-Future Vision, Mission and Values
-Dance and Movement Practices
-Phygital- dancing between the interface of physical and digital
-Children and Young People
-Safeguarding, Ethical Practice, Sensitivity exploring challenging subject matter
-Reimagining children's literature
-The Secret Garden Remixed
-Artistic Ideas arising to be explored further
Dancing in the fabric, is where I feel most free.
Dancing for possibility, between hope and regret.
We rise and we fall. We dance in the spaces in between, exploring duality.
We improvise freely with no desire to set.
Stimulating our cells, and lived body, as this sculpture takes form,
We lean to the rippling waves in the sea of choreographic choices,
To express what it means to survive the storm.
We came here to connect, to heal, to endure, to escape, to learn, to listen to multiple voices.
Finding the shade, to take shelter from the wind. We take in the air.
We feel the presence of new energies, a responsibility to create a culture of care,
Contemplating position, direction and outlook of this imaginary transformative space.
Connected to the stretch and motion of the fabric, the tapestry of this new normal.
Feeling the challenges, the tensions, and lifting my gaze,
A space for blue sky thinking, discussion and play.
Many paths to meander, we start dancing.
Listening to each moment. Feeling what it has to say.
A large white flag of surrender to what is advancing,
Dancing in the space between these four walls.
Allowing the fabric to move freely, to suspend and to find stories untold.
The flow of feelings and creativity. A desire to escape, nature calls.
We breathe, we embrace, we support and we allow our ideas to unfold.
This is my creative haven. As I reignite concepts and find new connections.
Finding my way through, and holding the score.
Unpacking, uncovering, undoing and unfurling, I gather my questions.
Breathing, sensing, being, meta- cognition, bodily feelings, as we explore.
This dance is surrender.
This dance is truth.
This dance is free.
This dance is ebb and flow.
The dance is me.
This dance is…
Dancing in the garden, is where I feel most free.
Dancing for possibility, between hope and regret.
I stumble across a mighty big tree.
I improvise freely, and craft a small responsive vignette.
As I design this imaginary garden of fake believe.
I lean to the sunlight in my co-ordination of choreographic choices,
I came here to connect, to heal, to endure, to escape, to learn, to express myself freely.
To stimulate and sustain a vision for the wellness garden, shaped by multiple voices.
Finding the shade, to take shelter from the wind. I feel the presence of nature so deeply.
Contemplating position, direction and outlook of this imaginary transformative space.
Sat at the base of the tree, Lifting my gaze, to the nests, within the branches.
A space for blue sky thinking, permaculture and play.
Many paths, of intricate paving, I start dancing.
Pretty flowering plants every colour of the rainbow surrounding me as I dance my cares away.
Dancing in the space beyond the walls.
This is my creative haven. Noticing the wildlife in the pond’s reflections.
The flow of feelings and creativity. Nature calls.
Sitting on the swings. I gather my questions.
Moving as I filled my lungs with air from outdoors.
Unearth what might get in the way in my creative hub.
Long grasses. Beautiful trees with stories to tell.
Over grown, overspilling borders. Ever green shrubs.
Greenery. Permeable ground. An imaginary wishing well.
Greenery. Permeable ground.
Roses climbing the wall. Landscapes filled with endless potential.
The musical score of bird sounds.
Open spaces to run, skip, play.
To crawl through the overgrown meadow.
Through green open spaces, and nature’s display.
To sit on the swings, and gain height and momentum,
A space to connect to my truest self and to find my way.
To climb the tree to the highest points, to enjoy a different view of the garden.
This dance is free. The dance is permaculture.
In this relaxing sanctuary. This garden will flourish.
As artists we find ourselves in challenging times of uncertainty. Some times I feel like I’m in a collective game of overcoming like the huger games The Hunger Games, Squid Game of trying to keep going to pursue my life mission. It’s over whelming and at times exhausting, I need dance to find the lightness, the joy, the oxygen to fuel this desirable dance to change the world. It can feel much heavier than it needs to be. This shifting dance between macro, micro viewpoints is what keeps me going. I affirm to myself that I am still here doing it, despite graduating into a recession, despite never really having the money to do it in the ideal way, despite failing my 11+ at the age of 11, despite my unique way of learning and making sense of the world, despite feeling the noise of media narratives, other voices, and external factors, despite societal conditioning, challenging circumstances at various points in my life and brief moments of burnout where it has felt all too much. Despite all of this, I’m here doing it, and it is hard, but so far, I haven’t given up on myself, ideas, the people I work with, and my optimimistic manifesto which I often doubt. I don’t believe I’m a super hero, I have a loud imposter, and when I’m presented with an opportunity I sometimes let fear take the wheel. This is where I’m grateful for a crew, collaboration and people that see beyond all that stuff, to listen to what I’m not saying and to get to know me on a human level to understand why I might be the way that I am. Stories are nuanced and multi- faceted and I listen for what is not being said, just as much as I listen to what is. At the moment my creative will power is thinner on the ground at present, but I’m doing my very best to continue and to make a difference to people and communities in the Northwest and further a field through my work. I am hopeful for a sea change! In times where I feel I have reached a dead end. The question ‘what can I do in the mean time?’ Has allowed me to follow a path dancing in to the unknown. I am grateful to have such a wonderful network of people around me. Being a creative is a huge privilege, and even though at times I am not satisfied, I am hungry, and unfulfilled, I am aware of the dualities that exist within me, and how 16 year old Lauren would have marvelled at this weird, varied life. I used to feel a great deal of shame for wanting to dance in the extra ordinary parameters of what life could be, and this led me to find a dance between the duality of never feeling satisfied and feeling completely content with the ordinary aspects of life. I’m at a place where I would like to connect some dots, and that’s a wonderful place to be to create catalytic change, and to allow people to find peace and fulfilment. This feels like my own language here. Dancing in the spaces between language, feelings, behaviours, actions, knowledge, the giant gaps of the unknown. This is artistic territory. There is truth in my creative pursuits and I feel like I’m dancing at the heart of this endeavour. The endeavour to embed myself with people and communities, and to listen and learn with them in the hope that
"Chance favours The Connected Mind." Steven Johnson
(Johnson, S. (n.d.). Where good ideas come from. TED: Ideas Worth Spreading. https://www.ted.com/talks/steven_johnson_where_good_ideas_come_from?language=en)
This piece of writing aims to begin to connect the dots and identify emergent themes in my process orientated practice and to free me from the burdens I am facing today. Drawing my practice together sometimes feels like a challenging task. I feel that ‘The Secret Garden’ work is an opportunity to draw some learning together in a creative output, however I am meandering through, connecting ideas in a slow, long incubation period. Every conversation I have is research, every lived experience shapes my thinking around my own story, my creative voice, collectivism and connectivity. This MA is allowing me to map the learning journey of my creative pursuits and to identify common themes that are emerging in all of my areas of practice. Sitting within emergent open systems of cultural learning, creativity, culture and community development to connect with other people’s ideas, to enable ideas, to explore with by and for children and young people.
"Placemaking is both a philosophy and a practical process for transforming public spaces. It is centered on observing, listening to, and asking questions of the people who live, work, and play in a particular space in order to understand their needs and aspirations for that space and for their community as a whole.” (The Placemaking Process. (2022, August 19). Home — Project for Public Spaces. https://www.pps.org/article/5-steps-to-making-places)
All of my work sits within a place making agenda of some sort. I work with a place based approach, and my role shifts depending on where I am, and who I am working with. At present, I am part of ‘Create Place: the placemaking and co-creation leadership programme’ by Staffordshire University. I have attended a ‘Dance in the North’ network meeting, and attended various hyper local placemaking development meetings in towns and cities in my region of the Northwest with a desire to connect my artistic practice to the placemaking agendas. My previous dance development work with Cheshire Dance was instrumental in broadening my perspectives and world views concerning creativity, culture and place. One of my favourite moments was seeing a youth led festival in the town of Northwich, come to life, where children and families got up and danced in their town and children and young people brought that to life.
“As a Dance Artist working with Cheshire Dance since late 2015, Lauren has shown commitment both to her own artistic practice and to the development of the art form and opportunities for others to participate in it.
She is an incredibly passionate artist who is reflexive in her practice ensuring that she is always developing her approaches to create the highest quality work possible.
Her choreography is detailed, engaging and accessible and she works in such a way that she challenges both herself and the dancers so that she gets the best both out of the dancers and the material.
She is very welcoming of feedback and when shaping her work she values the voices of diverse stakeholders including audiences, artistic peers and those engaged in the subject matter she is exploring.
I believe a period of investment in her creative practice will have a profound effect on her practice and the work she will subsequently create. Ideally the model or approach she develops during this time will be replicable and enable her to work with other organisations thus scaling up her practice to the next level.”
Jane McLean- Cheshire Dance
At present I am just working on taking each step as it is presented to me, trying not drown in the noise concerned with the current fiscal climate, arts and cultural investment. I am in this for the long term, despite all of these challenges. I am deeply aware of the impact of our systemic issues, decision making, how we can use our voices to open gates, and to develop our systems to be more inclusive and transparent, to explore and challenge my role and responsibility to the future of the children and young people and our creative sector and Dance in the North. I trust that these tender challenges will remove division and enable freedom. We will dance together, again, again and again! (And as I write this, a spectrum of rainbow light, catches my hands, and I can feel it- The hopeful rainbow I mean!)
This week my passion planner academic diary reads "In stillness and presence we align with our power." Ilea Angaza The passion planner expands on this notion by adding "This week try to find the beauty in the mundane, the sophistication in the simple. and the miraculous nature in the present moment." (How do you reference a passion planner in APA7th?)
My portfolio of choreographic outputs to date includes some born digital works including 'Alexa, Take Me Back To Reality' www.youtube.com/watch?v=Rn6vZOxWhMA , 'Alexa, Make Me Disappear' www.youtube.com/watch?v=dQuy7z1PxOYand 'Neverland: Our Story in Pixels' These ideas have been enhanced by digital technologies. In the past I have struggled to identify as a digital artist, mainly due to my lack of digital patience, rather than my digital desire. However in 2018, I became increasingly interested in what digital can do for dance. I am deeply curious about how technology can amplify, augment, disturb and disrupt artist's creative agendas. I am also excited connection and disconnection prospects, and how the meeting of the the physical and digital interface might engage new audiences and reimagine the participatory performance experience. There is a lot of potential in this undiscovered, rapidly evolving world. 2020 allowed artists to begin very exciting conversations with our communities about how digital could enhance what we already do.
This week I participated in a workshop space, where I was introduced to the Mocap facilities, and discussion exploring the possibilities and potential of MOCAP and dance in collaboration. On Monday 14th November, I entered the Green Screen room forgetting that I had hoped of walking in to a space like this many years back. I felt very focussed on my explorations of grief, the Secret Garden, play with a military parachute, an international project that I am a part of, the leadership conversations taking place in the 'Create Place' programme. Whenever I attempt to move away from the digital element within my practice, I am pulled back and drawn to it. It felt like a 'blue sky thinking dreaming session' where I was able to engage in collaborative conversations about what might be possible to explore during my masters study. For many years know I have explored the strengths, weaknesses, opportunities and threats of digital dance forms, and I have always faced barriers concerning and a lack of resources, facilities, and digital collaborator. So this was a welcomed possibility for the development of my creative practice.
I consider myself to be a proactive artist and most of my endeavours have been pushed for from me, or by the communities I engage with. This week has been different as the Green Screen Lecture was organised for us, I welcomed the encouragement from Debbie and Elisa to integrate the technology in to my work. I am reminded that sometimes my initial resistance doesn't mean that I'm not curious, sometimes it is fear around not knowing how I would pull it off. These are the best places to be in, but I can still shy away from them, or think of other artists that might be better suited to working in these spaces. I have a habit of doing that, and I do love that quality about me, but I recognise that it is a trait of my imposter syndrome.
The session opened up more questions and potential hurdles around how I can marry all of the disciplines together, particularly twith the aerial rig being in one building, the tree in peel park in another and the mocap studio in another place. This initially put me off, however in the past I have challenged myself to create work in impossible conditions in the pandemic, creating between multiple locations via zoom and it resulted in an innovative approach to working with people, an Alexa, a dancer in Cornwall via zoom, and Open Online Theatre based in London for audiences all over the globe, in partnership with Together, formerly known as MDI. This means that I am excited about how I will bring all of these explorations together, and how digital might be able to enable the merging of all practices and locations.
Despite moments of doubt and a lack of confidence in my abilities to realise collaborative ideas, I have returned to this idea of Freedom/ Escape and how 'The Secret Garden' might be able to integrate principles of escape rooms, challenge and reward systems to earn the code breaker code: freedom, leading to a culminating multi-disciplinary dance work to lead outdoors and allow audiences to unplug and to connect with what's really important; people, nature, outdoor spaces, playfully expressing themselves and being part of a collective experience. It feels very ambitious, in a time where the cost of living is rising. I am a resilient artist and digital thinker and I will find a way. Ideas take time, and thinking space. I have discovered that when I allow myself to do nothing, I realign with my creative power.
I know how lucky I am to be able to begin exploring the hybrid forms of Motion Capture, and will find the time to utilise the facilities and resources, and embed them within my multi-disciplinary practice. My reflections help me to make sense of this choreographic process as it is unfolding.
Links to previous digital dance improvisations at Middlesex University: www.youtube.com/watch?v=8n24Q-Bok_w and https://www.youtube.com/watch?v=HfpXExJL5uc&t=145s
This tiny reel made and edited for instagram blends aerial harness vertical dance and IG Filters...
Reflection of the challenges, potential and possibilities aerial harness dance forms as a choreographic process.
“The sun shone down for nearly a week on the secret garden. The Secret Garden was what Mary called it when she was thinking of it. She liked the name, and she liked still more the feeling that when its beautiful old walls shut her into one knew where she was. It seemed almost like being shut out of the world like some fairy place… She was beginning to like to be outdoors; she no longer hated the wind, but enjoyed it. She could run faster and longer, and she could skip up to one hundred. The bulbs in the Secret Garden must have been much astonished. Such nice clear places were made round them that they had all the breathing space they wanted, and really, if Mistress Mary had known it, they began to cheer up under the dark earth and work tremendously. The sun could get at them and warm them, and when the rain came down it could reach them at once, so they began to feel very much alive.” (Burnett, F. H. (2017). The Secret Garden. Virago Press.)
This reflection aims to explore the learning as a result of participation in four choreographic labatories that took place this week, to explore the principles of my solo practice off the ground, escaping the laws of gravity to undertake research through practice. As I continue to shape the reimagination of ‘The Secret Garden’ I am interested in combining dance, play, digital, improvisation, storytelling, aerial harness and visual arts to identify ways that I might apply my findings in this ambitious choreographic process.
I dance with my whole self, and process my learning with awareness, and dancing modes of attention between intellectual, instinctive, feeling and sensory learning. I aim to articulate my reflection in written form. 'Writing also provides a means by which learning can be upgraded- where connected areas of meaning cohere and a deeper meaning emerges.' (Moon, J. A. (2000). Reflection in learning and professional development: Theory and practice. Psychology Press. p.187)
All of my first encounters with Aerial Work have been with Wired Aerial Theatre. In 2014, whilst dancing with 12 Degrees North Dance Company, I was invited to attend a Vertical Wall professional development intensive for a partnership project with Left Coast. As a local artist, I did my very best to connect with the company throughout the years. I attended Bungee Assisted Dance Classes, I became a bungee workout instructor. I saw their performances in Liverpool and further afield and always thought it would be really cool to work with Wired. I kept in touch with the company and said yes to every opportunity. I have worked with Wired in a real mix of ways, from social media support, admin, performance and teaching. In 2021, I worked with Wired on Rigoletto as a performer where I was first introduced to double pick up harness work and working at height.
This summer I attended European Aerial Dance Festival and a Vertical Dance intensive and spent two weeks engaging in aerial harness technique- vertical dance. In January 2023, I plan to attend The Vertical Dance Symposium ‘Dissecting Aerial’ held by industry experts in the Aerial Dance Sector.
I now have my own small rig located in an independent gym in Birkenhead, Wirral. The view of the rig in film is obstructed by Gym Equipment and Machinery so film work won’t be to the standard, I would like its to be for my assessment footage. I feel like I have introduced a niche group of body builders and personal trainers in the Wirral to this young dance form, and have certainly changed the space through my practice.
Aerial Performance is depicted as an ‘umbrella term for all types of performative events happening off the ground.’ Eventually I would like to rig in Peel Park, however I would need financial support to enable this idea and ‘The Secret Garden’ to flourish.
I will reflect upon my active mode of viewing Aerial Performance Work including Wired Aerial Theatre’s most recent work ‘Me vs Me’, their acclaimed Vertical Wall work ‘As The World Tipped’, and ‘To Me To You’. I recently watched ‘A thousand feet deep’ by Periplum Circus in Knowsley as Knowsley Borough of Culture, and was inspired by the Aerial elements in the Creative and Cultural Placemaking Performance. I am really interested in how my work cultivates pride in place and I am currently enrolled on ‘Create Place’ Leadership Programme funded by Arts Council England, at The University of Staffordshire.
A piece that recently that captured my attention, was Gravity and Levity, ‘Why?’ (2021) “Why? is both a tender and exhilarating aerial duet exploring themes of life, loss, surrender and acceptance in a soft and moving way. The piece offers a visceral experience for its audiences that not only legitimises the emotional one but creates space for the viewer to bring their own understanding to it, triggering a resonance, not dictating their experience.” Butcher, L, 17/11/2022, Gravity and Levity: ‘Why?’ (2021) https://www.gravity-levity.net/productions/why/) Viewing this work and engaging with Gravity and Levity over summer led to me purchasing a rig so that I can begin to explore my own physical language using the climbing equipment and vertical surfaces. The opening statement of this reflection reaffirms the link between my creative enquiry and my interest in aerial dance forms in unconventional spaces. The Secret Garden is a walled garden and it offers a lot of potential for an ambitious choreographic placemaking experience in walled green spaces. In my visionary moments, I still have a way to go!
Through my recent laboratories taking place in the gym in Birkenhead, I have realised the time and effort required to enable this idea to take shape. I feel very distant from the desired outcome to convey embodied lived experience of grief and suicide to an audience. Eventually I will begin to engage in tender conversations with family, partners, the communities I work with, by and for, but for now it is me trying to make sense of this artist led proto- typing and refining my conversation starters.
I am aware of the emotional mapping of this learning journey, and feel like my current enquiry is a sign of the times I find myself in.
I am finding the work challenging and healing. I do prefer working with other dancers when it comes to creating my own work, however it is interesting exploring the personal lived experience through my own dancing body. I reflected on some of the tough moments began moving from there, but I soon became caught up on details and understanding the science of the movements and became disconnected to the premise of the movement exploration task. Towards the end of the session I became increasingly interested in the idea of threading and the continuation of lineage and generations within my family. For a brief moment I was dancing and the movement felt continuous and free. I am building up my vertical wall endurance again, and scheduled regular breaks to return to ground and reflect on my progress.
"Deeper and more sophisticated levels of reflection must rely on some understanding of how emotion affects. the process of reflection and, in practice, the reflection must demonstrate a practical ability to manage personal, emotional processes in relation to the subject matter of the reflection. This is implied in the process of metacognition and further, in the judgements that are made in the quality of personal reasoning. It is manifested in the awareness of the 'slipperiness' of reflection (Fraser, 1995; Fenwick, 2000)." (Moon, J. A. (2004). A handbook of reflective and experiential learning: Theory and practice. Psychology Press.)
I have recently uncovered that I have been surprising my feelings and emotions through survival mode to keep moving forwards and to live up to the idea of what an artist should or needs to be to carry out their best work. My relationships with dance has shifted this year, after a rejection from an audition that has resulted in lower confidence in my abilities as a performer. The feedback was that I was third in line for two jobs and the artistic director went with the two dancers that she felt would take the least amount of work for her to reach the desired results. I have always been a slow learner and I have always felt that I learn differently from the average dancer. My levels of resilience is thinner on the ground. I find myself questioning myself more and thinking that a younger dancer, with better training and experience would do a better job. My inner critic has become louder since starting university. This year, I did a performance where I was triggered mid performance and cried on stage. (See video below) I also struggled during two of my performance jobs and feel that currently I am not in the right head space to carry out the role of a performer. I have been running away from these feelings. I think losing my cousin, just so close to me in age, has been a critical incident in my career and personal life, and after the pandemic and the challenges of leaving my role and transitioning as a freelancer, I feel like I am holding on to my creative ideas and hope that I make it through this period of my life and make a sustainable career in dance. At this moment in time, I prefer to work with other artists and help them to develop. I am trying to build up my confidence, my motivation and grit. I am doing everything in my power to look after my mental health and wellbeing. As I shift back from working with dancers to solo practice, I have to find the discipline to overcome my inner critic and suspend judgement over the decisions I am making. Everything feels unnatural, and like other dancers would be able to dance it better. I feel like giving up. It could be my last dance.
"People's perspectives and sense of capabilities can change. Doors to new possibilities open that might have stayed closed which people jump through into new stories." (Neal, L. (2016). Playing for time: Making art as if the world mattered. Bloomsbury Publishing.)
I feel like I have regressed in my approaches due to feelings of lower confidence in my dancing abilities. I am struggling to connect to my work and facing personal barriers to stop me producing honest, work. It feels like a wrestle or an apathetic struggle. It feels like a job. It feels like an impossible fight. I feel like I started with an army and I'm the last man standing. I feel defeated. I feel like my energy is working against me. I understand this is probably a normal way to feel when you have lost someone so special in your life to suicide, and you have done everything in your power to keep going since.
I would like to also say that I have learned and gained so much as a result of this experience and I know this is all helping me to be better with people, more compassionate and to lead a whole hearted life. However I acknowledge that times don't feel easy. I hope my story inspires young dancers to keep going. I hope it results in the creation of a 'Secret Garden' and helps the audiences to accept themselves as they are, to get out in nature and to heal from trauma, and grief. "Trauma is anything the body perceives as too much, too fast, too soon" (Menakem, R. (2021) My Grandmother's Hands: Racialized Trauma and the Pathway to Mending Our Hearts and Bodies, Penguin.)
It is a holistic practice. Many factors are contributing to the way in which I am working right now. I feel that ground work and getting to tknow the wall and familiarise with the equipment, with the space and the obstructive gym kit to develop my spatial awareness, and understanding of power, control and mind mapping is taking longer than I'd hope for. Upon reading this reflection, I realise that I am frustrated that the rig was late at being fitted and I haven't had the required time to explore this semester. I do have the rig now and I know it's best to get up there sooner rather than later and to manage my time to ensure I get what I need. I am able to identify the opportunities if I was able to scale up the project, however I am facing limitations when it comes to exploring my physicality due to size and scale of the rig I am currently working with. To achieve the desired effect, I would need higher ceilings, and longer rope to cultivate more air time, spectacle and suspension. Flips on a short rope feel risky and hyper vigilant. However, I am delighted that I am able to explore, and dedicate some time to developing choreographic language and can feel the progress I am making to enable me to develop the material I want to be making. My main frustration this week has been that it has been like starting again on the wall, my vocabulary feels limited. However I am noticing progression, reconnecting with technique and skills, the spacial proximity of working on different planes to ground based orientation. In my labs, I have been working somatically, to develop my physical literacy, to improvise freely to find a dance on the wall. I don’t feel ready to display or film my experiments for the scratch night, however I am definitely learning as I engage with this practice based research. In the space of three days, I am moving more confidently with a calm physical state. The results from today’s choreographic laboratory feel more performative with a limited vocabulary and skills. It is felt that more time and effort is required to produce an authentic visceral response linked to the context of my agenda. At present loosely choreographed sequences demonstrate strength and flexibility, however I still feel I have a way to go to achieve the intentional qualities of movement. I am interested in accessing the truth of the experience of losing someone to suicide and similarly to Gravity and Levity’s work, to convey my personal journey with grief. The dance has been accompanied by phenomenological reflections.
I am interested in reimagining the notion of the original Secret Garden, and bringing my personal lived experience to the realisation of the character of Mary Lennox. I want to challenge the themes and outdated ideas concerning mental health. I will continue to explore with the parachute which I hope to take in the air, to embrace the wind and the outdoor elements, as I have been working in my bedroom. I am interested in the relationship between indoors and outdoors, and the physical and digital interface. Through reconnecting with the story and the premise of the Secret Garden each time, I move, I deepen my relationship with the story, and dig deeper in to the idea. At times it is overwhelming but I feel this is an idea worth pursuing. Today’s reflections offered ideas for future choreographic tasks. Tomorrow I will recreate images of the illustrations provided by the book to harness a visceral response to loss, shock and trauma associated with losing someone so close suddenly to suicide. I will play with exploring weight, space and dynamics to create a short phrase of movement. Tomorrow I will create a short solo based on looking for a door in a wall. I feel that this material could help me to express my internal experiences, and personal stages of questioning my self during so much change, and dancing in the storm.
In future I would like to create a duet on the wall and I do have the resources to do so. I would need to work out the logistics.
“Vertical Dance is a new and collaborative form of dance that typically uses rock climbing equipment to suspend dancers against a range of vertical surfaces in public spaces. It’s affects are to alter familiar systems we use to orientate ourselves in space to produce or change social spaces.” (Lawrence, K. (2017) Up, down and amongst : perceptions and productions of space in vertical dance practices. [Doctoral dissertation, University of Doctor of Philosophy (PhD), University of Surrey, https://openresearch.surrey.ac.uk/esploro/outputs/doctoral/Up-down-and-amongst--perceptions/99512198002346)
I know if I have these feelings, others may be feeling like this too. I will continue to work for them. I am closer to fully forming my idea and methodology. However I am anxious about what I have to share for our ‘Scratch Night’. I feel this work could be very powerful, moving, and healing for an audience moving through the collective grief of the pandemic. I have chosen to keep going time and time again, choosing to frame my story and circumstances to help me to move forwards.
"Stories never end and we do not know how or when they begin. Only that they are threads woven across time and space, connecting people to each other... these stories grow from remembered experiences, not only our own, but all of those voices that echo in each of our hearts from other times, places, continents and people. Each story is already a fragment of a collective tapestry that is always in the making." (Santos, F in Neal, L. (2016). Playing for time: Making art as if the world mattered. Bloomsbury Publishing.)
Aerial Dance Performance Works:
This section of the website will include reflections for Lauren's MA Study. This page is linked to Lauren Tucker's studies and creative practice which is broader than the work of Tuckshop Dance Theatre. Please enjoy my reflections in this learning journey.