scott thurston poet
3. http://www.movementresearch.org/criticalcorrespondence/blog/?p=6265, 4. http://www.movementresearch.org/criticalcorrespondence/blog/?p=7731.
between them in front. A practitioner of innovative poetry in the UK, Scott Thurston has been involved in the intersection of dance and poetry since 2004. this kind of momentum. It is thick, thickened by These experiences set me on a particular path which I’ve been following ever since, inculcating an awareness of language as material, tensed against the history of poetry and its socio-political context in the present. But ‘body’ is not enough because, as micro-biologist Margaret McFall-Ngai has observed of her bacterial studies, as the focus of study narrows “it’s difficult for scientists to even categorize what they are seeing” (2010:3).
On this site, poet Jaime Robles and choreographer Nikki Santilli write about their collaborative project, which approaches the worlds of poetry and dance through a shifting physical and sonic perspective. JR: You also collaborate with a singer musician and a dancer.
ST: It’s hard to know exactly – we keep following threads, ideas and instincts and responding to materials, situations and spaces that life throws our way. staying still not an option with He was offering singing lessons, which I thought might help my poetry performances, and in fact we did mostly voice-work with text when we started – which involved taking the unusual step for me of memorising my poems!
I’ve also been working with Sarie Mairs Slee, my colleague at the University of Salford, for over a year and a half now. Change ), You are commenting using your Google account. That is the beauty of such fine observation. I got really interested in gesture when I had the opportunity to participate in a symposium called ‘Extending Gesture’, co-curated by Tami Gadir and Fiona Hanley at the University of Edinburgh in 2012. twelve books and chapbooks of poetry, including three JR: What ultimately do you want to achieve in these collaborations? moving on in the improvisation: But that might take a while yet. notification of the journal and
I owe these encounters to Robert Sheppard who became my mentor throughout my teenage years, eventually supervising my PhD in my twenties! Noland’s sense of gesture as a way of investigating both the radically inventive, embodied aspect of meaning-making and the way in which textuality is de-, re- and transcribed on, off and in the body seemed a rich dialectic to use when thinking about my own experiences of both movement and writing (2). with Fear. in the injured ankle, but ST: I met Steve Boyland in a Contact Improvisation class in Liverpool in 2012.
ST: I think I’d known about the book for some years, as I did of Jackson Mac Low’s work generally, but my first proper reading of it coincided very happily with learning of Clarinda Mac Low’s intention to do the first full performance of the book over three nights at the Danspace Project in New York in 2012. text may be used and shared in When I began my formal research in earnest in 2011, I thought it was all going to be about movement. Almost from the start of practising Five Rhythms I also had experiences that resonated with my encounters in reading and writing poetry, and experiments began to burst out of me in various attempts to process these experiences and find formal devices apt for the task. accordance with the fair-use Companion to Geraldine Monk (2007) and in 2011, Photo credit: Still from video recorded by Lyndon Davies of a performance at the Hen and Chicks pub in Abergavenny, 13 May 2014.
ethical hand in angled
http://glasfrynproject.org.uk/w/1463/scott-thurston-dancing-the-five-rhythms-part-1/, http://www.movementresearch.org/criticalcorrespondence/blog/?p=6265, http://www.movementresearch.org/criticalcorrespondence/blog/?p=7731, “Passing Moments”: The first performance piece, Let the body speak in the poetry of dance, The humane choreographic method of Joe Goode, Follow Footsteps on the Page on WordPress.com. With Sarie I think there is the ambitious but genuine possibility that we might be able to generate work that will effectively sit inside its own new transdisciplinary art form! I think what I loved about the book will now be forever intertwined with both those performances – its openness, playfulness, sensitivity to the possibilities of language inspiring movement. and cutting sideways, grasps, 1. http://glasfrynproject.org.uk/w/1463/scott-thurston-dancing-the-five-rhythms-part-1/, http://glasfrynproject.org.uk/w/2164/scott-thurston-dancing-the-five-rhythms-part-2-the-wave/. Steve and I recently met with a set designer who specializes in projections, which could add a really exciting aspect to our work. movement, lifting from knees Aesthetically I think what both collaborations have in common is an interest in extending the range of expression beyond what might be normally acceptable within the avant-garde contexts in which we have our roots – whether that be the free improvised scene that Steve has worked in, or Sarie’s work in Polish theatre, or for me in the innovative poetry scene in the UK. Since then I’ve been using the psychologist Daniel Stern’s concept of vitality dynamics to think more about the collaborative work I’m doing and how there seems to be always something ‘behind’ both words and movement that might be the common source for artistic work, and that might enable a presentation which makes use of the consonances and dissonances between how different art forms capture those same dynamics. He describes his critical work on the topic as: focused on a bundle of entangled practices emerging around the work of the New York City-based Judson Dance Theater (1962-66) – the sixtieth anniversary… ( Log Out / Wallace Stevens referred to that wheelbarrow as a “mobile-like arrangement” and Hugh Kenner suggested that the words hung together dangling in “equidependency, attracting the attention, isolating it, so that the sentence in which they are arrayed comes to seem like a suspension system.” Seven years after the placing of that same wheelbarrow William Carlos Williams went on to weave in words a picture of a cat which “climbed over / the top of // the jamcloset”.
But, no. remembers to breathe, so that the ideal identity I see examines the feeling- [Scott Thurston is a poet, mover and educator working in Salford, UK. I’m interested in finding new modes of expression for all the old human stories, if not innovation for its own sake. I started clubbing in my teens and attended various all night dance parties in London as well as some large-scale raves in Wiltshire in the nineties, but it wasn’t until I discovered Five Rhythms in my early thirties that I was able to bring my attention to my dancing in a different way. But all gave amazing readings and I … contour, being with it so that
slightly hot with over-held terms, in any medium, requires the Things fall apart. But for encountering the beach he could glide eternally, leftward and inward and always as if downward, but never further down: always hung midway on the face of the wave. in me. Can you talk a little about that book and how it affects your work?
clump of a wrist, nerves ST: When I interviewed Bob Cobbing in 1993 he spoke about the importance of bodily movement in both making work and performing it. Change ).
Scott is founding co-editor of open access Journal of He describes his critical work on the topic as: focused on a bundle of entangled practices emerging around the work of the New York City-based Judson Dance Theater (1962-66) – the sixtieth anniversary of which was celebrated in New York in 2012, presenting the work of many Judson-era artists including Meredith Monk, Yvonne Rainer, Steve Paxton, Carolee Schneeman and subsequent postmodern dance practices in New York and elsewhere. Join us!
of the ribs, the tiny xiphoid process
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