The choreographer Deborah Hay will undertake the first score creation project with Motion Bank.
An excerpt from Susan Leigh Foster’s Foreword to My Body, The Buddhist.
“In training to make and perform dances, she (Deborah Hay) attends to the body’s changeability. She explores the ramifications of multiple, distinctive metaphorical framings of physicality. Body, in turn, has offered a kind of dialogue — probing, assessing, reacting and instigating — in response to Hay’s various queries. Close and consistent attentiveness to this dialogue forms the basis of Hay’s regimen for learning to dance and also generates the motional matter from which her dances are made. For Hay, choreography emerges from her ongoing reflections about bodiliness.”
Excerpts from Deborah’s biography:
“In 1970 she left New York to live in a community in northern Vermont. Soon, she distanced herself from the performing arena, producing Ten Circle Dances, performed on 10 consecutive nights within a single community and no audience whatsoever. Thus began a long period of reflection about how dance is transmitted and presented. (…)
Her first book, Moving Through the Universe in Bare Feet (Swallow Press, 1975), is an early example of her distinctive memory/concept mode of choreographic record, and emphasizes the narratives underlining the process of her dance-making, rather than the technical specifications or notations of their form. (…)
Her second book, Lamb at the Altar: The Story of a Dance (Duke University Press, 1994), documents the unique creative process that defined these works. (…) Her third book, My Body, The Buddhist (Wesleyan University Press, 2000) is an introspective series of reflections on the major lessons of life that she has learned from her body while dancing. (…)
Her latest solo, No Time To Fly premiered at Danspace, NYC, March 25-27, 2010.” Read Johanna Burton’s review published in Artforum July 1, 2010.
For more biographic and other information visit Deborah Hay’s website.
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