Page 20 - radio strainer

Mangling
We stick with an idea or image and mangle it through various registers of movement, drawing, writing, conversation and film. Each time something remains despite the change of form. We create a set of about 15 improvisation scores that are designed as a pack of cards, each one a provocation to embodied listening.
You touch your memories and find your world has moved (p.7) Track a memory with your gaze (p.27) Can you feel your past meeting your future in your body? Where? (p.53) Of wing finding, of slow unraveling, of infant eyes, of common flight (p.67)
The cards are reimagined as gifts. Dancer Sarah Knox will continue the trajectory of this research in a project in Japan, choreographing solos in response to specific cards in
foreign places, and documenting her practice. She has each card translated into Japanese, encouraging translator Saori Ishimuru to consider the translation a creative, inventive practice, in which there is no “correct” way of working. The Japanese calligraphy evokes a poetic texture both graphic and linguistic. Our work aligns with translation theorist Sherry Simon’s discussion of the poetry of Jaques Brel, which she describes as “writing on the frontier between languages, producing double versions of texts which are written in a hybrid idiom” (Simon, 1999, p.61). We want translation practices to happen quickly, lightly, playfully. We want happy accidents and imperfect symmetries. We see creating a space between two existing ideas as an equivalent to planting a Faraway Tree. We want to adventurously climb in and let our muscles fly, and we want to come out on a slippery slip – somewhere between flight and play.
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