I trained initially in theatre and went on to study dance at studios in London, New York, San Francisco and Seattle. I work as an independent dance artist in London making and presenting my own work, teaching, and curating and producing performance, workshops and a dance-in-health programme. At times, I also work in collaboration with other artists and dance for other choreographers. My choreographic and performance work is deeply informed by improvisation and somatic approaches to movement.

My interest in the Bank Project has been to undertake extended research away from my current professional commitments in order to renew and develop my practice. Specifically, I am interested to investigate the choreographic approach employed by Siobhan Davies in order to stimulate, challenge and develop my performance and making practice.

I hope to complete the project with new skills and inspiration, and a deepened understanding of the relationship between improvisation and choreography.

Feeling exposed/ uncomfortable in moving, but the movement appearing confident/ clear. This thought-conversation interested me. The state of the performer lending a particular presence/ performance quality, perhaps quite different from the felt experience.

Paring back to essence – as we explored with the breath – being a process of finding the starting point.

I realise that a new way into asking/answering this question happened for me this afternoon. This being the process we explored of identifying what is necessary in a movement and playing/ working with that. This is different from what I described this morning of being in the fluff and waiting for a shift into, or emergence of, something particular.

I trained at Laban and have been London based ever since. I am currently working with Yael Flexer’s Bedlam Dance Company as a performer and teacher. I have also performed with Kerry Nicholls, Sirens Crosing and Transitions amongst others. My teaching experience has involved working for Laban, London Contemporary Dance School, London Studio Centre, GDA and The Place.

Having worked for eight years as an independent dance artist, creating, performing, teaching, I feel that right now I need to reflect. Reflect on what I do and why I do it.

The need to reassess my creativity seems paramount. When I make material, task, flow and rhythm define what I create. It feels fairly obvious to me when I have reached a task conclusion, I don’t often go back to refine.

Maybe now it’s clear why I appled to Bank. I want to move away from the feeling ‘I’ve done that before’ and the thinking ‘I recognise that rhythm’. I want to find more within my capacity as a dancer, discover rather than re-discover. Is it possible to actually discover?

To be continued…

I did an Engish Literature and Drama degree and worked in theatre before training in dance. I currently perform – most regularly with Punchdrunk and most recently with Lost Dog. I also make my own work and teach. I come to the Bank project with a desire to follow the very clear and thorough line of movement investigation that the SDDC company have gathered in their many years of working. We will see what the results will be – alot can happen to a person in 6 weeks. Alot has happened in 3 days.

The Third Day

“When and how do we recognise what is fluff and what is particular” Debroah

What is particular about the movement you are playing with?  What is still fresh? What is absolutely essential to that ‘thing’ you are exploring ?

The particular is something  – for some reason – I avoid – this is my challenge – I’m sure of it.

There is this peculair mix needed of playfulness,  and rigour – . I forgot the play bit today and wasnt even that good at the rigour  -  to tomorrow.

I studied Modern Languages at Bristol University before training in dance at Northern School of Contemporary Dance (1996-97). I continued my movement training through numerous classes and workshops in the UK and abroad. I have danced for choreographer Caroline Salem, and in my own choreography (A Tin Drum, Viva la Vida, Threefold and dream knit).

I see the Bank project as an opportunity for me to focus on dance practice without the usual distractions of earning a living elsewhere. I am simply looking forward to taking class every day, and then working within this small group. I hope that I will learn about the process of SDDC, and that this will feed my own creative work. I hope also that the project will allow the time for reflection that my usual schedule lacks.

I think this happened because of shifting my way of thinking. A focus on the lungs made me aware of the sensitive areas in the back part of my body – I imagined breath passing through the backs of my knees. I also located the breast bone as a possible instigator for an idea I had about anxious, nervy breath.

I’ve not yet processed today’s work enough to write about it!

A small enlightenment on day 2 – long may it continue..

Of course then the origin of the thought had to be re-discovered (breath) and allowed to inform and embody the moving. It was hard to dis-courage and be aware of the extra bits, the fluff that Joe mentioned.

I came  to dance through quite a convoluted route: design was my staring point and then I took a detour through gestural theatre and  set design during which  dance  become my main focus and  stayed as such as my life resettled in London. My work moves between dancing,  teaching , making my own work,  collaborating with other  choreographers and movement directing for theatre. Design had a very strong impact on my work as a dancer – I perceive the body as a tracing and carving tool for the space and the sequencing  of this is what releases  the emotions and colours  of what we want to portray.

  I become interested in the ‘Bank project’ because it is a unique opportunity to  study and learn about a method of composition with the focus on oneself  and the process, rather than the deadline of   a production schedule.I have followed the work of SDDC for many years and the element which i love the most about it is the movement language and how it traces and relates to the space and the sound score.I would like to learn about  the art of making  movement, learning new skills and methods  to support my work as a dancer and maker.I also want to have an opportunity to play  in the  studio and discover what I want to work with and see what inspires my imagination.I am very excited and quite nervous about it and very much looking forward to start.