{"id":145,"date":"2026-07-06T11:31:13","date_gmt":"2026-07-06T11:31:13","guid":{"rendered":"https:\/\/rescen.net\/blog10\/?p=145"},"modified":"2026-07-24T16:31:17","modified_gmt":"2026-07-24T16:31:17","slug":"unprocessed-studio-notes-from-tom-hastings","status":"publish","type":"post","link":"https:\/\/rescen.net\/blog10\/2026\/07\/06\/unprocessed-studio-notes-from-tom-hastings\/","title":{"rendered":"Unprocessed studio notes from Tom Hastings"},"content":{"rendered":"

Tsang Wing Fai<\/strong><\/p>\n

When you dance with props or\u00a0objects, how do you get to\u00a0know the\u00a0object?<\/p>\n

One dancer responds, \u201cI\u00a0see whether it\u2019s hard or\u00a0soft, its qualities, whether it has cultural meanings, and\u00a0what its uses are\u2026 I\u00a0think about the\u00a0relationships between body and\u00a0prop\u2026\u201d<\/p>\n

Another: I\u00a0want to\u00a0know the\u00a0weight of\u00a0it, and\u00a0the\u00a0texture\u2026<\/p>\n

And\u00a0another: The\u00a0sense of\u00a0touch and\u00a0shape<\/p>\n

We were talking about the\u00a0cow and\u00a0not being able to\u00a0touch the\u00a0cow (cloud!)\u2026 Each of\u00a0you take some and\u00a0just explore\u2026 cloud is just a\u00a0metaphor, it\u2019s out of\u00a0place so it can be anything\u2026 Don\u2019t eat it\u2026 (gestures of\u00a0eating)… one dancer makes a\u00a0Santa Claus beard. Just explore the\u00a0material, you can completely destroy it, just play\u2026 texture, weight, colour, what can it become, what can you imagine from it, enjoy it (task)<\/p>\n

Dancers flatten the\u00a0cloud material on\u00a0the\u00a0floor and\u00a0pound it in\u00a0a\u00a0loose circle as\u00a0if they are threshing in\u00a0the\u00a0field, labouring, or\u00a0doing a\u00a0craft circle. Dancers begin to\u00a0fan out with the\u00a0materials, to\u00a0partner with the\u00a0cloud. Fei puts the\u00a0cloud up her T-Shirt<\/nobr>, everyone laughs. One dancer pretends to\u00a0be pregnant\u2026 another adorns herself with the\u00a0cloud, jewellery, a\u00a0wig, one blows the\u00a0material in\u00a0the\u00a0air\u2026 another rubs her skin with it, cleans herself with it\u2026 another arranges the\u00a0material neatly on\u00a0the\u00a0floor\u2026 seems to\u00a0be making shapes or\u00a0structures out of\u00a0it\u2026 one balances as\u00a0much as\u00a0she can on\u00a0her head, as\u00a0if she is on\u00a0a\u00a0catwalk or\u00a0returning from the\u00a0market\u2026 one makes small balls and\u00a0throws these across the\u00a0space but they don\u2019t travel very far because the\u00a0polyester filling is ultra light\u2026 one makes a\u00a0kind of\u00a0lattice and\u00a0uses this to\u00a0cover his face and\u00a0head like a\u00a0hood or\u00a0hat\u2026 \u201cChristmas decoration\u201d… one makes a\u00a0kind of\u00a0weave or\u00a0hair extension that she keeps in\u00a0place with a\u00a0hair tie\u2026 repetitive breathy music plays overhead\u2026 general sorting and\u00a0sampling of\u00a0the\u00a0material\u2026 one dancer attempts to\u00a0slide across the\u00a0floor, putting her weight onto the\u00a0material, foot first\u2026 flattening, threshing, rolling, compressing.<\/p>\n

\u201cThe\u00a0longer you mess with it the\u00a0more dense it gets. I\u00a0found it hard to\u00a0re-fluff<\/nobr> it.\u201d<\/p>\n

In\u00a0Chinese, \u201cIt\u2019s meditative to\u00a0tease the\u00a0material apart\u201d<\/p>\n

\u201cWe don\u2019t investigate what is inside a\u00a0cushion, we hold it on\u00a0the\u00a0outside. Testing how long the\u00a0material will hold by\u00a0a\u00a0thread. Not that easy to\u00a0change the\u00a0shape unless you make it more dense.\u201d<\/p>\n

\u201cThe\u00a0material rebounds\u2026\u201d<\/p>\n

\u201cImagine this is our body, becoming very light. Keep this feeling of\u00a0the\u00a0body and\u00a0lets try standing up and\u00a0remembering this. Keep bouncing, find a\u00a0space, keep it in\u00a0the\u00a0air.\u201d<\/p>\n

The\u00a0energy in\u00a0the\u00a0studio shifts with the\u00a0introduciton of\u00a0the\u00a0material. Glimpses of\u00a0performance history, of\u00a0Yvonne Rainer and\u00a0her dancers lugging mattresses aroung the\u00a0performance area. Of\u00a0the\u00a0displacement of\u00a0qualities from body to\u00a0object and\u00a0vice versa. The\u00a0material introduces a\u00a0partner for\u00a0dialogue and\u00a0exploration, activating the\u00a0dancers in\u00a0their investigations. I\u00a0am curious to\u00a0see where this leads.<\/p>\n

June 29 afternoon<\/p>\n

Studio 3 FUBUNATION<\/strong><\/p>\n

Listening to\u00a0Waddah is inspiring<\/em>: \u201cCheck in\u00a0with ourselves, our breath\u2026 just try to\u00a0notice your breath\u2026 where do you feel it, in\u00a0your belly, your back, how heavy do you eyelids feel, where do you feel the\u00a0weight of\u00a0the\u00a0soles of\u00a0your feet, are your shoulders relaxed, how soft are the\u00a0joints in\u00a0your body, thinking about all the\u00a0space around your body, the\u00a0space underneath your armpits, the\u00a0space in\u00a0between your fingers, in\u00a0between your knees\u2026 what does an\u00a0exhale feel like in\u00a0your body, and\u00a0if you magnify that a\u00a0little into a\u00a0movement\u2026 breathing out, a\u00a0sense of\u00a0yielding, of\u00a0letting go, of\u00a0releasing, and\u00a0breathing in, refuelling, recharging, a\u00a0cycle\u2026 When you move think about various parts of\u00a0your body, do they feel heavy or\u00a0light, changing the\u00a0nature of\u00a0the\u00a0space\u2026 if you tilt your hip, how does that affect your spine\u2026 just move to\u00a0feel, not to\u00a0perform\u2026 observe the\u00a0information your body gives itself in\u00a0response to\u00a0a\u00a0decision\u2026 always check in\u00a0with your breath, it has to\u00a0be present with everything we do\u2026 I\u00a0will offer some contact\u2026 think about the\u00a0energy you give to\u00a0the\u00a0room, with your back as\u00a0well as\u00a0your front\u2026 just think about stretching the\u00a0possibilities of\u00a0how we move, the\u00a0snake in\u00a0our spine, the\u00a0twist, and\u00a0then think about timing as\u00a0well\u2026 how much time do you give to\u00a0something, how long to\u00a0you allow a\u00a0single moment to\u00a0exist, don\u2019t always feel the\u00a0need to\u00a0move on\u2026 start to\u00a0explore that idea of\u00a0taking up space when you\u2019re moving or\u00a0not moving\u2026 Are you falling into a\u00a0place of\u00a0habit? Sometimes it\u2019s really good not to\u00a0go with your first instinct but your second\u2026 choose to\u00a0go against it and\u00a0see what happens\u2026 always look for\u00a0those places and\u00a0pockets of\u00a0less\u2026 where do you choose to\u00a0take your eyes\u2026 and\u00a0together as\u00a0a\u00a0room we\u2019re just starting to\u00a0decelerate\u2026 still making our own choices but now coming together\u2026\u201d<\/p>\n

How do we arrive at\u00a0a\u00a0process?<\/p>\n

How to\u00a0tackle the\u00a0fear of\u00a0not knowing?<\/p>\n

Dancers are distributed across the\u00a0whole studio; they move at\u00a0different speeds; some twist, others on\u00a0the\u00a0floor, others work more with hand gestures.<\/p>\n

\u201cMaking a\u00a0choice in\u00a0your body and\u00a0then seeing what the\u00a0remnants of\u00a0that decision are\u2026 idea of\u00a0consequence, I\u00a0initiate movement, I\u00a0bend my\u00a0knee which tilts my\u00a0spine and\u00a0diverts my\u00a0eye\u2026 when do we take over, when do we let lie\u2026 with someone I\u00a0want to\u00a0do a\u00a0short exercise where you suggest something, make a\u00a0decision for\u00a0you and\u00a0your job is only to\u00a0follow that decision\u2026 If you don\u2019t give me enough information, or\u00a0not good information, I\u00a0don\u2019t know where to\u00a0go with that\u2026 and\u00a0then if you give me direct information, the\u00a0ask feels clear, the\u00a0sense of\u00a0direction feels clear\u2026 if you\u2019re the\u00a0person doing, it\u2019s about being clear\u2026 to\u00a0feel the\u00a0involuntariness of\u00a0it\u2026\u201d<\/p>\n

\u201cIf you think you\u2019re being clear with your instruction, be even more clear\u2026 if you\u2019re the\u00a0person moving you shouldn\u2019t have to\u00a0second guess\u2026 what the\u00a0puppeteer is deciding\u2026 As\u00a0a\u00a0mover, I\u2019m going to\u00a0make a\u00a0decision that functionally works\u2026 sometimes I\u00a0can give quite small instruction, or\u00a0challenge her to\u00a0stay with me\u2026 if you\u2019re the\u00a0person moving\u2026 the\u00a0thing that will help is to\u00a0try and\u00a0be soft\u2026\u201d<\/p>\n

30 June Tuesday morning<\/p>\n

Studio 3 Wang Ru-ping<\/nobr><\/strong><\/p>\n

Dancers clapping and\u00a0stamping rhythmically. Followers and\u00a0leaders. There is a\u00a0game of\u00a0follow the\u00a0leader happening but the\u00a0rules are somewhat unclear. The\u00a0dancers move as\u00a0a\u00a0pack. It seems that the\u00a0person at\u00a0the\u00a0front of\u00a0the\u00a0group is the\u00a0leader. Once the\u00a0group turns, the\u00a0position of\u00a0leader shifts to\u00a0a\u00a0new person: the\u00a0head of\u00a0the\u00a0group. And\u00a0at\u00a0some point, the\u00a0group turns to\u00a0rhythmic clapping and\u00a0sashaying. I\u00a0wonder whether the\u00a0group is going to\u00a0break or\u00a0split. There is a\u00a0commitment to\u00a0the\u00a0pack. \u201cI\u00a0think it\u2019s still a\u00a0little abstract. Leadership is more concrete. This time let\u2019s try breaking through to\u00a0take the\u00a0leadership role.\u201d They start from the\u00a0beginning with spinning. This leader is a\u00a0little more gestural: shushing sounds with index finger; clap. And\u00a0then the\u00a0groups shifts to\u00a0the\u00a0London dancer as\u00a0leader. And\u00a0quickly shifts back. A\u00a0kind of\u00a0battle. The\u00a0duration of\u00a0each leader speeds up. One dancer turns the\u00a0fan on\u00a0and\u00a0stands right in\u00a0front of\u00a0it with his hands on\u00a0his hips; he stares right at\u00a0me from across the\u00a0studio: disconcerting. The\u00a0dancers work in\u00a0pairs; on\u00a0forms of\u00a0conversation. \u201cFirst of\u00a0all, present yourself, then present the\u00a0dialogue. So if the\u00a0group has a\u00a0lot of\u00a0energy you go with the\u00a0flow. The\u00a0group will be doing its thing.\u201d<\/p>\n

Studio 3 Tuesday afternoon<\/p>\n

FUBUNATION<\/strong><\/p>\n

Dancers face each other in\u00a0two lines. Walk slowly towards each other, maintaining eye contact. What does connection mean: reference points or\u00a0differences in\u00a0another body; how these points harmonize or\u00a0collide. Don\u2019t feel stuck on\u00a0a\u00a0train track; open up to\u00a0your peripheral vision; work on\u00a0your expression; \u201cyou\u2019re going towards something; you\u2019re giving a\u00a0lot in\u00a0this direction; but you\u2019re leaving behind; there\u2019s a\u00a0trail of\u00a0narrative; there\u2019s a\u00a0presence that remains as\u00a0you leave it behind. Thinking about that might leave a\u00a0bit more consideration of\u00a0your backspace.\u201d<\/p>\n

\u201cIt felt like there was a\u00a0really big story going on\u00a0between us.\u201d Changing who you\u2019re conversing with\u2026 gives different context.<\/p>\n

Studio 6 Yu Pik Yim<\/strong><\/p>\n

The\u00a0back row of\u00a0dancers move with umbrellas. The\u00a0front row of\u00a0dancers receive instruction from the\u00a0choreographer. High kicks and\u00a0twists. Not much is happening. Unclear whether some work has been set, if dancers are waiting for\u00a0instruction, taking a\u00a0rest, or\u00a0working independently. I\u00a0wonder why some of\u00a0the\u00a0dancers dance with umbrellas and\u00a0some do not.<\/p>\n

Monday morning 6 July<\/p>\n

Studio 10 FUBUNATION<\/strong><\/p>\n

Waddah is giving directions to\u00a0two dancers, suggesting how they move between states of\u00a0tension and\u00a0softness. Soften, soften, soften, strong. Aiming for\u00a0contrast. Don\u2019t let go of\u00a0one pose to\u00a0find the\u00a0next one; you have to\u00a0take it with you. Wait for\u00a0the\u00a0breath. Better. Does it feel different?<\/p>\n

Written by: Tom Hastings<\/strong> (Scholar)<\/p>\n","protected":false},"excerpt":{"rendered":"

Tsang Wing Fai When you dance with props or\u00a0objects, how do you get to\u00a0know the\u00a0object? One dancer responds, \u201cI\u00a0see whether it\u2019s hard or\u00a0soft, its qualities, whether it has cultural meanings, and\u00a0what its uses are\u2026 I\u00a0think about the\u00a0relationships between body and\u00a0prop\u2026\u201d… <\/p>\n","protected":false},"author":20,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-145","post","type-post","status-publish","format-standard","hentry","category-posts"],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/145","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/comments?post=145"}],"version-history":[{"count":5,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/145\/revisions"}],"predecessor-version":[{"id":532,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/145\/revisions\/532"}],"wp:attachment":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/media?parent=145"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/categories?post=145"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/tags?post=145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}