John Jasperse has been in town the last couple of weeks, making a work with Becky Hilton and jodi Meinick, Becky, Jodi and John (working title), and teaching class. I first heard of him through Phillip Adams, who persuaded me to do Chunky Move’s Choreolab with John in 1999. He’s a beautiful dancer, amazing teacher, and one of those New York types who seem to have walked out of a movie of a better world. So, dancing is wonderful right now.
After class today a sojourn into the city with Bonnie for more talk of art and dance, we seem to be doing this frequently lately, and this time something about your own art being something not just for the studio but something to be lived, to change your life. Bonnie mentioned Felix Ruchert, and his company’s performance Secret Service in Berlin. So curious to be talking around the body, our bodies, desire, and, I guess, all this in it’s place in our art and to find someone whose own work is so completely what I am looking for at the moment.
I’ve been reading his website much of the afternoon, taking a break today from the infernal cycle of grant writing. Ah, there is something here that gives me shivers. We become so used to our bodies, as dancers, and the bodies of those dancers with us, it becomes easy to forget how distant from the usual world we are. How our familiarity in another context could be understood as overtly sexed or even resembling precarious relationships.
When I saw Jan Fabre’s film Les Guerriers de la beauté in Vienna, it was one of those transcendental instances, a rapture, as if I was meant to be there only to see this. It certainly found a home deep within me and always since Troubleyn … it is like being in love, even after it is dead how this other person remains entangled inside. It was certainly while seeing Je Suis Sang I fell in love with performing. So now again I find someone else I would fly to Europe immediately for.