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Christy Funsch // Teacher
IDOCs » Documentation of the 100 Days Score
http://100daypractice.blogspot.de/2014/11/before-i-begin.html
2015.06.25

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I walked before I crawled. Then my motor neural wiring brought me down to crawling as movement exploration, and here is when my home practice started. As a child I followed my mother around as she cleaned and cooked; I imitated her actions in abstraction, hoping to entertain her as she toiled. By the time I was a teenager, I had taken over the basement as a studio, and everyone in my family apologized if they walked in on my dancing. Home practice doesn’t just support public practice—it is the most important thing we can do to develop as artists. It is a place where we create our own economy for our work and are only limited by our commitment.

One night, in late 2013, Rowena Richie admiringly mentioned Cheryl Strayed’s Wild for Strayed’s goal of walking the Pacific Coast Trail for 100 days. Rowena said she wanted to do 100 days of something. I offered to create 100 days of prompts to support Rowena’s curiosity. Rowena began the 100 Days Score on January 1, 2014, and she finished in early April of that spring. For input from Rowena, including photos, and personal statements of how the 100 Days was for her, please see this video: https://www.youtube.com/watch?v=mWkSKEJ3r_M or contact her at rowena_richie@yahoo.com

Even more recently, San Francisco-based choreographer Erin Mei-Ling Stuart completed the 100 Days Score and chose to make her documentation public. Please visit http://100daypractice.blogspot.de/2014/11/before-i-begin.html for Erin's entire 100 Days Score experience, including the prompts I gave her to work with.

The 100 days score is simply that: a list of 100 prompts to spark movement and creative (all of the prompts can be done in any media) investigations. The prompts are designed to take place in your apartment, in rented studio space, outside in both urban and green environments, in cafes—anywhere you can make them happen. The qualifying stipulation is to document, for yourself, the entire process.

The goal is to support home practice in direct and tangible ways, to direct practice towards exploration and away from production, to examine our first choices and immediate instincts, and to invite in influence from other media as a means of enriching creativity. The score can be used for compositional, improvisational, and/or physical-mental conditioning ends. Most importantly the score values autonomy and the freeing of exploration from productivity.

Please join me at Impulstanz this year, on July 25th at 10AM, for a Symposium featuring my 100Days Score. We'll pass through the score whirlwind-style, and offer support and connections to each other for continued sharing of our individual home practices! 

 


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Anna Bergström // Teacher
2015.06.26
Dear Christy,
I will take part of the symposium during ImpulsTanz and I very much looking forward to har more about your practice with the 100Days score. I'm intrigued as I've the past year been exploring another notion of pratice, not a 100Days one but a once a week for one year. I schedule meetings with myself to practice the notion of stillness.

Questioning if stillness has to always completely still or if stillness can exist within motion. I realised that I needed a tool for practicing stillness, beyond yoga and meditation which I already practice, something else to feed my reflection and embodiment of it. Sometimes I experience frustration, sometimes it is like a chafe. Never the less I try to tech myself to embrace it. I have also taken strands of my material into a piece which I call I invite you. Where I'm investigating ways for the audience to explore and nourish their notion of stillness in a shared space.
Your idocde made me inspire to perhaps take new directions within my own practice. Thank you.
Very best,
Anna.


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Christy Funsch // Teacher
2015.06.26
Thank you, Anna, for writing and I look forward to meeting you next month. I love the question and challenge of stillness you bring up. I think we need a lot more of it in the dance (and larger) world. I also admire your practice of looking at at sitting with something that is so challenging to you. So often we do the things that feel good and comfortable (only). I wonder if you are documenting your home practice and how? I'll be seeing you and hoping we can talk more on this soon,
Christy


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