(excerpt 2014)
notes on the Eliot / Bales_
Historical exogesic_
in-depth analysis of dance “events” including specific dances; notation and music scores; accounts of performances; teaching styles; cultural and political movements; physical movements; dance theory; film; technological advances; makers and processes._
“exegesis that allows us to change
our perception and relationship
to what is already there in our field..” – Eliot/Bales
this is interesting and a useful practice to look into one’s own work and events – “to change our perception and relationship to what is already there”.
?how might we take this awareness beyond discipline to the field of un/awareness, of non/perception?
-through the work of specific makers and things made. content and context in which they’ve been made to engage with narrative invention, identity, relationality, gender, the body and the dance.
(end excerpt 2014)
autoethnographic exegesis is one thing I am into. a look into myself and my perception and relationship to events and things made. sometimes things get burned and sometimes they get buried. some things become art and some are let be, for now at least.
note: english is so strange: “field” as dance; “field” as academe; “field as land; “field” as energy. “discipline” as genre (recorded history which perpetuates into genre); “discipline” as action; discipline as will. also, what qualifies as an “event” or we might ask who qualifies it as such and for whom and what purpose? we will see that both the field and the discipline are created for us. what don’t we see? what is not/considered in our naming of things?
(excerpt 2021)
image: me digging into some of my notebooks and watching ideas (2017)
Cole G 