New Pedestrians (Blog & Info)

IMPRINT: one by one (11/30/12) WAH Center, Brooklyn NY DANCE & CHOREOGRAPHY: Corinne Cappelletti & Eva Perrotta LIVE SOUND: Ben Owen COSTUME: KymKym PHOTOS: Lauryn Gerstle

newped — Wed, 15 May 2013 05:04:04 +0000

IMPRINT one by one — photos by, Lauryn Gerstle

newped — Sun, 30 Dec 2012 20:33:26 +0000

IMPRINT, one by one

newped — Sun, 30 Dec 2012 20:27:32 +0000

IMPRINT one by one (view video here, 15 m), Choreographers/ Dancers: Corinne Cappelletti & Eva Perrotta, Music: Ben Owen http://benowen.org/, Costume Designer: Kym Chambers http://www.kymkym.com

IMPRINT one by one is a journey following the energetic imprint of touch to awaken tissues of consciousness, and to experience the meaning of support.

This piece was made possible with the support of the Field Artist FAR Space Residency and Triskelion Arts Space Subsidy Program.

2.10.12: IMPRINT, a practice of becoming more conscious of perception through a reciprocal experience of touch. Expanding the sense of touch one can sense, listen, and see through touch.

newped — Sun, 12 Feb 2012 17:51:32 +0000

2/10/12

This week we were working with the task of facilitating a new group of people to pay attention to and move from the heightened awareness of the skin. We were experimented with expanded one sense of perception crisscrossing with another. For example, see a person and interpret the visual information into the sense of touch by feeling the image throughout your entire container of skin. We needed to check in with the concrete language involved, so we looked up proprioception:

Proprioception

From Wikipedia, the free encyclopedia

Proprioception ( /ˌ p r oʊ p r i .ɵ ˈ s ɛ p ʃ ən / pro-pree-o-sep-shən), from Latin proprius, meaning “one’s own” and perception, is the sense of the relative position of neighbouring parts of the body and strength of effort being employed in movement.^[1] It is distinguished from exteroception, by which we perceive the outside world, and interoception, by which we perceive pain, hunger, etc., and the movement of internal organs.

http://en.wikipedia.org/wiki/Proprioception

1/27/12: IMPRINT, a practice of becoming more conscious of perception through a reciprocal experience of touch. Expanding the sense of touch one can sense, listen, and see through touch.

newped — Sun, 12 Feb 2012 17:49:27 +0000

Last session we were studying the contours and texture of our skin as the container of our body. We were sequencing from a full exploration of the never-ending enveloping structure of the skin that would progress one step as a time into the fascia layer, then muscle, and eventually bone. While focused on the elasticity of the skin as a casing, the scalp felt different than other areas. It felt more slippery and mobile. We equated the sliding motion to the thinness of the layer of skin layer before touching fascia, and revealed the lack of muscle in that area. There is only connective tissue and tendons attaching to the facial muscles, but no muscles on the actual scalp. We had to look up the fascia layers and anatomy of the scalp. We discovered a helpful map of the skin on the scalp and an acronym to remember the layers of tissue on the scalp:

The Scalp

The skin of the scalp continues from the front and lateral side of the face into the occipital region of the skull posteriorly. The makeup of the scalp is important clinically because trauma to the scalp is frequent and it is up to the clinician to determine by palpation and observation just how serious the trauma is.

The scalp is made of 5 layers and they spell scalp:

S — skin
C — dense Connective tissue
A — aponeurosis
L — loose connective tissue
P — periosteum

The blood vessels travel through the dense connective. The connective tissue has a special relationship with the arteries in this area. When an artery is severed, the connective tissue fibers around the vessel contract and pull the artery open. This results is more hemorrhage than in other places. With scalp hemorrhage, compression must be used to stop the bleeding. Blood vessels and nerves come into the scalp from three different regions: 1) anterior (supraorbital), 2) lateral (superficial temporal), 3) posterior (occipital). There is free anastomoses from side to side. With all of this blood supply, lacerations of the scalp are usually profuse and because of the nerve supply, very sensitive.
The loose connective layer of the scalp will allow bacteria or fluid to pass freely from the posterior aspect of the scalp into the eyelids in front. Trauma in the back of the head can result in blood showing up in the eyelids and should make you suspect something going on in the back of the head.

http://home.comcast.net/~wnor/lesson1.htm

IMPRINT, a practice of becoming more conscious of perception through a reciprocal experience of touch. Expanding the sense of touch one can sense, listen, and see through touch.

newped — Sun, 12 Feb 2012 17:24:50 +0000

IMPRINT is a weekly practice that I share with Eva Perrotta. As a Certified Laban Movement Analyst with her friend and Artistic Director of NuDance Theater, Eva Perrotta, we facilitate partner work where specific types of touch are solicited through descriptive language and observation practices from a Laban Movement Analysis (LMA) and developmental movement approach. The goal of the practice is two fold. We are learning how to readily access and facilitate the specific world, meaning the quality and energy of movement and receptivity that is initiated from each particular body system. We consider the basic systems of the body as a group of organs that work together to perform a certain task. We are teasing out what constitutes the skeletal world, the integumentary world, and have worked with the Cellular system and the nature of various fluids such as the interstitial fluid and the blood. Each biological system in the body possesses a poetic movement language, sensibility, state of mind, and quality to each.

Eva and Corinne observe, experiment and discover new connections with the body systems. With intentional touch we re-pattern muscle memory and stimulate neurological pathways to support new movement choices and ways of building relationships through movement. Sensory awareness is first initiated through the experience of the skin. Then we actively choose to work at different levels to access particular body systems. We train to execute, listen and communicate an energetic and emotional imprint on the body by practicing how to:

Touch different body systems, such as the Integumentary System (skin, fascia and fatty tissues), the Skeletal system (bones, cartilage, ligaments, and tendons), the respiratory system (organs used for breathing), Digestive system, and the Cellular system
Simultaneously perceive the act of touching and being touched
Discover a unique mode of movement expression that is specific to the different types of touch or given body system
Remember the movement quality, tone, texture and vocabulary that is particular to each of the body systems
Apply imprint as a tool or initiation for improvisational movement and for dance composition

Reflect through observation, writing, and discussion about different types of touch and body systems and how they expand your movement choices

The imprint from the experience of touch opens a space for an internal exploration of the different organic movements of the body, which influence our external interactions and choice making. Imprint opens an intimacy and a new consciousness of the being and moving.

Questions we pose are:

How does touch affect our body and your movement choices?
Which qualities and physical connections can we establish, recognize and intend to convey through dance as both choreographer and performer?

GOALS of IMPRINT

Learn specific types of touch and how that alters your state of mind/body
Discover new ways of building relationship with someone else, in the group, or with the room/environment in the various body states
Increase consciousness while moving
Learn how the intention of touch influences your experience of movement and dance and the people you interact with
Explore and discover new ways of seeing and being seen
Create new types of dialogue through touch and partnering
Develop small duet / choreographic sequences with the awareness of the different touch qualities

Excerpt from “Carry Your Burdens,” Oct 2011

newped — Sat, 19 Nov 2011 02:28:39 +0000

As an offshoot from “The New Pedestrian,” where public improvisational and choreographed performance is a method for Place-Making, Corinne Cappelletti brings “Carry Your Burdens” to New York City. During the Art in Odd Places Festival along 14th street, Corinne and her four collaborators performed morning and night for a ten-day duration.
Enjoy this short excerpt!
If you want more information, listen to the audio tour at http://carryyourburdens.bandcamp.com/ or email corinne at CorinneCappelletti@gmail.com. More footage and archives of the project will be posted soon!

Download Audio Tour for Carry Your Burdens

newped — Sat, 01 Oct 2011 21:00:19 +0000

photo by Lauryn Gerstle and design by Drury Somebody

http://carryyourburdens.bandcamp.com/

Help Wanted for Carry Your Burdens

newped — Thu, 15 Sep 2011 03:47:39 +0000

Participation and help is needed! If you would like to be incorporated into my upcoming performance project in the Art in Odd Places Festival 2011 please sign-up for a date and a task from below:

Ø Photo documentation

Ø Video documentation

Ø Stage managers

Pass out postcards/programs and audio tour info
Keep time and flow of the show

Ø Stage hands

Direct performers from possible danger such as, obstructing pedestrians and traffic or running into someone or thing
Help watch the personal belongings of the performers

During the ten-day festival, October 1-10 my project, “Carry your Burdens,” will be performed twice daily. There are morning shows from 7am at 14th street on The High Line to 520 E 14^th St 9am, and evening shows everyday from 7pm at 520 E 14^th St to 9pm at The High Line from 14^th to 20^th St.

These daily shows include 4-5 landmarks at which the duration is approximately 10 min each. Please know that it is most helpful to do a complete show. The running time is 2 hrs. The morning route is:

7:oo am The High Line traveling from 20^th st to 14^th street

7:30 am Church of Our Lady of Guadalupe 328 West 14th St

8:00 am Theater Lab 137 W 14th Street

8:30 am Curly’s Vegetarian Lunch 328 14th Street

8:45 am Jennifer Conley and Pat Daugherty’s home 520 E 14^th Street at Ave B to finish at 9am

The night route starts at:

7:00pm at 520 E 14^th St at 7pm

7:30 pm Jackie Rudin’s home 7 W 14th Street

7:45 pm Rags-A-Go-Go 218 W 14th Street

8:30 pm reaching The High Line to finish at 9pm.

Rituals of the urban landscape emphasized in this performance are: walking, encountering, returning. I am framing these actions with two questions:

“What burden did you overcome to get to where you are now?”

“If you could let go of one burden right now what would it be?”

I surveyed eight residents and businesses along 14^th Street in Manhattan with these questions. Each location is now a landmark on the performance map, Carry your Burdens, which will be a part of Art in Odd Places Festival from October 1-10. I have worked with the burdens of each landmark to choreograph a daily performance. Each morning and night Einy Åm Sparks, Eva Perrotta, Lindsey Drury, Katelyn Hayes and myself carry one another and the burdens we’ve embodied through the choreographic process. When the performers encounter another person bearing a burden, we stop to feel, see, and describe it. In duets we transcend elements of physical fatigue but also the emotional exhaustion of carrying the burdens of 14th Street. Expanding the map into performance and this shared experience, burdens are lifted.

We invite you to come participate in attempt to share and lighten the burdens of fear of failure that may be holding you back from pushing through to your goals, emotional reactions to racial prejudice, and being a passive participant in a wartime society. Some of the deeply intriguing burdens we have uncovered are:

Aging and weight-gain
Realizing a change in self-perception
being blacklisted as rock n roll radio disc jockey
Never meeting someone, because NYC is about associating rather than connecting

Please sign up below. If you want to do more than 1 job or more than 1 show, please indicate it with the numbers and in the comment box. Thank you!

[contact-form]

Upcoming Performance Projects

newped — Mon, 08 Aug 2011 04:23:32 +0000

Eva Perrotta and Einy Aam Sparks will be performing October 1-10 2011 during AiOP

I am participating in the 4th annual festival, Art in Odd Places (AiOP) this October.

AiOP is an annual festival that presents visual and performance art in public spaces along 14th Street in Manhattan, NYC from Avenue C to the Hudson River each October.

Art in Odd Places aims to stretch the boundaries of communication in the public realm by presenting artworks in all disciplines outside the confines of traditional public space regulations. AiOP reminds us that public spaces function as the epicenter for diverse social interactions and the unfettered exchange of ideas.

For the festival, I am working with four amazing performers/friends: Lindsay Drury, Katelyn Hales, Eva Perrotta and Einy Aam Sparks on Carry you Burdens.

The intention of Carry your Burdens is to engage in empathy through endurance, metaphor, and performance. Traversing Manhattan from west to east in the morning we perform at nine destination points, landmarks where a personal burden was shared. At dusk we return to the Hudson River carrying one another and the burdens we’ve embodied. When the performers encounter another person bearing a burden, they stop to feel, see, and describe it. The duets transcend elements of physical fatigue but also the emotional exhaustion of carrying the burdens of 14^th Street. Expanding the map into performance, burdens are lifted.

View videos of the individuals who are landmarks for performance on VIMEO.