Emerging Project Description

2.17.11 notes
Saturday June 11th – Space fully prepared with artists ready to move in and work

 

PROJECT DESCRIPTION – Misa digesting it all - collating ideas from discussions with the Fishbon community, participating Festival artists, Anaya, Stephen....  Others have yet to add their intent to the vision so the project description will and should shift. 
 

The event is the “energetic/soulful/spiritual/emerging genre” opening for SonneBlauma Danscz Theatre’s 1st international SB-ADaPT Festival.   It is intended to create the energetic field that will serve as a catalyst for positive social change through creative expression. 

 

An evening which involves artists engaging collaboratively within the collective unconsciousness as creative beings as visitors to the Fishbon community.    It is an invitation to enjoy play time in the realm of myth, metaphor, archetypes, dreams, potential, void, or stark intellectualism in the interest of fostering a setting to birth an emerging genre. 

 

Its soul intent is to expand consciousness in the direction that will take humanity towards a more harmonious existence with all expressions of life.   

 

Its social intent is to build community – local, national, and international amongst  artists and those that complete the vision as spectators/witnesses/audiences.

 

Its spiritual intent is to provide opportunity for the witness/spectator/audience to be moved in lasting ways with the potential for those engaged to experience catharsis, alchemical changes, shamanic release through creative expression.

 

OPENING

Hold off on food/alcohol until after event.  Intentional circular opening where entrance fees are paid, “game” is described to participants, opening ritual to set the stage was suggested.   I’d LOVE to lay out sod somewhere having passing through barefoot as a part of the transition with the space clean, safe, clear enough for an evening of a barefoot experience as an option.  Would love to have a “smudging.”

 

POD(s) & CONTROL YOUR OWN EXPERIENCE

A pod of “spectators/witnesses/audience” will be guided through the “linear time” of the event through two levels and one transition level of activity.  They will serve as the ½ of the contribution that makes an intended performance definition realized.  The definition of performance being performance complete.  The artists contributing the expression and the pod giving it full, undivided “silent” focus.  

 

Other “spectators/witnesses/audience” will be free to create their own experience and can meander at will throughout the three levels with a “map” of what is occurring where and when and a part of playing the game is honoring the silent zones and the social zones (soft chatter so the sound doesn’t bleed into the silent zones)

 

The artists will be able to choose whether they want to allow the spectator/witness/audience to be able to meander through the space while they are engaged in the performance process or if they want the space contained.  If they want the space contained a guardian of the space (dressed in costume/in character) will close the door or draw the drapes and indicate it has become a silent spectator/witness/audience zone and they must wait until the performance is complete to enter. 

 

Possible Signifiers

Silent zone – white medical mask pulled up by the guardian, finger to lips.  One suggestion that the guardians be dressed in costume/character

Social zone – held up cell phone, or party favor implement used by the guardian

 

 

TIME

The event will occur on three levels and staged in a way that there is a “linear time” full focus component and an “overlapping time” divided focus.    “Linear time” meaning that during the course of the event one could conceivable travel from through one experience into and through another in linear time and experience all events.  By “overlapping” time that there will be moments of multiple activity going on in time/space but choreographed in such a way that traffic/soundscapes of other activity does not take focus away from what is designated as primary focus unless the artist given that primary focus slot wants to have “overlapping time” activity bleed into their work.

 

PERSPECTIVE

The perspective of the audience/witness/spectator will shift.  Rather than static and stationary the audience/witness/spectators will move in the space from station to station with their facing changing for each event.

 

SPACE

Outside: (social zone – silent zone intentional witness/audience/spectator grounding to prepare for experience for a short period.  End of evening hoopers, fire dancers, film projections, food, drink – possibly)

First Level:  installation in the shop (silent zone unless artist welcomes social zone)

Journey to the second level: installation/performance art/film projections (silent zone so sound doesn’t bleed into second level silent zone)

Second level: aerial space, main room activity – performance, mixed media (silent zone)

Journey to the third level:  visual art/photography/projections (soft tone social zone so as not to bleed into silent second level zone)

Third Level: (social zone –depending on sound containment, either silent or verbal interaction alright)

 

The third level, if the space can be made sound secure (not bleed into performance soundscapes below), seems like a match as the primary social zone along with outside…..where visitors can gather in a “chat” zone and connect on a social level.  If the space can not be made sound secure then it will be made sound secure.  

 

If the resources exist and the man/woman power exists to pull it off a webcam will be placed in each area there is activity.  This will be projected on the third level in the “social zone” or maybe outside onto the side of the building – or streamed live to the internet?    I would love to recreate an experience at the Center George Pompideau (sp) in Paris.  One of Salvidor Dali’s flicks was projected on the ceiling and the audience perspective was on the floor lying on mattresses.     If this is too complex it could be dropped from the vision.  It might be, depending on where the community is in the redesign process that this space become a temporary storage to clear out installation/performance spaces.

 

PREPARING THE SPACE

Most basic needs

 

Shop:  Final look.  Clean, clear, CAF gallery feel for the artists to come in to work.  Could represent place in Fishbon process where everything that needs to be cleared out in order to start construction has been cleared out.   

 

Street Entrance Foray:  Clean, clear, gallery feel that harmonizes with Fishbon end vision.  Making as much progress to completing this part of the vision as possible prior to the event opening.

 

Aerial Room: Floor space entirely clear to maximize performer and spectator/audience/witness space.  Fresh coat of black paint.  Decision made by artists with regard to design of vertical space.   The final design of the Fishbon end vision would support the events in here well. 

 

Main Room:  fresh coat of black paint, 18 ‘ x 25 ‘ marley laid down.  Mainstage curtains cleaner look.  Southern wall with items stored masked with a clean, streamline backdrop .   I have a heavyweight theater cyc that may be large enough to cover this.  Ideally, it would be good to have completed the part of the project where that southern wall storage construction is clean Create an extremely streamline, clean, stark “black box” space. 

 

Stairs to nowhere:  suitable material mounted so film can be projected. 

 

Expanded vision

 

Stairway to third level

Visual art displayed on walls of stairwell.   Color of walls may be something to discuss for this. Stay as is or move towards defining a permanent “gallery” look where visual art generated by Fishbon community can be hung – or – potential space for local visual artists to hang their work and to have an opening for their show @ fishbone.

 

Third level

Social zone where people can gather and talk and view what is going on in other parts of the pescadrome if possible to realize the part of the Fishbon vision where glass is put in to seal off sound.  May need to be temporary storage to move items out of the spaces that need to be clear that have nowhere to go. 

 

FLOW – length of time will be refined, depending on final number of participants first showing may need to be shorter.

The “linear time” flow of energy will be designed architecturally in terms of mood/energy/genre to mimic a mainstage performance.  Rather than the performance being static it will have an organic energetic flow.  The direction of the flow presently feels something like this.  I am imagining the flow of traffic being guided like someone guiding planes into landing. 

 

Event announced as beginning @ 7:00 – wait on food/drink

 

1.       Begin with a grounding outside of all witnesses/spectators/audience members.  10-15 minutes

 

7:30 pm enter space

 

2.       Shop space/installation performance – silent zone unless artist invites interaction.  9 minutes minutes (events would continue through the course of the evening in “overlapping time.”)

 

3.       Stairwell to second floor (pass of ongoing film/performance/installation in “stairs that go to nowhere space).  5 + minute transition to accommodate people pausing to observe

 

4.       Main room: Maya Dunsky – 9 minutes.  Either live streaming butoh or projection of a selection of her work.  Perspective.  Front is the Eastern wall.  Audience’s back is to the Western wall. (where the DJ booth is now) 

3 minute transition

 

5.       Aerial room: perspective is with audience’s back to Main Room toward the north.  DOZ/Clay/Alan/other collaborators – 9 minutes.  Do you want no meanders and full focus?

3 minute transition

 

6.       Main room: Valerie Green – 9 minutes.   Audience’s perspective is with their back to the aerial room facing the Southern wall – lengthwise.  This seems as if it would best serve the work of choreography she is bringing.     Do you want no meanders and full focus?

3         minute transition

 

7.       Aerial Room:  Trina Mannino Round One – 9 minutes:  perspective is horseshoe and will be further defined once the dirt is installed.  Envisioning Tonia Shimin’s film ongoing.    Do you want no meanders and full focus?

 

3 minute transition

 

8.       Main Room: Kristen Hatleberg – 9 minutes.  Perspective is with audience facing the “minor theater” – Western wall with their backs to the Eastern wall.  Soundscape of Tonia Shimin’s film continuing on past performance would work well.  Do you want no meanders and full focus?

 

9.       PAUSE – Social Zone – 15 – 20 minutes – interactive play with Kristen’s work – interactive play with Trina’s installation.  Outside film projections begin. 

 

10.   Main room:  9 minutes – Sinan Temizalp/SonneBlauma facing and project not defined

 

11.   Main room: 9 minutes – Sam Mitchell – facing and project not defined.  Hasn’t been in touch.  

 

12.   Main room: 9 minutes – Lamara Heartwell and Matt Nelson – closes the process

 

13.    ALL SPACES ALL PROJECTS HAPPENING AT ONCE - Artists repeat performances in any space  at any time.  Ideally it might be good to envision fewer event happening in “linear time” so that performances are able to occur again in “overlapping time” for this period of time.  Like a big crescendo or “climax” of the evening.

 

14.   Descent to exit through the installation zone.

 

15.   Outside activity – hoopers, food, drink… celebration.

 

CONFERENCE ARISTS/FESTIVAL PARTICIPANTS

There will be 30+Artists/Companies coming from 6 different countries & 23 different cities to participate in the Festival. 

 

Artists intending to travel to Santa Barbara to be a part of the Fishbon event follow.  They are organized in such a way that they reflect the linear time progression of the evening. 

 

·         Honey & Mood Productions (Turkey, Austria)  http://www.sbadaptfest.com/lerna-babikyan--regina-picker-honey--mood-productions--istanbul-turkey--vienna-austria

o   installation/movement, possibly in the shop – they would like to come in early June to begin to connect with the space and create something specific, hopefully collaborating with people in the community. They are meeting in Istanbul in March to discuss what to do so getting them hooked up with a local Fishbon community member would be good.

 

·         Maya Dunsky: Menifa Ensemble (Israel) http://www.sbadaptfest.com/maya-dunsky-menifa-ensemble---tel-aviv-israel

o   We weren’t successful in getting funding for both Israeli artists.  Maya has work on film and Clay suggested streaming a performance live from Israel.  Her work will be incorporated somehow into the event.  Either in the main room as a “Linear Time” main focus or as an ongoing “Overlapping time” element in the “stairs that go to nowhere” space. 

§  Here are work samples.

 http://www.youtube.com/watch?v=pX22yDAsPiE  (would like this projected in the building with some of the movement created by local movement artist occurring in the space –stairs that go to nowhere)

http://www.youtube.com/watch?v=12jrtDKZ-_I (film would like projected in the building as an “overlapping time” element)

http://www.youtube.com/user/mandunia#p/u/6/C3yIeUVFlJ4 (this would be great streamed live, if not, she has a film quality rendition of this work that I’d like to open the expression on the second level)

 

 

·         DOZ (Santa Ynez)

http://www.sbadaptfest.com/rina-van-de-kamp--theater-d---santa-ynez-ca--usa

o   aerial dance-multi-media collaboration with Fishbon artists and SonneBlauma if possible to get a keyboard/sound into the loft space for opera layer.

 

·         Kristin Hatleberg (New York) http://www.sbadaptfest.com/kristin-hatleberg-brooklyn-ny-usa

o   installation/movement, possibly in the shop, possibly on “minor stage” in the main room.  She sent a point of departure description which is included in her artists profile link.   She indicated the installation would be easily taken up and taken down.  We are thinking one primary station in the main room on the “minor stage” where the D.J. booth is currently located.

 

·         Trina Mannino (New York)

http://www.sbadaptfest.com/trina-mannino--brooklyn-ny-usa

o    installation (dirt/dance/projections) aerial room, possible co-existing of Tonia Shimin’s film passage.

 

·         Valerie Green-Dance Entropy http://www.sbadaptfest.com/valerie-green-dance-entropy--long-island-ny-usa  

o   Pure movement – Main room performed “lengthwise” 30 feet long, 15 (maybe 18) feet wide with audience facing southern wall, back to the aerial space

 

·         Sinan Temizalp.  http://www.sbadaptfest.com/sinan-temizalp-simya-arts---istanbul-turkey  

He actually hopes to arrive in March and begin interacting with the local community.  It might be nice to have an event lab devoted to his work.  For their visa’s as a part of the Festival they seek to present a lecture about ““'Performing Arts in Turkey and Networking Throughout Europe: And Facilities For Cooperation Projects -between Turkey, EU and USA'” as a part of the SB-ADaPT Festival.  There is no reason if they are here it can’t be presented a week earlier?  Maybe with some movement?  He is a scrumptious mover.  I imagine him in the main room.

 

·         Misa & Stephen/SonneBlauma/film/music/hope to install Sojourner Kincaide Rolle. 

 

·         Sam Mitchell: hasn’t been in touch – need to call him, may have lost interest

http://www.sbadaptfest.com/sam-mitchell-oceanside-ca--usa

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