Beacon 365

As I move farther and farther away from identifying my body as an object that I have to will to move, and deepen into a sense of myself more as movement itself, I am becoming more and more interested in time and how pauses and simultaneous time streams can affect the experience of a dance and my ability to have its meaning unfold for me. How can my mind grasp the messages in the movement? How do I uncork the bottle washed up on the shore and read the words when not only the wave that brought me the bottle, but the bottle itself and the words and the paper are all in motion? One way is to slow everything down so there is plenty of time to absorb all the nuances of every subtle movement. Another way might be to pause, to take periodic “snapshots” of the sculptural moments contained within the stream – to play with time. Like a quantum physics dance with the particle and the wave, within a flow of movement these “captured” gestures are like sculptures communicating/radiating their message(s) from their suspended moment in time – beacons within the flow radiating their meaning in a totally different time/space. In the live performance version of Beacon the live dance is a deliberately continuous flow of gestural movement. Periodically a video artist freezes the frame so the frozen gesture can be experienced/appreciated more as a sculpture, pausing the video stream for several seconds before fading back into the flow of continuing movement. These captured sculptures (of light in the case of video) function as “beacons” communicating their beauty and the meaning of the movement from a different relationship to time obviating a simultaneity of experiences of the dance in time. In the online version, Beacon 365,, I am working with the idea of slowing down the delivery of the dance. Short movement sequences/gestures are delivered via Facebook, my website and my YouTube channel serially with pauses in between in which to digest/ruminate on the meaning – a whole day in which to recognize the relevance of that bit of dance to the adventures of the day. I wondered what would happen if instead of giving my audience a whole well-crafted hour and a half of dance in one continuous stream, they were treated with short gestural sequences of movement (as sculpted light) once a day or in timed cascades that included pauses and unexpected flows so that the flow of movement communication could be sculpted and the pauses in between could be pregnant with assimilated meaning gleaned by the cross-referencing possible in a periodic recurring attention. A non-demanding companion. More of a conversation. Beacon began first as a multimedia audience-interactive stage piece. The kinesthetic amplification of the gestural periodicity through a sound sequence the audience is invited to participate in is an important element of the performance as is live world music in pure scales. The luxury of being able to sink into a visceral experience of the dance, to be able to feel it as well as see it, is something that I want to offer myself and my audience. Though it is easier to do with live performance, I am hoping that even through the nonlocal relationships I create online and in film and video, it is possible to enhance the probability of a kinesthetic response. View episodes by month: