Maybe we were all Horses once

Transformation ProcessMy performance Narrative was designed on myths, legends and facts, designed so that for each paragraph I would have an action to complete, such as putting mud on myself or drawing on myself with chalk:

Have you ever wanted to be someone or something else? Have you ever wanted to have a bigger body, larger muscles, longer legs, a different nose, a new mouth, longer hair? but you can never quite grow it quick enough.

Is there anything you’d change about yourself and who you are, maybe different colour hair or eyes, perhaps you’d like to change the things you keep private… Any hair that grows in places you wish it didn’t.

Just Fragments of your personality that are twisted and not quite right, don’t you wish you could change?

I have, I spend everyday longing to be something else, I’ve spent years looking in a mirror wanting to be something else, craving to change. Seeing my faults and wanting them gone. Realising I’m not who I want to be.

I’ve always wanted to be a horse, something that stands the test of time. The Celts believed that people were carried to the next world on horseback, it was believed that they possess special powers. To become a Horse it’s important to understand human’s and horse’s souls, look in a mirror, it takes years of studying and self-perfection to realise the truth, admit your own faults, repent and start again. Born a new.

We can be so cruel to them though, did you know if a horse is to deep in mud it can get a disease called mud fever, the horse begins to lose hair and scab, think of it are any of those stables safe for horses, was this grandstand?

Similarly to us most of their speech is actually indirect body language or equine language, Most obvious to read is the horse’s overall body outline, also called his frame or topline. The topline of a horse is defined by the position of the horse’s head and neck, together with the upper curvature of a horse’s withers, back and loin. They raise their whole frame when excited, surely that isn’t much different to ourselves, at least they don’t lie to us.

Horse’s span the emotions of the person present with deep eyed accuracy. Then they make their own conclusions. Can you imagine it? A horse knows more about you in a minute than you’ll ever know about yourself.

They used to be sacred and now they’re just fodder. More horses died in the first year of the American Civil War than people. That’s all they are to us, slaves to do the jobs we don’t want to as we allow them to decay.

In Arthurian legend it was believed that some Horses would have magical bridles and if a knight found these horses they would transform into a beautiful woman. Can you imagine it, instant transformation, but can you imagine it the other way round, from horse into human.

They’re so intelligent, so healthy, galloping, trotting and cantering all serve vital functions in a healthy digestive system. Think how strong they are, why would you not want to be a horse?

It was once said that the horse represents the ‘mother within us’

Maybe we were all horses once decaying back to human form.

At the end of this narrative and the actions are complete I am left with a piece of live art, the transformation is complete.

What will we leave behind?

Throughout the devising of our work we had toyed with the idea of creating an installation with the letters, airplanes and clocks that would be used within the performances. As we want to do several performances with gaps in between to reset the area we thought this time could also be spent building an installation. This would mean in every performance, the installation would look different. After the performances had finished we would have had an allotted time in which people could look at and explore the installation.

When looking at how we could structure the installation, we looked at work that was built using mainly paper. We discovered one piece of work that was made out of mainly paper.

I fly like paper get high like planes.

I fly like paper get high like planes.

This piece of work was very striking and we were inspired by how dynamic it looked. The idea of doing this with the airplanes flying away from the mural was one that we like a lot. However, after much deliberation we decided that this was not something we would be able to do in such a small space of time.

We then started to think what we had done at the grandstand through the previous weeks. Near the beginning of the process, we were asked to take a gift to the grandstand and we really liked the idea of leaving part of what we will be creating at the site even when we have left. I then suggested that we bury a time capsule containing elements of our show. This will happen after the main performances and will be filmed so it could be shared with those who won’t be there when it is buried.

We all agreed that this idea was one that we very much liked and decided to move forward with the idea. After a little more discussion, we decided that we would ask the other groups to add something into the capsule so it will be a collection of all of the performances that will take place on the 8th of May 2014.

We have also decided that at the end of each performance we will ask the audience to take the batteries out of the individual clocks and place them in a jar. This image of stopping time and then burying it at the site is one that we thought was very fitting with our piece. Asking the audience to stop the clock will be accompanied by this poem;

Stop all the clocks.

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come. 

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves. 

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.

The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood.
For nothing now can ever come to any good.

W.H.Auden

Throughout the process we have been interested in this poem and how it relates really well to our site and especially the room we had chosen. At the end of the performance seems like the right place for the poem to go. We are now really excited about the image that this will create after each performance.

Works Cited-                                                                                                                             Dawn Ng: I fly like paper get high like planes, 2009.                                                               Auden, W.H., Stop all the clocks, 1938.

 

 

A creative block, incorporating “fun”, sexy pools and celebrating The Grandstand

Please excuse my lack of entries. The pure honest reason for this is purely due to a block. I find myself stuck right now between the two performances I am in. I feel that there isn’t much I can do leading up to the actual performance until the last few days leading up to it. There isn’t really much for me to add/do at this point in time. Of course this could be seen as a good thing, however when I don’t do something I start to drift a little. I really do have the attention span of a gnat.

I decided to actually look more into the EXPO to cut out the time killing at home. My work with the EXPO team has been good as of recent, as I noticed Samantha’s blog post about the foil dress we shall be showcasing. For the entrance foyer we have decided to adorn the top of it with red and yellow fabrics to give of a chic, jamboree atmosphere almost giving off the impression you are in a circus tent. The picture below shows a very brief glimpse of what we hope to at least replicate:

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It sounds weird to say, and I find it hard to actually utter the word as a second year university student approaching his twentieth year in existence… but doesn’t that look nice?The idea of this EXPO is fun. Pure, innocent fun. We are giving the audience food, drink, a metal dress, music, colour and activities in hopes that they have fun. The goal from the start for this project was to humanise the Grandstand and bring this lonely watcher of the original EXPO a party. For me tho I also have set a little side task for myself to make sure the audience have “fun”. How can we make the audience enjoy themselves, and also at the same time give meaning and energy to The Grandstand

In a quest for justification as to why the element of fun is so vital in a piece like this I researched into site specific performance pieces that gave life to area often not looked at. A very specific thing to look for but, surprisingly, I found a rather good post online about a piece called THE SERIES by Nicole Disson. It was a performance art piece that was filmed on the rooftop of The Standard, a boutique hotel in downtown LA. The piece incorporated belly dancers, live music from local band Blackblack, performance artists who were making out for the entire time in the lobby, acrobats contorting and twisting themselves to the sound of heavy metal and Mia Doi Todd singing atop a fireplace.

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With all of this activity going on the blur between audience and artist is crossed which is fascinating, at least to me, to have. In the same post online a interview with Mecca Vazie Andrews provided me with however further analytical questions for me to possible delve into. Disson invited Mecca  to collaborate with in this project. Mecca went on to explain her choices of movement and dance into the performance and how the space influenced her:

“The process for creating site specific work begins as soon as I see the space. Since I have frequented the downtown Standard since its opening, I have been inspired to make moves and work there. Given the opportunity to direct the series by Nicole is such an amazing treat because the roof top is already aesthetically terrific. First, I decide which spaces make sense logically for audience sightlines, sound and lighting. Then, I consider whether I desire to contrast the style of the space artistically or use what the space offers and feature it. For example, the pool is radical! I think it’s just asking for 2011 future Esther Williams to emerge from it like always. So I’ve created a MOVEMENT movement experimental theatre piece surrounding the pool with dancers and actors inspired by the likes of La Dolce Vita. It’s such a sexy pool so why not rock a sexy artful dance that’s all wet and fanciful?” 

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One could say that by using all of the LA based actors, artists and dancers that Disson is actually bringing focus to the arts in LA, and by using a building many may not look upon, despite it’s aforementioned “sexy pool”.In doing so this piece could also be a celebration of LA in itself. By doing this she has injected life and art in to a building that had none, and in doing so, used the audience to give it that said life. By what we are doing in the EXPO we are almost using this same archetype. We hope to infuse a event and a building together and make for a dynamic conduction in a mixture of performance, art and breaking down the barriers between audience and art and a celebration to the history of the site.

Below is a really interesting video link to THE SERIES that really inspired me:

https://www.youtube.com/watch?feature=player_detailpage&v=r6IrpvHTkQw

Articles used:

Drew Denny. (2011). Nicole Disson’s THE SERIES: Rooftop Performance Art Parties at The Standard Hotel Downtown, Explained. Available: http://www.laweekly.com/publicspectacle/2011/07/05/nicole-dissons-the-series-rooftop-performance-art-parties-at-the-standard-hotel-downtown-explained. Last accessed 23rd April 2014.

What Makes A Champion

What Makes a Champion?

 

Thoroughbred Racehorses are the same size as cows, however they can reach speeds of 45mph. In the racing season champions can win millions of pounds between them. Even though these animals have strangely thin legs they can weigh an average 1200 pounds and run on these legs at great speed. For the owners and trainers, it’s about finding great champions like, Red Rum, Yeats, Desert Orchid, Man o’ War and Secretariat etc.

 

What plays a big part in thoroughbred racehorses? What gives them the tools to run for great lengths and at great speed? All modern Thoroughbreds can trace their pedigrees to three founding stallions. Despite their big bodies they have unusually thin legs, however, their muscles in the legs can be put under extreme pressure whilst at full speed, but this can leave to really bad injuries and sometimes if an owner decides that they are too severe they may have the horse euthanised.

Two centuries ago the chance of finding out why such an average looking racehorse was able to win all his races by such lengths became available. Eclipse, who started and won 18 races, was one of the first major racehorses in the 1700’s, (although he only won 2149 guineas, which is slightly different to today winnings.) He is attested to have covered 83 feet per second at top speed, which would equate to 25 feet in a single stride. Eclipse died at the age of 24 in 1789 and after a dissection they found out why Eclipse was so special. Although his measurements were strangely average he was found to have an abnormally large heart weighing a staggering 14 lbs when the average is 9 lbs, his opponents didn’t stand a chance. This is known in thoroughbreds as ‘The X Factor’ and has been since in descendants, most notably Phar Lap and Secretariat. Eclipse’s skeleton is now housed at The Royal Veterinary College in Hertfordshire.

Eclipse is still known and remembered for the phrase,

‘Eclipse first and the rest nowhere’

Eclipse

These two descendents of Eclipse were also known for their abnormally large hearts. Secretariat is widely believed among most to be one of the greatest racehorses ever as is Phar Lap. The latter was a racehorse in Australia and New Zealand, although he was later shipped to America to race. Phar Lap won 37 of his 51 races he entered. Phar Lap had a strange death in 1932, although healthy, it appeared his stomach and intestines were inflamed. Leading to the suggestion that he had been deliberately poisoned with arsenic. Although is what common for racehorses to have arsenic in the system as it was known as a solution. Many theories have been suggested surrounding Phar Lap’s death, one being that American gangster’s ordered the death, fearing the Melbourne Cup winning racehorse would affect their illegal bookmakers. However as early as 2007, Phar Lap’s mane was tested and it was found that he had repeated doses of arsenic, which would support accidental poisoning as the result of horse’s death. Again, after a dissection he was found to have a large heart weighing at 13.6 lbs, which is a similar size to Eclipse’s. Phar Lap has been given many honours in Australia including a life size statue at Flemington Racecourse in Melbourne.

 

Phar Lap Statue Phar Lap's Heart

 

 

 

 

 

 

However, the biggest shock has to be Secretariat, he was the first racehorse to win The Triple Crown (which is, Kentucky Derby, Preakness Stakes, and Belmont Stakes in America) in 25 years in America. When Secretariat died, again a dissection took place. However this time his heart was not weighed. The Doctor who performed the necropsy was Dr. Thomas Swerczek didn’t weigh the horses heart but is famous for saying this, “We just stood there in stunned silence. We couldn’t believe it. The heart was perfect. There were no problems with it.” The same doctor dissected the racehorse Sham after the horse’s death and he did weigh this heart, it came to 18 pounds, the fact that this Doctor had performed both dissections meant that he could estimate the weight of Secretariat’s heart. He estimated that the horses heart weighed 22 pounds, which is a phenomenal size. The woman who bred Secretariat fammoulsy said, “As Penny Chenery wrote on Secretariat.com, “It did not seem right to separate Secretariat from his heart.” (Graham, 2013)

 

(Graham, Jennifer, Equus Nov 2013, Issue 434, p32 9p.)

 

Blank diaries…. “We seeing IT or not?”

*Excuse my English grammar*

Things are always changing, just same as the Earth is always turning around.
When somehing has changed, it means we actually standing on new start line.
As we, our group designed our piece like a big chronicle gallery now we focusing on to some SHOES.

We know that people normally wearing (or putting?) a pair of shoes, but in an artistic form?
It’s simple but simple is a most difficult things to change…
We can make the grandstand as a Holocaust because of it is still remaind a theme of “War Time”.
Also, it creates an huge impact to audience even if it is a hard to look back.

Can we do like this?
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[Image is avaliable at] http://www.dailymail.co.uk/news/article-1355086/Golden-Harvest-Poles-plundered-graves-turned-Jews-Nazis.html (accessed 1 April 2014)

However, should we just satisfy to create a ‘shock’ to audience?
How about mercy? how about a questioning for next generations?
We have to consider about ‘why are doing this’ all the time.

We can create any sort of atomosphere but performers are doing and audiense is watching us.
So, there is a paladox in between performer and audience; us, as a performer we are actually making the
atomosphere but it will not affect us. Because we are ‘doing’ but audience is ‘watching’ and it must be have got more impact.
The differences in between seeing and doing is actually throught our body but the differences are which part of body we are using and how majority of that. Author John Wylie stated that ‘body and environment fold into and co-construct each other through a series of practices and relations’ (Wylie, 2007, as quoted in Mike Pearson 2010) thus body and mind are always linking.

…to be continued.

Work Cited

Daily Male Reporter (2011), Poles ‘plundered mass graves and turned Jews over to the Nazis’, controversial book claims, Online:http://www.dailymail.co.uk/news/article-1355086/Golden-Harvest-Poles-plundered-graves-turned-Jews-Nazis.html (accessed 1 April 2014)

Person, Mike (2010) Site-Specific Performance, Hampshire/Palgrave Macmillian