{"id":617,"date":"2013-08-03T11:50:33","date_gmt":"2013-08-03T11:50:33","guid":{"rendered":"http:\/\/rescen.net\/blog5\/?p=617"},"modified":"2013-08-03T12:11:07","modified_gmt":"2013-08-03T12:11:07","slug":"laboring-to-learn-in-zengs-rehearsal","status":"publish","type":"post","link":"https:\/\/rescen.net\/blog5\/2013\/08\/laboring-to-learn-in-zengs-rehearsal\/","title":{"rendered":"Laboring to learn in Zeng’s rehearsal"},"content":{"rendered":"

\"IMG_2878\"<\/a><\/p>\n

When I\u00a0walk into Zeng Huanxin’s Friday rehearsal around 12:30pm, Zeng is working with Kenny\u00a0on\u00a0a\u00a0solo section. Kenny’s intent focused physique, strained visage, and\u00a0sweat stained clothing attest to\u00a0the\u00a0fact that he and\u00a0Zeng have been working steadily for\u00a0quite some time before my\u00a0arrival, probably beginning around 11am. Add that to\u00a0the\u00a090 minutes that I\u00a0observe Zeng and\u00a0Kenny shaping and\u00a0molding a\u00a0solo section, and\u00a0I\u00a0calculate something close to\u00a03 hours of\u00a0intense rehearsal between the\u00a0two of\u00a0them.<\/p>\n

For\u00a0a\u00a0while, it is just me (an\u00a0American academic) observing Zeng (a\u00a0Chinese choreographer) working with Kenny (a\u00a0Hong Kong via Taipei dancer) in\u00a0Studio 10 (The\u00a0Place, London). When Ola (a\u00a0Swedish academic) enters the\u00a0studio, it begins to\u00a0feel a\u00a0lot like a\u00a0meeting of\u00a0the\u00a0United Nations of\u00a0Performing Artists & Academics (otherwise known as\u00a0ArtsCross).<\/p>\n

At\u00a0one point, Ola leans over to\u00a0me and\u00a0whispers about “the\u00a0labor” involved in\u00a0the\u00a0rehearsal.\u00a0His observation shifts my\u00a0perspective — crossing the\u00a0“t” on\u00a0something I\u00a0had perceived but not yet fully grasped the\u00a0significance of\u00a0— and\u00a0helps to\u00a0focus my\u00a0attention on\u00a0questions of\u00a0fatigue and\u00a0failure, labor and\u00a0learning in\u00a0dance cognition and\u00a0creativity.<\/p>\n

But first, the\u00a0dance in\u00a0progress \u2026\u00a0Kenny travels backward in\u00a0circling patterns, transitioning into rising and\u00a0sinking phrases that stretch side to\u00a0side, forward and\u00a0back. These more lyrical phrases alternative between more gestural phrases (walking, gazing, reaching) and\u00a0more virtuosic movements that spiral in\u00a0and\u00a0out, turning suddenly into twisting leaps that fall to\u00a0the\u00a0knees only to\u00a0rise immediately again to\u00a0a\u00a0high level balance and\u00a0stillness. The\u00a0rapidly cycling phrases coincide with sudden shifts in\u00a0time signature not found in\u00a0the\u00a0music. (Ola identifies the\u00a0music as\u00a0a\u00a0version of\u00a0Ave Maria?) It’s a\u00a0challenging bit of\u00a0choreography.<\/p>\n

Repeat. Repeat. Repeat.<\/p>\n

Zeng is detail oriented. He seems to\u00a0emphasize (a\u00a0translator joins us a\u00a0bit later to\u00a0clarify) specific direct and\u00a0indirect foci, and\u00a0use of\u00a0weight and\u00a0weight-shifting, at\u00a0each moment in\u00a0the\u00a0dance. At\u00a0one point there appears to\u00a0be some question about exactly “where” Kenny is centering his relationship to\u00a0gravity as\u00a0he shifts his weight. To\u00a0my\u00a0eye, comparing Zeng’s demonstrations to\u00a0Kenny’s performance, Zeng appears to\u00a0locate his center of\u00a0gravity a\u00a0few notches lower than Kenny: more “martial arts” center than “modern dance” center.\u00a0(Martin and\u00a0I\u00a0have a\u00a0helpful conversation afterwards about various “centers” in\u00a0the\u00a0body, which the\u00a0Crossing ArtForms group had discussed at\u00a0length.)\u00a0As\u00a0the\u00a0rehearsal goes on\u00a0and\u00a0on\u00a0and\u00a0on, Kenny tires noticeably. It’s important to\u00a0note that he tires physically, but does not complain or\u00a0retreat from a\u00a0determined and\u00a0earnest effort to\u00a0meet the\u00a0choreographer’s demands. Zeng is calm and\u00a0generous, but insistent. The\u00a0work is going well. The\u00a0labor is evident.<\/p>\n

When Ola mentioned labor, I\u00a0mentally referenced recent cultural and\u00a0political studies, such as\u00a0Franko’s (2002) The\u00a0work of\u00a0dance <\/em>and\u00a0Srinivasan’s (2011) Sweating saris<\/em>. Here, in\u00a0the\u00a0presence of\u00a0labor dancing, however, I\u00a0am struck by\u00a0the\u00a0micro-developmental process and\u00a0salubrious effect that fatigue seems to\u00a0play in\u00a0Kenny’s repeated failures. (Here I\u00a0mean failure in\u00a0most positive way, as\u00a0in\u00a0“risk, fail, risk again.”) To\u00a0my\u00a0eye, Kenny improves dramatically as\u00a0his body labors: his breath deepens;\u00a0his movement becomes more fluid; maybe, just maybe, his center of\u00a0gravity evens lowers a\u00a0notch or\u00a0two. The\u00a0performance becomes better, not the\u00a0worse, for\u00a0wear.<\/p>\n

Numerous motor learning studies have examined the\u00a0effects of\u00a0exhaustion\u00a0on\u00a0skill performance and\u00a0acquisition: basically,\u00a0the\u00a0idea is that,\u00a0with increasing levels of\u00a0exercise,\u00a0performance should\u00a0improve up to\u00a0an\u00a0optimal or\u00a0maximal point and\u00a0then decline again with\u00a0a\u00a0further increase in\u00a0exercise intensity and\/or\u00a0duration. Kenny seemed to\u00a0me to\u00a0be reaching that maximal point and Zeng appeared to push ever so gently for a\u00a0further increase just beyond capacity, but I\u00a0did not see a\u00a0decline in\u00a0the\u00a0final\u00a0run through. Quite the\u00a0opposite, which got me wondering: if conventional wisdom says that fatigue to exhaustion is the foe of expert performance, could it also be a friend? In\u00a0his wearied state of\u00a0bodymind, I\u00a0expect that Kenny may not consciously recall every word of\u00a0Zeng’s directions, but I\u00a0wonder if fighting fatigue somehow sediments the\u00a0desired qualities in\u00a0motion. I\u00a0wonder if Zeng or\u00a0other choreographers think so. (Later, I\u00a0observe a\u00a0similar approach in\u00a0Riccardo’s remarkable rehearsal process). I\u00a0wonder what the\u00a0dancers think? Perhaps all this is obvious to everyone but me, but I\u00a0wonder about physical fatigue — not to the point of injury, of course! — as\u00a0a\u00a0potentially creative force in dance-making process.<\/p>\n","protected":false},"excerpt":{"rendered":"

When I\u00a0walk into Zeng Huanxin’s Friday rehearsal around 12:30pm, Zeng is working with Kenny\u00a0on\u00a0a\u00a0solo section. Kenny’s intent focused physique, strained visage, and\u00a0sweat stained clothing attest to\u00a0the\u00a0fact that he and\u00a0Zeng have been working steadily for\u00a0quite some time before my\u00a0arrival, probably beginning… <\/p>\n","protected":false},"author":9,"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_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-617","post","type-post","status-publish","format-standard","hentry","category-general_posts"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p8mnDM-9X","jetpack-related-posts":[{"id":282,"url":"https:\/\/rescen.net\/blog5\/2013\/07\/rehearsal-clip-day-4-zeng-huanxin\/","url_meta":{"origin":617,"position":0},"title":"Rehearsal clip: Day 4, Zeng Huanxin","author":"Andrew Lang","date":"25 July 2013","format":false,"excerpt":"https:\/\/vimeo.com\/71012740","rel":"","context":"In "Video"","block_context":{"text":"Video","link":"https:\/\/rescen.net\/blog5\/category\/video\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":174,"url":"https:\/\/rescen.net\/blog5\/2013\/07\/beginnings\/","url_meta":{"origin":617,"position":1},"title":"Beginnings…","author":"Steffi Sachsenmaier","date":"23 July 2013","format":false,"excerpt":"Yesterday was my\u00a0first day of\u00a0watching rehearsals, and\u00a0for\u00a0most groups it was their second day into the\u00a0work. I\u00a0left in\u00a0the\u00a0evening with a\u00a0variety of\u00a0very touching impressions, of\u00a0people from different places getting to\u00a0know each other. When I\u00a0entered the\u00a0room of\u00a0Beijing choreographer Zeng Huangxing's rehearsal, I\u00a0was struck by\u00a0the\u00a0quietness he had created in\u00a0the\u00a0room. The\u00a0six dancers were paired up,\u2026","rel":"","context":"In "General posts"","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"IMG_0473","src":"https:\/\/i0.wp.com\/rescen.net\/blog5\/wp-content\/uploads\/2013\/07\/IMG_0473-300x225.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":996,"url":"https:\/\/rescen.net\/blog5\/2013\/08\/home-is-where-the-heart-is\/","url_meta":{"origin":617,"position":2},"title":"“Home” is where the heart is…","author":"LIN Ya-tin","date":"8 August 2013","format":false,"excerpt":"\u00a0\u00a0 \u00a0\u00a0 After a\u00a0week of\u00a0intensive academics seminars, group discussion, and\u00a0of\u00a0course, observations in\u00a0the\u00a0studios with various choreographers and\u00a0dancers involved in\u00a0this 2013 ArtsCross London project, I\u00a0am drawn to\u00a0the\u00a0concept of\u00a0home\/elsewhere\u2014the\u00a0rich theme for\u00a0this year. Yesterday, some choreographers shared their thoughts regarding to\u00a0this topic.\u00a0 Later our group furthered the\u00a0conversation, with engaging talk about our own hometowns\u2014referring\u2026","rel":"","context":"In "General posts"","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"Unknown","src":"https:\/\/i0.wp.com\/rescen.net\/blog5\/wp-content\/uploads\/2013\/08\/Unknown.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":220,"url":"https:\/\/rescen.net\/blog5\/2013\/07\/qualities-part-1\/","url_meta":{"origin":617,"position":3},"title":"Qualities (Part 1)","author":"Martin Welton","date":"23 July 2013","format":false,"excerpt":"It's now Day Three of\u00a0rehearsals, and, impressively, in\u00a0the\u00a0studios I\u00a0visited today, ideas are taking shape and\u00a0companies are coming together. I\u00a0spent some time today observing rehearsals of\u00a0Su Weichia, Riccardo Buscarini, and\u00a0Zeng Huangxing. The\u00a0choreographies are already looking quite different (as\u00a0one might expect), but I\u00a0wanted to\u00a0take a\u00a0moment in\u00a0this posting to\u00a0reflect on\u00a0some similarities amongst them\u2026","rel":"","context":"In "General posts"","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"IMG_1950","src":"https:\/\/i0.wp.com\/rescen.net\/blog5\/wp-content\/uploads\/2013\/07\/IMG_1950-300x224.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1118,"url":"https:\/\/rescen.net\/blog5\/2013\/08\/after-the-fact-group-b\/","url_meta":{"origin":617,"position":4},"title":"After-the-Fact: Group B","author":"Donald Hutera","date":"10 August 2013","format":false,"excerpt":"[Things have undoubtedly moved on\u00a0since I\u00a0scribbled down what I\u00a0am now shaping into the\u00a0following observations, but here they are for\u00a0the\u00a0record\u2026] Founders Studio: The\u00a0dancers chosen by\u00a0choreographer Ho, Hsiao-Mei include four Westerners. Two of\u00a0them \u2013 Azzurra Ardovini (small, contained and\u00a0often low to\u00a0the\u00a0floor) and\u00a0Henry Curtis (tall, expansive, rangey) \u2013 are in\u00a0the\u00a0centre of\u00a0the\u00a0space acutely attuned\u2026","rel":"","context":"In "General posts"","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":614,"url":"https:\/\/rescen.net\/blog5\/2013\/08\/%e8%b7%a8%e8%89%ba%c2%b7%e8%a7%82%e5%af%9f%ef%bc%88%e4%b8%80%ef%bc%89\/","url_meta":{"origin":617,"position":5},"title":"\u8de8\u827a\u00b7\u89c2\u5bdf\uff08\u4e00\uff09","author":"TONG Yan","date":"3 August 2013","format":false,"excerpt":"\u7ec8\u4e8e\u770b\u5230\u6392\u7ec3\u4e86\uff0c\u5728\u4ed6\u4e61\u770b\u5230\u4e86\u9886\u5bfc\u2014\u2014\u7f16\u5bfc\u90ed\u78ca\u9662\u957f\uff0c\u540c\u4e8b\u2014\u2014\u7f16\u5bfc\u963f\u66fe\u8001\u5e08\uff0c\u201c\u8001\u6218\u53cb\u201d\u2014\u2014\u77e5\u535a\uff08\u77e5\u535a\u662f\u5317\u4eac\u821e\u8005\u4e2d\u552f\u4e00\u53c2\u4e0e\u56db\u6b21\u7684\uff0c\u6211\u662f\u5317\u4eac\u5b66\u8005\u4e2d\u552f\u4e00\u53c2\u4e0e\u56db\u6b21\u7684\uff09\uff0c\u5b66\u751f\u2014\u2014\u6b66\u5e05\uff08\u6211\u4eec\u7b2c\u4e09\u6b21\u5728\u821e\u52a8\u4e2d\u5e08\u751f\u76f8\u9022\u4e86\uff09\u3002\u770b\u4e86\u4e0a\u5348\u573a\u7684\u5c3e\u58f0\u3001\u4e0b\u5348\u548c\u665a\u4e0a\u7684\u6392\u7ec3\u2014\u2014\u7ba1\u4e2d\u7aa5\u8c79\uff0c\u53ea\u89c1\u4e00\u6591\u3002 \u8fd9\u4e00\u5929\u6240\u770b\u5230\u7684\u4f5c\u54c1\u4ee5\u73b0\u4ee3\u821e\u5c45\u591a\uff0c\u53ea\u6709\u90ed\u9662\u7684\u4f5c\u54c1\u4ee5\u5176\u8d63\u5357\u50a9\u821e\u4e3a\u7d20\u6750\uff0c\u662f\u4e00\u4e2a\u5178\u578b\u7684\u6709\u4e2d\u56fd\u7279\u8272\uff08\u5728\u56fd\u5185\u6211\u4eec\u901a\u5e38\u79f0\u4e3a\u6709\u6c11\u65cf\u7279\u8272\uff0c\u7531\u6b64\u53ef\u89c1\uff0c\u6c11\u65cf\u4e0e\u56fd\u5bb6\u7684\u6982\u5ff5\u4f1a\u968f\u7740\u73af\u5883\u7684\u53d8\u5316\u800c\u51fa\u73b0\u90e8\u5206\u7684\u76f8\u4e92\u6307\u4ee3\uff09\u7684\u4f5c\u54c1\u3002\u5f53\u7136\uff0c\u6587\u5316\u65f6\u7a7a\u8bed\u5883\u7684\u53d8\u5316\u5e26\u6765\u4e86\u65b0\u7684\u5448\u73b0\uff0c\u7279\u522b\u662f\u5176\u4e2d\u552f\u4e00\u4e00\u4f4d\u4f26\u6566\u821e\u8005\u5e26\u7740\u50a9\u821e\u9762\u5177\u8d77\u821e\u65f6\uff0c\u4e2d\u56fd\u7684\u5f62\u5f0f\u5143\u7d20\u5728\u897f\u65b9\u821e\u8005\u8eab\u4f53\u4e0a\u5448\u73b0\uff0c\u8fd9\u79cd\u6587\u5316\u4ea4\u878d\u7684\u51b2\u7a81\u6027\u5e76\u672a\u8ba9\u6211\u611f\u5230\u4e0d\u8212\u670d\uff0c\u800c\u662f\u8ba9\u6211\u771f\u5207\u5730\u611f\u5230\u4e86\u201c\u821e\u52a8\u65e0\u754c\u201d\u548c\u201c\u5728\u522b\u5904\u201d\u3002\u50a9\u821e\u7684\u5f62\u5f0f\u6216\u5185\u6db5\u6216\u8005\u6709\u7740\u660e\u663e\u7684\u5730\u533a\u3001\u6c11\u65cf\u3001\u5b97\u6559\u7684\u8272\u5f69\uff0c\u4f46\u662f\u5176\u4e2d\u7948\u6c42\u5e73\u5b89\u662f\u5728\u8fd9\u4e2a\u5371\u673a\u56db\u4f0f\u7684\u65f6\u4ee3\u4e2d\u6bcf\u4e2a\u4eba\u7684\u5185\u5fc3\u671f\u8bb8\u3002 \u5728\u4e0d\u540c\u7684\u6392\u7ec3\u6559\u5ba4\u611f\u53d7\u5230\u7684\u76f8\u8fd1\u7684\u4e1c\u897f\u5c31\u662f\u201c\u547c\u5438\u201d\u4e0e\u201c\u81ea\u7136\u201d\u4e86\u3002\u6c14\u606f\u5728\u821e\u8e48\u4e2d\u65e2\u662f\u5b58\u5728\u548c\u663e\u73b0\uff0c\u4e5f\u662f\u8282\u594f\u548c\u60c5\u611f\u3002\u4e5f\u6b63\u662f\u56e0\u4e3a\u5982\u6b64\uff0c\u821e\u8e48\u7684\u771f\u5b9e\u548c\u65e0\u53ef\u590d\u5236\uff0c\u4f7f\u5176\u5728\u201c\u673a\u68b0\u590d\u5236\u65f6\u4ee3\u201d\uff08Walter Benjamin\uff09\u4ecd\u7136\u5177\u6709\u5176\u6c14\u97f5\uff08Aura\uff09\u3002\u4e2d\u56fd\u4f20\u7edf\u6587\u5316\u975e\u5e38\u6ce8\u91cd\u201c\u6c14\u201d\u7684\u6982\u5ff5\uff0c\u897f\u65b9\u73b0\u4ee3\u821e\u4e5f\u6b63\u662f\u4ee5\u81ea\u7136\u4e4b\u547c\u5438\u6765\u53cd\u5bf9\u82ad\u857e\u7684\u50f5\u5316\u4e0e\u4fdd\u5b88\u3002\u5982\u679c\u4ee5\u672c\u96c5\u660e\u5bf9Auro\u7684\u754c\u5b9a\uff0c\u90a3\u4e48\u821e\u8e48\u662f\u6700\u5177\u539f\u771f\u6027\u7684\u827a\u672f\u4e4b\u4e00\uff0c\u5b83\u6c38\u8fdc\u90fd\u662f\u5728\u771f\u5b9e\u5730\u8bb2\u8ff0\u5386\u53f2\u3002\u6240\u4ee5\uff0c\u5373\u4fbf\u79bb\u5bb6\uff0c\u5728\u522b\u5904\uff0c\u5317\u4eac\u3001\u53f0\u5317\u3001\u4f26\u6566\u7684\u7f16\u5bfc\u90fd\u5728\u8bb2\u8ff0\u4ece\u4e00\u4e2a\u201c\u5bb6\u201d\u2014\u2014\u57ce\u5e02\uff0c\u5230\u53e6\u4e00\u4e2a\u201c\u5bb6\u201d\u2014\u2014\u56fd\u9645\uff0f\u4e16\u754c\u7684\u771f\u5b9e\u7684\u5fc3\u8def\u5386\u7a0b\uff0c\u2014\u2014\u8fd9\u662f\u771f\u5b9e\u5386\u53f2\u7684\u7ec6\u5fae\u6784\u6210\u3002 Translation\u2026 ArtsCross Observations (1) I\u00a0finally got to\u00a0see some rehearsals. At\u00a0ArtsCross London, I\u00a0caught up with the\u00a0boss, Director Guo Lei, colleagues\u00a0\u2014 the\u00a0choreographer Zeng Huanxing, \"old comrades\"\u00a0\u2014 Zhibo (Zhibo is the\u00a0only dancer from Beijing to\u00a0have participated in\u00a0four sessions. I'm the\u00a0only Beijing academic to\u00a0have participated in\u00a0four sessions), students\u00a0\u2014 Wu Shuai\u2026","rel":"","context":"In "General posts"","block_context":{"text":"General posts","link":"https:\/\/rescen.net\/blog5\/category\/general_posts\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/posts\/617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/comments?post=617"}],"version-history":[{"count":11,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/posts\/617\/revisions"}],"predecessor-version":[{"id":629,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/posts\/617\/revisions\/629"}],"wp:attachment":[{"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/media?parent=617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/categories?post=617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rescen.net\/blog5\/wp-json\/wp\/v2\/tags?post=617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}