Page 22 - radio strainer

Kneading Knots of Moving Words
“No sooner did the children stand up very carefully and try to walk a few steps, than the earth beneath them either fell away or tipped up or slanted sideways in a very alarming manner. Then down they all went, rolling over and over! The Saucepan Man made a tremendous noise and almost cried when he saw how battered his saucepans and kettles were getting. ‘Moon-Face’! yelled Dick. ‘How can we get out of here? Don’t you know?’
‘We can only get out by going down the ladder that leads to The Faraway Tree!’ shouted back Moon Face, who was busy rolling down a little hill that had suddenly appeared. ‘Look for it
all the time, or we’ll never get away from here. As soon as the Rocking Land leaves the place where The Faraway Tree is, we’ve no way of escape!’ (Blyton, 2012, p. 115)
The experience of conceptual sea-sickness has sent me into Rocking Land. In this devising process I am producer, choreographer, researcher, dancer, writer, dramaturg and archivist (and mother and mother-to-be – this role inflects my work in innumerable ways). I’m trying to think through each of these points of view, often simultaneously. The notion of a reflective writing practice, of catching what Pickering would describe as a “material capture” of our process, enabling our thinking to reach a ‘surface of emergence’ is almost ludicrous.
It helps that I have given up any notion of writing being ‘straightforward documentation’. I am in agreement here with Erin Manning; “Writing need not be straightforward documentation ... Writing can work at the level of thought-feeling, catching up with the work’s own metamorphosis, with the rhythmic exfoliation that creates spacetimes of experience “ (Manning, 2008).
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