tag:blogger.com,1999:blog-310992202011-09-12T23:53:01.703-04:00knowing not knowing - ideas on dancechristian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comBlogger311100tag:blogger.com,1999:blog-31099220.post-55056491391968800052011-08-22T13:38:00.001-04:002011-08-22T13:42:11.354-04:00

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-80833853081099848862008-09-11T10:47:00.003-04:002008-09-11T11:05:44.980-04:00

Technique - virtuosity / application / costumeMedium - delivery method / containerCreator - messenger / vesselContent - the experience Concept - the thoughtExecution - the bodyThe connection between the artist – the messenger, and the execution of their physical experience, dictates their work, their mind, their thought process, their everything. The work itself, a disembodied object, the

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-80949505800114983722008-09-09T17:19:00.004-04:002008-09-10T10:40:39.247-04:00

( Mobius Strip, Gilles Jobin)Selfmap List 2006Maps as a guide to the selfMaps as a guide to the property of the selfThe self as a property object as a locationThe self as a location as a landscapeThe self as a landscape to be studied and measuredThe self as a landscape to be walked and traveledThe self as a landscape of boundaries and markersThe self as boundary’s to be marked for

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-60047850765292742792008-09-03T12:36:00.002-04:002008-09-03T12:43:41.771-04:00

Marrow and Dancing, 2005At night I climb into your skin andRestI breathyour bonesmarrow and dancing

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-7674498879965053422008-08-23T12:14:00.004-04:002008-08-23T12:29:39.234-04:00

This is a fantastic group from Wales. Their work is generally sit-specific, collaborative and improvisational. In this particular durational performance, I was struck by their ability to navigate the barrier of the forth wall and engage the audience, it was in a word "sublime". I have a lot to learn from this group.

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-54018122723818545732008-08-14T18:06:00.003-04:002008-08-14T18:22:28.534-04:00

i have been on a rest finally, after a non-stop year of travel, work and research. while on my break i am starting to feel the absence of my daily practice of dancing. the practice of letting my thinking (skull based) brain to share a communion with the much deeper body based brain. i have got to get into a groove for myself soon. below is a posting from another conversation with a couple of

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-14843400991895975722008-07-31T11:29:00.004-04:002008-07-31T11:41:10.186-04:00

I can’t really explain it any better: all I want is to make dances that have no steps. I think that there is something fundamental in this inquiry. The presence of steps makes me aware of a creator of steps. I am looking at the origin of the material as though the dance maker where upstage under a spot light – in my mind, always keeping me at arms length from the experience of the event. I was

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-24704053313288324622008-07-29T16:16:00.003-04:002008-07-29T16:31:10.303-04:00

Artistically and philosophically I am uninteresting in being the sole decider of the choreography. I am interested in facilitating to a dancer a developed skill set for which they can learn how to make their own choices for their dancing, to give them the experience of what it feels like to have to take responsibility for their dance, their choices, their actions.[I also frame this passage with

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-92207094789819262602008-07-24T14:23:00.003-04:002008-07-24T14:32:24.048-04:00

Energy is real. Energy is language. “Asking Motion” “Thinking Motion”How can we re-illuminate the real –ness of energy in dance? How can we recognize physical intention or physical actions with the same level of clarity that we recognize choreographic steps? (In Dance)What we see is not so much the physical steps and sequences of steps, as building blocks that exist separate from the body –

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-33366921225991939332008-06-14T16:20:00.006-04:002008-07-10T11:11:10.847-04:00

there is something fun about watching people in the worldand deciding to observe them in the framework of the performancecontext. their personal, subtle movements and actions executed in the framework of their environments. intricate timings occure, unintended, andno less beautiful than any crafted piece of choreography. they are the unintended performers. and i realize we are all unintended

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-35139169343520919682008-04-23T09:18:00.005-04:002008-05-21T18:52:36.355-04:00

watching paint dry on a canvas is literally as satisfying as watchingthe most intimate transitioning in a dance. i wait for the momentswhen the pull of gravity forces the collecting edge of wet paint to break and small valleys open up and the paint drips down. it is beautifulto observe where the drip stops. i can only partially estimate how thatwill work out based on degrees of solubility and

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-53782857059070184152008-04-11T16:12:00.003-04:002008-04-11T16:16:56.944-04:00

painting again after ten years. been drawing consistently but painting is a new addition again. curious to see how much more will come this time around. i have done thirty two paintings so far this year. all created in ann arbor michigan.

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-26681925309929495972007-10-09T07:57:00.001-04:002008-04-14T10:40:07.184-04:00

I.I am my body. What do I become with every new situation?I am everything elseother than my body, I am your body tooand the space our bodies share.The body is relational. I am my body in reference to what my body is not. My body is occuring in that moment -under those circumstances. I am not my body that I was a moment ago. I am my body also. II.Methinks that in looking at thingsspiritual, we

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-8614371862229334742007-08-29T12:09:00.000-04:002007-10-20T06:16:42.286-04:00

Improvisation bridges the space between my physical sense of self and a physical sense of what my self is not. It is the manafest dialogue between my edges and the worlds edges, including all people,living things and objects within the world. It is a language of my skin. It is a form that emergesbefore i know. It is a form of me. Pollack the movement.The record of the movement.The drip is the

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-50907161853275355072007-08-28T08:37:00.000-04:002007-08-28T09:00:06.511-04:00

During March of 2007 my company The Foundry was in residence at the Ucross Foundation in rural Wyoming creating Imprint. During this period me, as well as the rest of our collaborators took the time each day to embark on a daily practice that helped to inspire and focus and primarily to engage with the extraordinarylandscape and history of the region. In my case, I walked in the mornings. At a

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-3250201056469622562007-08-17T22:27:00.000-04:002007-08-18T08:16:22.638-04:00

Here are a some informative quotes on the process and sensibility of Improvising by one of the musical masters of the form. Listening and reading the work of Jarret has inpired and reaffirmed my own experiences about what it can mean to give over to an unknown space, in my case through dance, into creation. Inside out: Thoughts on free playing by Keith Jarrett "It really depends on whether a

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-67925782715061490062007-08-17T09:28:00.001-04:002007-08-17T09:39:04.146-04:00

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-81221120538522508452007-08-13T19:42:00.000-04:002007-08-13T19:51:22.091-04:00

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-20031268363853161782007-08-13T19:35:00.000-04:002007-08-13T19:39:20.546-04:00

The body of dance is the body of Points of body travel through trajectoriesThe travel mode of movementTrans – portationThe function of transportation is to achieve the goal of moving from one location to another. The notion that the object of this action is only of a singular body is part of the potential of...The journey of the hand is the body of a travelerThe body of the head is the body of a

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-59867332450919211242007-03-02T08:50:00.000-05:002007-03-02T09:04:48.830-05:00

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-75863511538231775182007-02-23T08:26:00.000-05:002007-02-23T08:41:17.817-05:00

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-18325760429175505942007-02-22T21:04:00.000-05:002007-02-23T08:18:10.770-05:00

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1161540261121428022006-10-22T14:00:00.000-04:002006-10-23T11:57:58.966-04:00

I have been in residence for the past three weeks with my collaborative The Foundry making a new work titled Imprint. The Santa Fe Art Institute has been our host for this residency and we have basically spent most of our waking hours in the studio working and creating raw material for the future next residency at Ucross Foundation in Spring 2007. The piece should be completed and premiered in

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1160063026044436912006-10-05T11:30:00.000-04:002006-10-05T13:32:29.896-04:00

I have been interested in trying to understanding how to illustrate the perspective of a view from within movement looking out. How can we see what movement sees? Can we catch a glimpse of the birds eye view from within movement and dance? This study tries to capture a moment of that sense. It is often the case that movement within the context of 'The Dance World', is that it is an object that is

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1159275493408517092006-09-26T08:48:00.000-04:002006-09-26T08:58:13.443-04:00

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1158352010076243532006-09-15T16:19:00.000-04:002006-09-15T16:26:50.086-04:00

These movement studies were shot on-site and were processed through various analogue video filters. It was an amazing experience to work with tools that re-date digital media. These images are pulled out from over four hours of filtered video footage.

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1158350770755801002006-09-15T16:04:00.000-04:002006-09-15T16:28:25.173-04:00

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1158095445773615992006-09-12T17:09:00.000-04:002006-09-12T17:29:59.916-04:00

Connecting dots from the 20th centuryI am humbled, inspired and influenced by the artists who are committed to pushing the boundaries of their chosen forms – trying to address the fundamental issues of live art: content vs. abstraction, form vs. process and the audience and performer relationship. Why are we making work? How do we translate what we make to those we share it with? I have been very

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1157989132679257892006-09-11T11:35:00.000-04:002006-09-11T16:27:32.506-04:00

This is another archived rumination on creative process and some of the influences that have informed my work, 2003. I think the one main book that has artistically inspired me, which I picked up during my five minute Zen phase a few years ago, is Zen Mind, Beginners Mind by Shunryu Suzuki-Roshi. The entire book is interesting but the main chapter that gets me is, Beginners Mind. It's focuses on

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1157985822720671672006-09-11T10:37:00.000-04:002006-09-11T16:30:48.113-04:00

The Foundry is on of my ongoing projects. It is a contemporary dance company based in San Francisco that I co-founded in 1998. I am still an Artistic Associate involved in its directions, even though I have re-located to Holyoke Massachusetts. These notes were written upon the completion of the Fleshing Memory Project 2003. These notes reflected our intentions and feelings towards our creative

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.comtag:blogger.com,1999:blog-31099220.post-1157984686476716102006-09-11T10:11:00.000-04:002006-09-11T10:26:02.396-04:00

forms of flowidea spacesopennessintentionreal time compositionchoreography is fluiddepthspeedqualitytemperamentspacial relativistspacial relationshipslisteningawarenesschoiceediting is okediting is workwe are the workno wrong decisionsthe impulse as the beginningwhat is the beginning of movementwhere does movement come fromwhere does stillness come from

christian burnshttp://www.blogger.com/profile/13559591859019617956noreply@blogger.com