Anna Halprin – The Breath Made Visible

On the occasion of Anna Halprin’s 95th Birthday, (yes, 95!) JW3 held a screening of Ruedi Gerber’s emotive documentary of the artist’s life and works, The Breath Made Visible. As a student and professional in the lineage of contemporary dance, Halprin’s legacy has always been on the edge of my radar. Her influence both ubiquitous and yet somewhat sidelined, unknown, mysterious. The film paints her as a comedic, free spirit, an artist who really followed through on whatever just needed to be done, no matter what it took. A dedicated teacher, Halprin approaches making, teaching and performing with both a rigorous attention and a subversive irreverence. In the same spirit here are my sketchy thoughts, impressions that feel important to set out, but they’re not fully formed, so my conclusion might sit somewhere in between the sentences that follow:

– I felt touched by the portrayal of her love for her (now late) husband, and the honesty with which her daughters described the difficulty of growing up in a ‘strange’ household. The juxtaposition of her Jewish cultural heritage, with which she strongly associated in her family life, against the hippie community that converged around her artistic work in the 60’s. It hints at questions around boundaries in an artist’s life. How much of my art should I allow to take over my life? Is it possible to disconnect the two? It sits uneasily with me.

– The transition of her work from the performance based, theatrical pieces, to the ritualistic and spiritual. It made me wonder if her ‘strangeness’ had perhaps become ‘too strange’ for the dance world to accept. Perhaps a few years ago I’d have included myself in that skepticism. But recent thoughts about the nature of health and the power of thought and visualization to overcome disease…. well, it’s something I’m thinking about more and more. No wonder my sister recently wondered if she should come and rescue me from becoming a hippie…

– I think the thing that will stay with me the most was her sense of purpose. Sometimes I feel that I spend too much time trying to carve out my ‘vision’, that ‘Big What’. But doesn’t it all feel a bit superfluous if that’s not underpinned by a strong ‘WHY?’ Why do I do what I do? I think that Halprin’s following the more political, community based work and ritualistic ideas was more a result of her search for purpose than any arbitrary artistic aim. And that’s why her work resonates so strongly.

Running and Walking – Part 1

In recent months I’ve been devouring James Earls’ latest publication: ‘Born to Walk, Myofascial Efficiency and the Body in Movement.’ (Lotus publishing: 2014). His writing has had such a profound impact on my approach to movement that it seems right to share the underlying ideas behind his work. I’m paraphrasing here, because his book is hugely technical, and only aiming to give an idea rather than a thorough analysis. I hope you’ll find it useful.

Earls looks at bipedalism as an essential evolutionary step. It freed up our hands to do other things etc. Gaining greater efficiency in our movement allowed us to channel more energy up to the brain, a key factor in our survival. When we walk around in life we’re often unconscious of the co-ordination required to get around. Our brain can focus on the phone call we’re having, or that particularly tricky client we’re about to see without having to constantly check that the body knows what it’s doing. Contrary to what many people believe, repetitive movement (walking, running, cycling) is not about doing more, burning more calories etc. It’s about doing less…

This mechanical efficiency comes about as a result of:

a.) The inherent instability of bipedalism

and

b.) The use of this instability, together with the loading created by gravity, to draw energy back into the body through a mechanism of ‘Kinetic Recoil’.

The first of these is relatively simple to understand: standing on two feet is less stable than standing on four.

To unpick the second factor, let’s briefly describe myofascia. Broadly speaking, fascia is the connective tissue that wraps around every cell, every group of cells, every muscle fibre, every bundle of muscle fibres, every muscle, organ, tendon, ligament, bone in one seamless continuous web. It connects every part of the body from the micro to the macro level. Thomas Myers’ well known book: ‘Anatomy Trains’ is one of the first comprehensive descriptions of the functional role played by what he described as ‘myofascial meridians’: lines of pull within the myofascial webbing that, like train tracks, carry tension along the route from one end of the track to another. (Most of my clients and classes have experienced this with releasing the fascia in the sole of the foot, which releases the back of the body.)

Earls describes the movement of walking through these meridians. When we begin walking from a standing position we lengthen a leg out in front. We reach through the heel (heel strike) and once this hits the floor, we gradually transfer our weight onto the front foot. During heel strike, the flexing of the foot and lengthening of the leg forwards from the hip, places tension along the back fascial line (the superficial back line or SBL). This loading creates kinetic potential in the fascia of the SBL, like a spring being stretched. When that line of tension is released, by the knee bending, the tension created in the first instance releases energy back up the leg through what he calls ‘kinetic recoil’. This provides the energy for the next phase of movement and so on.

Several lines of fascia are involved in this constant interplay of loading and releasing simultaneously. For example, as you shift your weight onto your front leg, the fascia down the front of your back leg is placed under tension. This is released as your front foot takes your weight and provides the energy for the back leg to swing forwards, ready to begin the chain reaction again through the heel strike. Efficient movement, therefore, involves essentially moving through the fascial web, leveraging this ‘free’ energy achieved by the lengthening and releasing of myofascia around the boney structure.

I think that what’s most interesting is that this process requires very little muscular effort. Earls describes experiments that show that the muscles contribute very little to repetitive movement. During walking, or running, muscles are held in a continuous ‘isometric’ contraction, rather than constantly contracting and releasing. It’s the tendinous tissues (that form a part of the fascial web) that lengthen and shorten like springs, loading and then releasing energy back into the structure.

Once again we see the body’s drive for efficiency come into play. The active concentric and eccentric contraction of muscles is expensive, requiring the exchange of adenosine triphosphate (ATP) and glucose. Much less fuel is required when muscle fibres are held in isometric contraction. One of the hallmarks of efficient walking is the absence of active muscular contraction, maximizing the recoil efficiency of the fascial tissues; an easy walking pattern should use only around 38 percent of the body’s maximal aerobic capacity. (James Earls, 2014).

Over the next few weeks I’ll be looking at how this perspective relates to my work with Pilates; I’ll focus on this question of ‘efficiency’ and how it can be harnessed to make real changes to the body; and I’ll be going through some exercises that can help you to move with greater ease. As ever, I do not profess to be an expert. These articles are based on my interests and observations as a Pilates teacher. Please take responsibility for your own body and feel free to disagree with me too!

Where am I? …..in rehearsal

We’re back in Bedford for the final rehearsals of ‘Where am I?’ which will be premiered at dancedigital’s Mobilities Festival on the 26th April. A full performance schedule can be found here. Rachel Cherry joined us last Friday to capture the weird and wonderful process of making a dance piece about brains in vats, disembodied Dan’s and the problem of consciousness.

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‘Where am I?’ is a dancedigital commission, created by Marguerite Galizia in collaboration with Simon Katan and performed by Daniel Watson. The project was funded by the National Lottery through the Arts Council England.

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Where am I? – performance schedule Spring 2014

Where am I? – A dancedigital commission conceived and directed by Marguerite Galizia; Developed in collaboration with Simon Katan and performed by Daniel Watson.still4

Inspired by Daniel Dennett’s philosophical experiment, this work is a ‘conversation’ between a performer (Dan Watson) and a ‘Speaking Space’ (created by the composer and coder, Simon Katan).

The work presents the impossible scenario of the protagonist’s brain being removed from his body and installed in a lab from where it continues to control and think as though it were sill inside his body.

A solo performer, (body and brain intact), wrestles with the space and with the concept of consciousness itself in an attempt to define, control and locate his self-ness. The work illuminates the issues of body/mind dualism, personal agency, free will and control that are highlighted in current research in the field of cognitive neuroscience and AI.

“A funny, cunning and technically subtle mind- bender with an adept and very engaging central performance from Dan Watson.” – Donald Hutera

watch the trailer here: https://vimeo.com/77220945

Conceived and directed by Margurerite Galizia, developed in collaboration with Simon Katan (sound and software) and performed by Daniel Watson. ‘Where am I?’ was commissioned by dancedigital and supported by National Lottery funding through the Arts Council England.
 

Performance Dates / Times: 

26th April  6pm– University of Bedfordshire, Polhill Ave – MK41 9DU Bedford – United Kingdom Tickets: https://www.eventbrite.co.uk/e/dancedigital-mobilities-festival-25-27-april-2014-tickets-10668233975

3rd May 7.30pm– The Weston Auditorium, de Havilland Campus, University of Hertfordshire AL10 9EU Tickets: http://www.herts.ac.uk/about-us/events/2014/may/dance-springs

16th May 7.30pm  – Please note, due to the scratch nature of this event, the artist will only be able to show a 15 minute excerpt of the piece followed by a Q&A: Free To Fall, Richmix, 35-47 Richmix, Bethnal Green Road, London E1 6LA

Tickets: http://www.richmix.org.uk/whats-on/event/free-to-fall-16-may/

31st May 7.30pm– Chelsea Arts Collective, St Lukes’s Town Hall, Chelsea, London. Entrance is free. Donations accepted. Further details: http://run-riot.com/wild-card/donald-hutera-and-lilia-pegado-chelsea-arts-collective-st-luke%E2%80%99s-church-hall

3rd June 7.30pm– Go Live Extended, The Lion & Unicorn Theatre, 42-44 Gaisford Street, London NW5 2ED

Tickets: http://www.lionandunicorntheatre.com/goliveextended.php

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#datadance – Our Technical Journey

Sicchio Galizia

#datadance is a collaboration between Marguerite Galizia and Kate  Sicchio, supported by South East Dance. This blog post was Written by Kate Sicchio

When starting this project, we really didn’t think that retrieving and inputing data would be the main issue we would come across. But of course, what you don’t think will go wrong, will go wrong. The main problem is around translating data into Open Sound Control (OSC) so it can be sent to Isadora where we are triggering sound clips that give instructions (the score). We want this to happen in real time and use a score of data where the information is updated regularly.

Temboo (https://temboo.com)
One idea in the beginning was to try to use Temboo, which is a website that has a library of APIs and will actually write code for you to use that API in a number of coding languages (SDK). One SDK is Processing, which in turn could then turn that API into OSC data. Or at least that was the hope. But the problem with Temboo is that most of the available APIs are not updated in real time or regularly or the ones that are require permissions. For example, one idea was to use Google Analytics and use the amount of traffic on a specific site as way of generating a number that would in turn play an instruction in the dance. However, getting permissions for Google Analytics actually prevents using this as a system. We would need to find a heavily trafficked sight that would be willing for us to use there data. Some of the Temboo APIs which are available and update in real time just don’t send enough data. One of these is the weather (temperature or severe weather warnings). But there is just not enough information coming in to change the score of a 15 minute dance piece. This data might work in other contexts such as determining something about the piece before it starts, or perhaps in a longer durational work. But in the process of changing a score in real time it is not as useful.

Other forms of data
Another approach we considered was GPS and how location of a person could change the score. However, GPS trackers tend to have a 60-200 feet of distance from the actual location. This means that location in a small space, such as a dance studio or theatre would not be tracked. But if someone was to get on a bus or travel around another place in the world, their information may be useful. But then there is a question of what these numbers are and if they are just slightly increasing and decreasing, would this make an interesting dance?

Satellites (http://science.nasa.gov/iSat/iSAT)
We found a source of satellite data from NASA that tracks the location and speed of various satellites. This site actually takes a list of data (http://science.nasa.gov/media/sot/tle/SMD.txt) and then calculates where the satellites are based on this data. It’s not real time but a real time simulator. So we found this data and we see how it changes on the website (the real time aspect is a seperate issue that we will need to address) but now we need to take this information and find a way to produce OSC data with it in order to create (trigger) the score within Isadora.

Javascript → OSC via Socket.io
Through Github (https://github.com/automata/osc-web) I was able to find a way to bridge web information to OSC via node.js in a programme called Socket.io (http://socket.io). And I was able to send messages by either clicking a button (such as in the Github example) or through refreshing the web page. This means that there must be a way to send further data, such as from a txt file or an updating txt file. And this is where we are stuck – without knowing much about javascript it is hard to understand what to code to allow this function to happen. More experienced coders I am sure could figure this out quite quickly. And it is most likely just one line of code we need for this to happen. But in the week we have had, this has eluded me.

When it all works
Once we have this bridge from the web to OSC then we can open up more explorations of data sources. For example, there is a txt of Solar Wind from NOAA (http://www.swpc.noaa.gov/ftpdir/lists/ace/ace_swepam_1m.txt) that updates every minute. This could use the same technical set up but send a different data set (this is also the data used in Helen White’s piece Solar Wind Chime http://blogs.wcode.org/2013/08/solar-wind-chime-listening-to-the-sun-using-spacecraft-electromagnets-and-x-osc/). But of course, this leads us back to one of our original questions in this work – what kind of data do we need? And how will that data effect our score?

Supported by South East Dance SED_Blue_298_Master_logoPRINT

Datadance Residency @ South East Dance Part 2

#datadance is a collaboration between Marguerite Galizia and Kate Sicchio, supported by South East Dance. @margueritecg @sicchio @SouthEastDance

Today was our fourth day at South East Dance’s studios and our first opportunity to share our work so far with the SED team and other members of the dance community in Hextable. Kate has managed to get some kind of link from the web-browser to the programming software, but we have not been able to specify the information (data) that we need. Kate has put out more calls for help on forums and through her contacts. We’ve had a number of suggestions from the programming community, including trying out a Java Script Actor in Isadora, for which we had high hopes. However, so far, none of the options have delivered what we’re looking for. For anyone out there with any technical knowledge or experience of this set up, Kate has written a detailed post HERE where she outlines her technical journey. Any comments and suggestions would be much appreciated! 

Having resigned ourselves to the fact that linking real time data to our software may not be possible this week, we spent most of the last two days focusing on the movement score.  Using Isadora, we simulated the sort of intervention we hope to be able to facilitate once our technical knowledge catches up with our artistic ambitions.* I’ll give a brief description of what this involved, although it may simply be easier to watch a video of it:

Kate and I sit on chairs in the centre of the space facing the audience. Isadora is running on a computer which is plugged into the sound system. The patches we’ve set up involve an impulse generator sending a trigger at a fixed rate to a random number generator. The random number is fed into a scaler that limits the maximum and minimum output value according to the group of sound files that we select to use for that particular scene. The output value is sent to the sound player actor which plays the corresponding sound file. We have a total of around 40 sound files, each involving one instruction. There are different categories of instructions: movement (slide, push, roll); directions (stop, start again, end); and non-movement (talk, speak). Every instruction is recorded in both of our voices. The rule is that when we hear our own voice giving an instruction, then we have to follow it. To give the score some variation and shape, we’ve limited the sound files used in different scenes so that, for example, Kate might receive a lot of movement instructions whilst I receive non-movement instructions or vice versa. To control the length of time we spend in any one scene we’ve used ‘envelope generator’ actors that basically keep time up to 2 and a half or 5 minutes for each scene, triggering a scene change when they reach the end of that time frame. We’re both committed to perform the score to the best of our ability, so that we follow the instructions as faithfully and as clearly as we possibly can. At times the score frustrates us, stopping us from getting into a flow, interrupting our explanations etc. Other times the score feels as though it’s taken hold of our bodies, like we’ve surrendered all reason or sense of control in our commitment to just do. We aim to keep our ‘output’ real and in real time, to react in the moment, speak honestly about what we are thinking, engage in the task here and now. When we attempt to repeat ideas that surfaced in previous performances of the score, the delivery seems contrived and less authentic.

Our sharing revealed a number of areas that we needed to attend to. The first was the fact that Isadora appears to be ‘catching’ so that the timing is more interrupted than we intend. It also means that a scene that is only meant to take 2 minutes can sometimes take a lot longer, due to the constant glitches. (We’ve tried using a sound pre-load actor to speed up the processing time, but this didn’t seem to make much of a difference, so we’ll need to think about how to get around this issue to move the work forwards.) A second issue was to do with how we interpreted the instructions, whether we should aim for consistency or if it might be interesting to use each performance of the score to develop alternative interpretations of the instructions, giving the performance a more authentic and playful feel and keeping the movement fresh. The question of movement vocabulary opened up further conversations around how we could source other movement ideas by work-shopping the score with different groups of people building a database of movements that we could draw on in performance. Other points raised included: our relationship (do we make contact or relate to each other during the performance); rate of change (how we can embed some difference in the rate of change within the score itself); switching off the sound so that the audience does not hear the instructions; what format the final work would take (performance, installation, durational) and the different layers that each of those formats might bring to the work.

I’ve tried to summarise the feedback we received for this post, but several of these points resonated strongly with our thoughts. We were grateful for the interest in the work even considering the fact that what we had created was just a simulation, rather than the actual real-time data dance that we’d imagined. We feel that whilst that final link in the chain may be missing, and whilst making that link may well change the score completely, what we have created is a score that triggers a real time process. It requires physical and mental effort and it is this effort aspect that gives it authenticity and ‘real-ness’. At points we felt like puppets being controlled by an external brain, giving up all faculties of thought other than those required to fulfil the task at hand.

On my train journey home I came across a call out for performance works on one of the many email lists to which I subscribe. This particular brief was for work on the themes of ‘women and nature’.  What we need, I thought, was to find a way to channel data from a.) the tracking of a natural phenomenon and b.) the number of hits on a porn site, creating a commentary on the control of women by the combined forces of natural cycles and sexual politics…

* Our research suggests that most sources of ‘real time’ data on the internet are actually just ‘recent’ (ie: snapshots of the data taken on an hourly basis) or (as in the case of the NASA satellite data) just calculations running continuously on websites that describe an activity (like the movement and position of satellites) but aren’t actually being relayed from that activity in real time.

Datadance Residency @ South East Dance

#datadance is a collaboration between Marguerite Galizia and Kate Sicchio, supported by South East Dance.

 

I met Kate Sicchio during a “Dance Hack” event hosted by South East Dance in September 2013. During the 24 hour hackathon we set out to create a score for a dance work using data streamed in real time from the internet. This remains the premise for our work this week. Our motivation was a desire to use digital interfaces to bring about a choreographic intervention as opposed to the more typical, reflective uses of digital technology in performance. Simply put, if reflective uses are like the wallpaper on a building (aesthetically pleasing but otherwise unnecessary) then we wanted to use the digital technology as the foundations: the underlying structure for the choreographic building.

 

This week was our first opportunity to get back into a studio together since the dancehack. Once again our work is being hosted by South East Dance who are supporting our research through space in kind, at their studios in Hextable, Kent.

 

Our research so far has involved two key elements, the first of which is: sourcing data. For this we’ve accessed a number of sources via the Temboo website, which provides ready made “choreo-bundles” that grab data from websites such as NOAA, twitter, facebook etc and creates processing patches that can relay specified data to any other software. Our initial excitement at finding this resource was soon tempered by a recognition that the type and frequency of the data in these ready made bundles isn’t really useful for the kind of score we envisaged. For example, whilst we were able to stream tweets with a specified key-word, the data was only accessed ever minute or so and would include tweets from the last 24 hours. Recent and relevant if you wanted to run a simple search application, but useless for our score which required a constant updating of data. We encountered the same difficulty with most of the choreo-bundles supplied by temboo, so whilst we haven’t completely abandoned the site, we began to search for live data directly from websites. Here again, this data is readily available. We could find real-time info on satellite positions, for example, but we encountered another problem with how to take data from a website (Java) and input this into the programmes that we were using (Isadora and Processing). Kate spent much of this afternoon searching the internet for a tool to allow us to do this. A ‘Bridge’ application appeared to work but only updated when we manually hit the update button. After abandoning that idea we returned to Isadora and the Izzie community where we found a forum stream that appeared to offer some insight. We await further info here…

 

As is so often the case in any creative process, starting from the beginning isn’t always the most efficient way to work. Think of our end goal, a dance work, as a new motor car, a car that, unlike any other, will run on a new source of carbon neutral fuel, whatever that might be. Ofcourse the key innovation may be in how the fuel interfaces with the car’s engine to generate power and move the vehicle. It’s tempting to hang around like lemons waiting for the researchers to deliver the new fuel before we begin designing the engine. But perhaps it’s possible to come up with some mock-ups that might help the scientists in the lab by working out what the ‘fuel’ (data) needs to achieve.

 

Whilst the live stream of data would create a constantly changing set of co-ordinates or numerals, how will those numbers translate into movement? This brings us to the second key element of the work: the movement score. Our approach so far has been to record verbal instructions for a movement vocabulary: slide, roll, fall, point, for example, and then use a simple Isadora patch to play the sound file that corresponds to a number input. We have committed to one specific rule: it seems important that during this translation there is as little manipulation of the data as possible, so that the relationship between the data and the movement is a literal one.

 

This simple tool allows us to give choreographic ‘meaning’ to the data. But without the live data all we can do is simulate the activity. We began to think about what the data might look like, for example: the satellite co-ordinates gave the latitude, longitude, speed and height of the satellite in orbit. As the satellite moves in one direction around the earth, the latitude and longitude data moves up or down the scale, increasing or decreasing sequentially. Pretty obvious really. In fact if you think about the tracking of any actual object then you will always end up with a sequential string of numbers moving up or down a scale and the reason for this is that an object cannot relocate itself by doing some magical vanishing trick. Even if it suddenly accelerates or decelerates, it will still have to move sequentially on the scale. So even without having the real time data we can imagine what this structure would do with our movement score: it would play the movement instructions in an ascending or descending order at a rate of roughly 1 per second. This may be fun, but doesn’t really seem to offer anything other then a string of numbers, and it may even just be easier to use a random number generator than to go through the rigmarole of streaming this live data. We noticed that the height and speed of the satellite, however, was more variable. Once again it is limited in that it essentially increases or decreases sequentially, however its rate of change was less constant and therefor far more interesting. It would be useful to find our what actually controls the changes of speed and height of a satellite…

Follow us: @katesicchio @margueritecg @SouthEastDance #datadance

 

 

Right Left Sit

In September 2013 Marguerite Galizia and Kate Sicchio met as participants in South East Dance‘s ‘Dance Hack‘. The experiment brought together dance artists and computer programmers for 24 hours of sharing,  talking, developing and trying out. The work initiated by this interaction is the seed for a new collaboration between Kate and Marguerite, due to begin with a residency at South East Dance’s studios in Hextable in February 2014.

Kate Sicchio

 

Our starting point for this work was a common interest or desire to demonstrate a use of digital technology in performance that was more than purely ‘reflective’. We stole that word from Mark Coniglio who describes ‘reflective’ digital dance works as that in which the technology offers a reflection of the performer’s movement in the form of a digitally modified image / sound output. For example, when a digitally modified image follows a dancer around on stage. (Yes, we’ve all seen plenty of those kinds of pieces!) This is not to say that the ‘reflective’ use of digital technology is not in itself a valid artistic approach. But it does somehow always leave the viewer wondering whether all the fancy stuff isn’t just an effect. In his ‘Choreographer’s Handbook’ Jonathan Burrows offers a similar observation on the use of spectacle, nudity, loud music, lighting or any other theatrical effect that is too big to be ignored and may even obscure the point of the work. He refers to this as “a large hat”.

So, large hats aside, our aim was to create a work where the digital technology had some ‘intervention’ (Mark Coniglio’s terminology again) within the movement creation or performance. <‘intervention’ from the verb ‘intervene’: To involve oneself in a situation so as to alter or hinder an action or development> Simply put: how can we make our computers tell us what to do? This is easily achieved using algorithms of course. But again, simply programming a computer to give us instructions seemed like a fairly inefficient use of time. Could it not be simpler to ask another performer to stand at the side and shout commands at us? And…isn’t that what choreography normally involves afterall? If we were to achieve any meaningful ‘intervention’ we would have to use the computer to give us access to possibilities that we could not achieve without the computer:

A.) its ability to process large amounts of data in a short space of time

B.) its ability to deliver instructions without bias or interference of biological factors. (hmmm, computers however make very unreliable performers, prone to crashes half way through etc. I did have one mentor who swore that her computer not crashing half way through the performance depended on how many chickens she’d sacrificed.)

So, large hats and sacrificed chickens aside, where does this leave us?

In February 2014 we’ll head back to South East Dance’s studios in Hextable to thrash out ideas for a week. We will import live data in real time into software. We want to create a choreographic score that can be controlled or built around data generated by a completely unconnected activity taking place somewhere else in the world. Our mock up, Right Left Sit, in the dance hack used a touch OSC app to send real time accelerometer readings to a computer. So whilst Kate walked around the room with her phone relaying information to my computer, I sat, stood, paused, put my right hand up, or left, or both according to the instructions generated by the combination of data interacting with the algorithms on my computer. But what other data could we use? Will the data we use have some impact on the subject matter of the work as a whole? Will all the sacrificed chickens achieve something? Or will it all just be one large hat?

Kate and Marguerite will be in residence at South East Dance’s studio in Hextable from the 17th – 22nd February 2014. You can follow our process online via our blogs or twitter feeds. Local dance artists with an interest in the work can come along to our Open Studio sessions every day from 3pm-5pm or to our sharing on Thursday 20th February at around 4pm.

Twitter: @margueritecg @sicchio #RightLeftSit