Interdisciplinary Process at HCL

The week of October 21st, I was in Chicago for my residency at High Concept Labs (HCL), housed inside Mana Contemporary, to develop Antonym. Antonym investigates residue of childhood memories and incorporates field recordings of New York City seasons. I had seven hours each day to work inside HCL’s glass studio, the first thing one sees when the door of the manually operated freight elevators opens on the 4th floor. I arrived on a Monday, and my performers and creative collaborators, flutist Laura Cocks and violinist Natalie Calma, joined me later.

I was nervous going into this, because we had limited time and had to use it efficiently: Laura and Natalie arrived on Wednesday to workshop through Friday, and Saturday we were to show what we made during the week. This was my choice: we aren’t required to show, but I wanted to share my work with a new audience in a new city. Before I go any further, I want to thank Laura and Natalie from the bottom of my heart for being part of this! They were essential in the creative process.

The focus of this residency was the “Spring” movement. I had composed an initial draft in May, and continued forming it in July at Marble House Project. At MHP I ended up creating a solo, Test Site 5: Seedlings that helped me flesh out some of my ideas, and returned to the project again about two weeks before going to HCL. I had a draft of the score finished a little over a week before the residency.  

My interdisciplinary scores are always ready to change: when incorporating both voice and movement in addition to instrumental performance, things are not always timed exactly as imagined, and voices and bodies sound and move differently than mine. I choreograph movement (I am ambivalent about writing “choreograph,” since I feel it is too formal for whatever the hell it is I do) and when I workshop with my musicians, together we structure and shape the piece.

The performers involved in my pieces are truly creative contributors, as their perspectives enrich and inform the process. I typically begin alone first, and aim to have a basic structure and some choreographic ideas before getting in the studio with my musicians. For “Spring,” I had music, the idea of using movement to draw on a giant piece of paper, tearing up paper, and other random movement phrases and performance ideas. Laura and Natalie weighed in on a variety of elements, from the music, to the arc, to staging, and also contributed beautiful movement ideas. We all move in our own ways, everyday, whether running, slouching, or even turning our heads to look, and I truly believe that you don’t have to be a professional dancer to create or find movement that is meaningful. This is an underlying idea I explore in my interdisciplinary practice. I do want to note that there is still discipline involved and it takes a lot of searching, trial and error.

One of my ongoing major concerns is (unintentional) cheesiness. When you begin creating, however, you have to let things go there at first rather than being immediately dismissive, or else you’ll start from a place of inhibition and fear. Aiming for perfection from the start is something that I had to unlearn when I started making my own work.

Cheesiness is, of course, subjective. Having two other artists in the room who I trust is important. At HCL, I could not have asked for a better team than Laura and Natalie, who were fully present and all around wonderful musicians. I’m constantly asking questions, such as, “How does this feel?”; “Is anything cheesy?”; “Does this make any sense?”  It’s important to me that not only I, but also my collaborators feel conviction in what we’re doing, which is impossible when you’re thinking, “Ugh this shit’s cheesy” or “What is the point of this.”  It’s one thing to get a score you don’t like very much and have to perform it well—we all can do that, and have had to do that on numerous occasions (even so, we sometimes can’t feign enthusiasm)—but imagine having to move your body in performance and moving in a way you feel is awkward: you will probably perform timidly.

Thoughts that crossed my mind at the beginning of the week: This is hard; This shit is so cheesy; wtf am I doing; I don’t think I’m going to do interdisciplinary work anymore, I don’t think this functions well as a genre, especially with instrumentalists. But I was there to work, I had to show on Saturday, the clock was ticking, and so I did not have time to dwell on those thoughts, or to wonder if what I was doing was good or bad. And by Friday, we were running “Spring” in addition to “Winter,” which had been made earlier this year, and showed both movements.

While “Spring” will still be edited further, I was happy with what we made and with the experience over all. We had fun, we still liked each other after spending seven hours a day together, and I received thoughtful feedback at my showing. Having uninterrupted time with Laura and Natalie, who are generous, open-minded, intelligent, and creative musicians, is exactly what I needed, especially after having had a couple of panic attacks in previous weeks as well as delusional thoughts about my career being over (and more!). Those thoughts visit often. For the moment, I’m focusing on what’s next for the development of Antonym. Videos will be posted soon!

Rambling 122718

I wasn’t going to post this because the writing is not great, but I just really need to get this thing started. Besides, is this really any worse than posting a selfie or a food photo? Perhaps…YOU be the judge!

A continuous line

Clockwise from top left: my final Target Margin Institute investigation; backstage with Trevor and Barbie at Periapsis Open Series at GK Arts; Target Margin Intensive, March 2016; at the Museum of Art and Design (MAD) Harry Bertoia exhibit; Coco; at the Met Museum with Target Margin; MAD Bertoia exhibit with Hajnal; work process photos of Test Site 1; a selfie. 

Another year, another set of failed resolutions.  If I forgot about them and didn’t make a sincere attempt, that means I didn’t really fail at them, right?! 

The election and dead celebrities aside, 2016 has been a year of artistic and creative realizations for me. The Target Margin Institute was a major contributing force. I was surrounded by open, intelligent, and creative cohorts, guided by the amazing David Herskovits, and supported by fantastic artists Sarah Hughes and Moe Yousuf.  I learned so much about leading and taking part in a process, saw amazing plays, and had the chance to meet and listen to Richard Foreman speak in an intimate setting. 

That happened the day after the election.  I wasn't planning on really writing about the election here, but in a somewhat circuitous way, it was another factor for the creative changes I decided to make. Like many of my friends and colleagues, I am working towards taking a more active role in important issues, but relating back to artistic awakenings: it emphasized that the voices of women need to be loud and amplified further and further until we are heard. I became extremely aware of how many things I had always wanted to do but did not (which I will specify as I do them over time), due to my lack of confidence as a woman in a male-dominated field, and then I thought: Screw it. No time for hesitation. For me, this creative hesitation is a microcosm of all the hesitations we execute because we only see people like us hindered, or don’t see them, rather, as they are instead rendered invisible: don’t apply for that opportunity; stay in your lane; a woman can’t possibly be president.

Also, two friends my age died. These shocking events not just reminded me, but screamed in my ear, that life is too short not to make things I want to make.

Although another year is ending, I would rather think of tomorrow as a continuation of a line rather than a newly drawn beginning. Calendars have the psychological effect of making us think of a new year this way; in fact, I still imagine each day and week as a box I’m inside of, the last day of the year the bottom of a page. But it is not the beginning for me; I’m adding on to what I’ve started. 

Breaking Habits & a Handheld Projector

On Saturday, April 2, I’ll perform an excerpt of Potential Energies, a ballet for musicians and dancers, with the original choreographer of the piece, Barbie Diewald, and premiere a new 6-minute piece called Test Site 1: (In)Habit, an experiment in process that I created with choreographer Coco Karol. All the music for the program is composed by Trevor Gureckis. In PE I’ll be playing the piano in the usual way (for the most part) and perform with Barbie, while in Test Site 1 I’ll be completely dancer-less but I will have a handheld projector and approach the piano in weird/wrong/unconventional ways. Over the past two years, I’ve been interested in exploring how musicians can use their entire bodies in performance, both the possibilities and the limitations , partly because I’m obsessed with dance, and also because I’m inspired by the amazing group I work with at NCP who are not only skilled instrumentalists but amazing performers in general.

I’m not gonna lie, this is a tricky thing to investigate because there’s always the danger of the cheese factor and things just not coming across effectively, of the work looking contrived or just straight up stupid. It’s not the most poetic or eloquent way to describe my self-consciousness, but it’s what goes through my mind, constantly. In creating Test Site 1, I wanted to immerse myself in a process (=3 hours in the studio every week since the beginning of February), get out of my comfort zone and let go of my judgmental mind, and create a solo work, which I plan to do more of in the coming years.

I won’t say too much about Test Site 1, because I can’t, because it’s an experiment, but it does revolve around the body, nature, urban life, & obligation (in this case, the piano), drawing connections & acknowledging tension between these elements. Tickets for the performance are here. In the meantime, below are behind-the-scenes photos!

This was a fun idea, but we ultimately scrapped it

Embracing Process for Progress

Yesterday's workshop session with Coco Karol

I was recently accepted into Target Margin Theater’s (TMT) Institute for Collaborative Theater Making, where artists are invited to challenge themselves, their practices, and engage in questioning and experimentation. Activities include intensives, focused experimentation, adventures, and breakfasts. I was so thrilled just to get the interview; I don’t have a theater background so I thought my chances of becoming a fellow were low. What appealed to me is the way the Institute seems to balance structure with artistic freedom and experimentation. There is no end goal or specific project to work towards. In both the application guidelines and in the interview, it was emphasized that we would need to set aside whatever we are working on for one big question mark; the Institute would be a place not to launch and execute projects, but to embrace the unknown. The Fellowship is already such a gift in and of itself, and beyond that TMT gives each fellow a $1,000 stipend as well as space.

Illustration by Jesse Hawley

I am beyond excited to take part in this, as I believe this is exactly what I need right now. I have been building my music ensemble, The Nouveau Classical Project, over the past seven years. Aside from working on the creative side of it, i.e., curating, performing, directing, there is an enormous amount of unsexy work that goes on behind the scenes to execute projects and maintain the organization: fundraising, marketing, operations (one of my least favorite words…what are we, a hotdog factory?), making face time at events, coffee meetings, etc. More often than not I’m going at breakneck speed, mostly driven by ambition, but also by necessity. I work hard to make sure things get done, are well done, and people get paid, which doesn’t always allow me a lot of time to let ideas germinate or reflect on what matters to me as an artist. I have no regrets, though; having the discipline to balance all of this with a consistent practice schedule has taught me how to manage my time and allowed me to build something that’s still going strong. 

Speaking of time, there’s a time and place for everything. This may not have been the right thing for me ten years ago, or perhaps I would not have understood its importance to my artistic growth and creative practice (I had piano tunnel vision; the only thing “practice” could mean to me at the time was hours on end at the instrument.) I’m a completely different person now and my priorities have changed significantly. I think now is the time where I need to engage in some much-needed experimentation, rethink my work, and immerse myself in a slow motion process propelled by questioning.

One of the projects I’m working on outside of the Fellowship is a multimedia piece with composer Trevor Gureckis and choreographer Coco Karol. It's going to involve music, movement, and projections. My stay at the A-Z West wagon station encampment in Joshua Tree was the impetus for the project so it will be incorporated into the piece. That's all I know right now. I’m purposely refraining from mapping it out too extensively at the beginning because I want to see how things unfold for a little while. Don’t get me wrong: it’ll get done and there will be a structure. After working the way I have for years this is inevitable. I just don’t know exactly what it is going to be at this moment in time, and for me, that means this project is off to a good start.