be  taken  into  the  space  the  following  day.    

       Between  day  one  and  day  two;  participants  are  asked  to  gather  all  materials  they  have  towards  the  sites  and  create  a  short  solo  reflection  of  the  day,  this  can  be  

performance,  text  or  image  based  media.  If  possible  participants  are  asked  to  re-­‐visit  the  site  they  are  most  or  least  drawn  to,  and  commit  to  some  simple  observation  of  the  space,  some  free  association  writing  and  some  further  movement  study.  If  it  is  not  possible  to  visit  the  site  then  participants  are  asked  to  generate  a  similar  process  

from  memory  about  their  relationship  to  the  sites.      

     Day  two:      11am:  arrive  to  studio  with  key  ideas  collated  from  day  before.    Small  sharing  of  solo  performance/  reflection  ideas  for  group  discussion.      Separating  to  groups  of  4  to  6  people;  we  will  each  group  take  a  site  and  re-­‐visit  the  movement  scores  and  explore  shifts  in  emphasis.      Through  a  series  of  re-­‐visits/  re-­‐  guides  we  will  arrive  then  to  the  process  of  evaluating  what  we  might  like  to  generate  as  a  performance  work.  Consider  the  following:      

-­‐ The  body  in  a  landscape/  the  body  removed  from  a  landscape  (trace/  presence)    

-­‐ Making  visible,  creating  place,  removing  self.    

-­‐ Togetherness,  unity,  solidarity,  alone  in  the  mass,  estranged.  -­‐ The  architecture  of  space,  the  architecture  of  self.    

   We  will  then  work  in  the  studio  for  the  afternoon/  or  on  site  if  this  participants  choice..  Exploring  possibilities  and  qualities  of  the  materials  gathered,  selecting  parts  or  aspects  to  develop  further,  exploring  relationships  in  term  of  time  and  space.  Creating  a  series  of  performance  shorts  and  visual  materials;  we  shall  then  proceed  to  a  wider  improvisation,  culminating  in  a  final  discussion  of  materials.      Day  3.  15h30.  please  feel  free  to  invite  friends,  colleagues  and  family  to  an  informal  sharing  of  the  outcomes  of  the  two  days.  I  suggest  we  meet  at  13h30  to  collate  materials.      Sites:                      

Approach:      ENTER THE CITY: ENTER A STREET: ENTER A WORLD: ENTER A STORY: How can the body become a reflective mechanism for the experience of the

body in the city? How far can the city be shaped and moulded by the actions and reactions of

the body?    Urban  space  within  this  workshop  become  a  canvas;  upon  which  numerous  marks,  symbols  and  lines  are  added  to;  such  marks  and  codes  constitutive  of  some  form  of  spatial  and  movement  language;  how  can  this  language  be  transcribed,  documented,  recorded  and  then  re-­‐  told?  To  translate  is  a  lie.  Just  as  to  converse  and  re-­‐present  scenarios  of  the  urban  encounter  relies  on  the  subjective  realities  of  the  author  to  generate  a  narrative  which  another  then  reform  a  presentation  of.  Losing  all  sense  of  meaning  to  cultural  assemblage  of  language.  Concept  of  universal  language  as  impossible  as  language  is  shaped  by  geography,  history.  Patterning;  which  in  the  fabric  of  its  construction  lays  bear  the  failures  of  communication  into  physical  fruition  of  the  desires  of  the  mind  in  its  solitude?  The  results  of  this  workshops  aims  to  function  as  creative  subjective  impressions  initially;  the  weight  of  the  task  forms  as  to  how  such  a  subjective  experiential  task  can  bare  productive  social  fruit;  a  dialog,  which  can  further  enable  new  methodologies  as  to  how  the  space  is  used.      Through  the  language  of  multi-­‐disciplinary  performance  making  exercises  and  processes  we  shall  explore  how  narrative,  movement,  voice,  costume  and  visual  representation  can  come  to  represent  strands  of  personal  experience  of  public  urban  space.  By  choosing  three  very  different  strands  of  urban  landscape;  the  aim  is  to  test  performance  as  mode  of  representation  and  further  reflection.        Process  outcome:      

-­‐ Performance/  movement  generated    -­‐ Use  of  performance  scores  to  explore  three  strands  of  urban  space  -­‐ Urban  exploration  as  practice  resource    -­‐ Exploration  of  costume,  sound,  voice,  text  -­‐ Development  of  camera  skills  as  tool  for  production  -­‐ Development  of  improvisation  skills  -­‐ Solo/  collaborative  production  process  experience    -­‐ Sharing  and  discussion  of  process  and  product  

       

For  more  information  about  my  practice  please  see  below:      BEATRICE  JARVIS    Choreographer  |  Performer  |  Researcher    Beatrice  is  an  urban  space  creative  facilitator,  choreographer  and  researcher.  She  utilizes  key  concepts  of  choreography  and  visual  arts  methodologies  with  the  intention  to  develop,  original  doctoral  research  on  the  connections  between  choreography  and  urban  cultures.  She  is  currently  undertaking  her  practice  based  PhD  funded  by  DEL  titled;  The  Choreographic  Apparatus|  How  Far  can  Choreographic  Practice  be  used  to  Develop  New  Methods  to  Explore  and  Offer  Insights  into  a  Range  of  Urban  Contexts.    Her  practice  merges  essential  techniques  in  a  sociological  framework  of  critical  perspectives.  Beatrice  is  currently  a  visiting  lecturer  at  various  town  planning  and  architecture  departments  in  London  developing  a  platform  for  the  conceptual  and  physical  integration  of  urban  planning,  sociology  and  choreography  leading  to  practical  social  creative  implementation.  As  a  dance  artist  she  works  in  Romania,  Gaza,  Germany  and  Northern  Ireland  to  generate  large  scale  choreographic  works  underpinned  with  a  sociological  inquiry;  exploring  the  social  power  of  movement.      Beatrice  is  keen  to  create  platforms  social  interaction  using  urban  wastelands  and  reflections  on  urban  habitation  as  a  creative  resource;  her  research  currently  focuses  on  how  far  choreography  practice  can  develop  a  new  methodology  to  interrogate  a  range  of  inner  city  conflict  zones.    Beatrice  has  recently  initiated  a  new  urban  forum:  Urban  Research  Forum  for  artists,  architects,  urban  designers,  cultural  researchers,  sociologists,  anthropologists  and  all  with  an  urban  interest.  This  is  conducted  through  seminars,  workshops,  performances  and  exhibitions.  Collaboration,  discourse  and  intellectual  inquiry  are  seminal  to  this  concept.    The  city  with  her  practice  becomes  a  live  laboratory  for  social  and  spatial  research  of  urban  space  use  developing  from  this  research  innovative  and  interactive  future  space  use  programs  through  creativity    Current  research  funded  by  DEL.    (    Dartington  College  of  Arts  2005-­‐8  Choreography  and  Visual  Arts  BA  hons  First  Class,  MA  Goldsmiths’,  Centre  of  Community  and  Urban  research,  AHRC  Funded;  PhD,  Ulster;  Architecture  and  Art  and  Design,  DEL  funded)      For  further  information  about  my  practice  please  see  the  following  links:  

• Creative  City  life:  http://beatricejarvis.com/  • Urban  Research:  http://issuu.com/urbanresearchforum  • Documentation:  http://www.blurb.com/user/bj87  • City  as  Studio:  http://urbanorganics.cultura3.net/Resources/media/promo.mov    

Work  Examples:      Heygate  Estate/Elephant  and  Castle:  http://vimeo.com/26177151  password:  city  and  http://issuu.com/urbanresearchforum/docs/towards_embodied_methodology?mode=window&viewMode=singlePage      Deptford  Study  for  Steven  Lawrence  Centre:  http://issuu.com/urbanresearchforum/docs/exhibition_catalouge_practising_space/3  and  http://www.practisingspace.com/events-­‐and-­‐exhibitions.php  Bucharest  Study  for  local  government  AHRC:  Dansul  Objectul  din  Bucuresti  LaBomba    http://www.blurb.com/bookstore/invited/1015638/a8bd37a9fad73767cb13edef857dba7d      Northern  Ireland  Cartography  Project:  AHRC:  CollectingTrails  http://www.blurb.com/bookstore/invited/1002909/405ee1c548a4b9718763503e118327cc              

   

The body in the city acts as vessel; to carry, contain and interact; forming routes and navigations through

the immediacies of its encounter. The body in the city becomes a means to extend the discourses of the mind and architecture to a frontal physical plane. The

experience of the body as it moves through its decided and undecided routes of the complex labyrinth becomes

synthesis; forming in such modes of encounter a reflection as to the physical landscape it temporally habits. Exploring the passage ways of the body through the city can function as means for discourse as to the nature of affect the city may have on the psychology of

urban human behaviour and simultaneously affords insight as to how the city is formed and cemented by

the very patterns which human occupancy projects. This mutual dialectical relationship becomes synonymous to concepts as to how far cities are designed for people and how people essentially redesign and augment the fabric of urban texture. The embodiment of the urban experience by the human form becomes focus for this

research; how far can the body enter a state of conscious reflection as to its use and positioning within the built environment to observe and how can such conscious observations be then potentially be

reapplied to generate shifts in land use patterning and generate possible realms of progress within discourses

of spatial planning.