Archive for the ‘Archana Prasad’ Category

In Retrospect: Back in Bangalore

October 18, 2010

Back here in Bangalore. Its been now about 2 weeks since I have been here. Thought is was just about enough time for me to be able to put into words my experiences, conversations and life with hello!earth 1&1=1. So here goes:

As a social experiment, this project was really impressive. Bringing together 5 artists from different cultures and artistic practices to co-create in an open, non-hierarchical process was in and of itself challenging and super interesting. Producing a work that would be presented in a festival was perhaps the taxing part.

We underestimate how very different people are, and how many thin, almost transparent layers wrap each one of us to create the unique human animals that we project into the world and society around us. This project certainly was an eye-opener in that sense. English – our one common language, itself was spoken and understood so very differently.

Silence and noise, respect and laughter…social tools that we take for granted in our own contexts are often the very cause for confusion. We were 5. In Copenhagen. A majority of us were completely new to Denmark. A minority of us were new to hello!earth principles. Some of us were completely new to each other.We were all artists…somewhere along the way I began to question whether I was indeed an artist at all. Was I was alone amongst a group of artists?

Yes, we were a group. A collective formed by personal and professional ties. We were majorities and minorities, and we were alone too. This was the very core of our artistic questioning. We wanted to present this very set of experiences and involve the audience in experiencing some of the facets of what we talked about in our lunch breaks.

The artwork eventually was not as much of a masterpiece as each of us would have liked. It however was certainly a benchmark in the overall research of this type of thinking. It opened new vistas and asked more focused questions for both the creators as well as the audience. We all felt that 3 weeks of working together was simply too short a timeline for us to get past our initial cultural, social and environmental baggage and live and create in the new world that we had fused together. Made by being together. We were jet-lagged and disoriented by our long mental, emotional journeys…we need physical time to catch up and produce. We had just alighted onto the shores of a new world, we needed to acclimatize and explore before we could coherently synthesize.

Vera and I had many small conversations, somewhere along the way we thought – what happens when the trials and tribulations of ‘culture’ becomes obsolete. What happens when we are not worried so much about our ethnical, geographic differences and simply create. We were arriving at that at about the third week. We now want to know what is the next BIG question when people of the world collide, lean on, pet and scratch with each other.

The individual choice. The will to survive. The Will to Choose defines us. Choice puts us in minorities, majorities, alienates and collaborates. These invisible, tenacious threads connect us in a fine web across cultures, geographies and social boundaries. Our individual codes for morality, ethics, work and love define our projections into the world immediately around us. These codes need not be tied down to only one country, culture or context. They can be subject to and nuanced by the Now. By who we surround our bodies with. By where we place our minds. By how the weather is and how whether my tooth throbs in violent pain. We are where we are. We are who the one next to us is. We are the future even as the future surges past and becomes old every second. We Will the universe around us and create it as we go along. So choose and be what you become.

Love is Freedom.

 

LAST DAY: 9TH SEPTEMBER 2010

September 21, 2010

FINAL FEEDBACK AND EVALUATION DISCUSSION

QUESTIONS

1. What do we take with us

2. What are our thoughts about the process

3. What are our thoughts about the performance

4. What are our personal feelings about this whole thing

5. If not conclusions, what are the questions that this project raised

[Minutes of the meeting  documented by Archana Prasad. In trying to capture a conversation, much gets lost in the moment. Please read this document with the acknowledgement that views and comments are as understood by Archana, and might not be what the artist speaking intended.]

Archana Prasad:

  1. The desire to try out some of these principles in Bangalore. How does this type of performance enhance, moderate, mould thoughts of the city. How can this be applied to the BCP effort? Would some of these things work? What are the questions I want raise in the minds of the audience?
  2. Have always thought that process was more linear. That there is a start and end point with specific actions and goals. This process changed this thought for me. It was a lot more about learning about each other and the work itself by doing and intuitive creating and exploring. A rather strong process in itself, however one that needs a deeper amount of time. The lack of very strong, apparent direction (by one or two leaders) was something that really took a long time to wrap my head around…
  3. It was really interesting for me to be in a position to interact with the audience under cover. I got to watch what they did, and how one or two individuals could drive the overall groups’ mood and reactions. I got to explore over consequent performances with how small gestures
  4. Mostly mixed. Started off excited and naive. The trajectory of the project had sharp peaks and deep dips. Really brought to light the differences between people, work ethics and culture…and the ability and desire to transcend these to achieve something meaningful to all. The idea of community and collaboration is very differently understood by everyone. Dictatorship versus democracy, this is a crucial question to be answered at the outset. Shade of gray exist in all inter-personal/professional equations. Navigating them to bring out the best possible in everyone towards one vision is a complex process.
  5. Who am I and what do I identify as me…this is the question that has come up for me

Ana Paula Albe:

  1. Why didn’t the group flow? For me it really didn’t. And I still haven’t understood why. Perhaps this collective idea is difficult. I have to be much more individual inside a group. To really have your space, whether less or more, is important. To equalize this everyone has to have the same weight, same power, if not its not equal. Given that everyone is so different, I thought that we would somehow all come together, put things on the table and fit things together.  By the second week I started to wonder why people were reacting to the way each other felt. By the third week, I decided now its time to act, not to worry about the others. But then I thought, this is so late – we have to act now. But then this is difficult in a city that is new to. Then I thought that ok – I just have to be really individual, never mind, whether I understood why people like one thing or the other. I just have to make things that work for me. It is a balance that changes all the time.
  2. I was trying to move together with the group…but it didn’t work. We are different.
  3. I have to have my process very sharp, so that I can introduce something clearly. Bringing ideas and presenting it to the others in a way that it can make sense to them. When I brought the idea of the apple up, I didn’t think that it was supposed to be in the performance. I didn’t have the feeling that I had to take care of the apple, that I had to run to make it work. I felt guilty then, that I hadn’t taken take of it in the last week when I realized that yeah – this is what I had to do. That I had a whole week to make it a complete idea, but I hadn’t acted on it.
  4. I kept trying to bring ideas to the project. We seemed like we were always trying to bring ideas. The beginning of the performance was very strong. But the rest is not, this is because its not 5 minds working on one thing, but that we are all individuals trying to make our own space.
  5. I don’t know how to look at whether we are a better group by not fighting, or a better piece given that we don’t fight. All the surprises are nice and good, but if we had maybe two more weeks, then we would have something that was much stronger than what we had now. Or maybe we would have wasted two more weeks just thing about the collective. For me it was much more about being a collective and sharing, rather than working hard and making something work. More time in understanding how everyone works and what they want, and not about the piece itself. And that’s a pity as I really would have liked to have time on the piece. The best part of it is that you think of something, and it’s totally wrong! I know that the piece is weak – esp the second half, but I do love it.

Ronaldo Ruiz

  1. I am invited to take a workshop when I go home, and I want to share some of the things that I learnt here. even though it is about demonstrating how to paint, I will try to convey some of the things.
  2. It’s a great experience. My first time to work in this kind of project. We have groups in the Philippines, but we just meet a couple of time and we can do things that we organize an international festival. This kind of time to think and work is something that we don’t have in the Philippines. There we just set a theme, and then we all work on that. For this project, in the Philippines we would have done it in two weeks. We have been doing our own thing, focused on our own parts, but we weren’t able to help each others parts. At first I am really eager to pool in ideas, but suddenly when I realized that everyone has their own parts, I felt more like supporting them, rather than coming up with my own. I noticed that there is already a structure, I would have thought that this would have been easier if the directors had oriented us to what the plan was. We would have been able to execute on the ideas in a more timely manner. Ana’s part with the apple needed more, but we just ran out of time to be able to refine it. Even one week more would have helped. Perhaps lesser time on brainstorming would have been a good idea. In the Philippines we would have had a lot of volunteers to help make things…this all took time, so the time to focus on the overall performance suffered.
  3. From the audience feedback, the piece worked. It was a success. A collective has negative and positive parts.
  4. I have a lot of experience that I think I could use in my future projects in the Philippines. It’s a bit like sportsmanship. There if you don’t like something you just walk out. Its good that we stayed together…5 brains is better than one.
  5. For future projects, it would be nice to meet with the audience personally at the end…sometimes the reactions that they have, violent or positive, it would be good to interact.

Jacon Langaa-Sennek

I will just go at it as one big chunk: It was a very multi-sided process. Confusing. The theme about the collective and the individual, was very reflected in this group…of course the process and the group was not flowing in the beginning. I wondered why. Like Ana said yes we needed to work very individual. In my mind this was a very big part of it.

I expected everyone after the first week of brainstorming to go out and take a part and make something happen. This didn’t happen. Is this because we all thought that we had to move together. That nothing was materializing. This whole thing brought up the questions of structure and roles. That vera and I had more knowledge of the work, was this too little time to get everyone to the point that they also knew what was happen. I wondered what the hell (f&^k happened). I don’t have answers, but I still have questions of what happened.

About the performance, of course we spent a lot of time and resources on the first part till the apartment. The second part we had to add something in contrast, and this part we never got to work on it very thoroughly. Of course that there was too little resources. It very right what the review said – that the piece flattened out in the end. I don’t call it Ana’s piece, though it was her ideas on the photobook and apple. We took from all the ideas in the pot and made the best of it. For my part, of course I was very occupied with the Jesk piece, and my intuition was that ok, I needed to materialize this part, build it. And that perhaps this would make something happen overall.

Actually I was very curious about to know how Archana and Ronaldo understood this process in the beginning. Were we asking too much of you two- after one week, now do something. This is very usual from the field that we come from, but this might not be for you two. How did you perceive the transition from the first week, where we introduced the working method, to the latter part. I got the feeling that the time we spent on the whole process was too short for what we had to do. I think that in the end we saw that we did the best we could, with what we had. It didn’t become fantastic but not a disaster. That its ok to take people through this process and something come out of it. We have been used to doing fantastic things. And we were very clear and knew how to make it like that. Also, I have to work with the process as a new step and get as far as we can without having expectation of doing something fantastic.  Personally I think that I just needed to be in the moment.

The whole thing of when we work at home, and we have a lot more things to do, and we have a festival abroad with a whole production team with us. For us to be at home and do these projects, we think that we can be completely artists and work on something. But really that is not really the case – we had a lot to do with admin etc.

A lot of what I take away from here is that this is a very good and exciting beginning, of this path of working with groups and collectives. That this was a very nice step that we have learnt a lot that you all have contributed a lot. What we have done here is very much the base of what we do in Barcelona.

Vera Maeder

Many things in my head – even now as I listen to everyone. The distinction of the collective as a working group or as a theme for the piece. When do we talk about the collective as a piece for the audience or when as a working method. We didn’t make the effort to distinguish sharply between the two. Also by the line that was set, it was meant to go closely together. This was two things that we mixed into one. From there a lot of complexity starts for me. This created the lack of flow, what everyone said I felt too. There were so many things that were going on on what was individual and what was collective. To the point where I still have a lot of questions. What do I presume when we say that we work as a collective. That the image of what each of us have of this notion, and it takes also takes to understand this quickly and react, act together – and how to move with it. Tehre are a lot of question marks. This is the confusion. Is there is a silence because what I said was not understood, that is understood, that they are thinking, that I am expecting – but perhaps I am not clear what that expectation is and if I have conveyed our expectation. I reached a point in the third week that I thought that maybe now we are all on the same page. To me that in the first week that this was exercises to introduce everyone to the process and then everyone goes out and create ideas on their own. And that is my habit of a collective work. Till now, I have not yet understood, what for example, Ronaldo has understood of this work process. For me the whole thing for me was okay we have ideas, but we have to create material that needs to be made…and only then there is a performance. In the second week, there was a silence, I couldn’t understand what it was, and unable to act on it. Should I go now and try to make everyone move together, or should I just go and take a piece and create the material example with the audio-text piece.

Because of this thing that was dropped into the room – collective. We were all thinking about it. Whatever was going on between us, was intensified a lot. This is a mixture or personalities, cultures and understanding of responsibility. And though each of us have definitely hurt at least twice, but some how even through all these ruptures, we somehow clung together – like the rabbits. This was the strength of the group. Through the stress, that we really didn’t have anything for the performance in just 2-3 days, that we worked on. Sometimes I felt I was very harsh or stiff due to this stress, but this was the strength of the group. That everyone was here with such a good intention, of being forgiving, of not taking it too personally.

There were 2 processes – one was the piece that we made with the rabbits. That this is a greenhouse of mixing cultures…and what is the next question after the layer of diverse cultural differences. Once it is clearly understood what the premises are, then we can play with it. And the other is the lunch break where all our cultural differences came out and was shared in a friendly way.

Whatever culture came out of this group is a new one. A new culture. That what we do or understand as a collective in this space was defined right here. That we make of it what we want or can.
With the performance, things have been said. The beginning was strong, but I was too locked with the stress of last Friday and I couldn’t think clearly…but now I have many ideas of how we could make it tight.

For us, we are not the masters, this is new to us too. I think it was really amazing on how the piece was written by the accidental audience coming together. That the same piece could be at once really jovial and fun, or somber and stiff. I felt in-between being a facilitator and an artist.

I don’t have conclusions – observe how this process went. How what people coming together effects something. This distinction between the process of a group or collective and the theme of a collective. To be clear about it might help a lot. To choose a structure…and what that structure would be – a director, or more democratic. I was really sad that the festival didn’t manage to bring in any audience – everyone who came was people that we knew…

A lot of questioning on understanding the audience group, in relation to the outer world as a collective. Also the individual and the world as a collective. The individual within a smaller collective. A complex diagram, interdependencies of these aspects and that each points to each other and crossing over in a very complex way. We had just begun to understand this in the third week…and then we had to produce work…

D-day Onwards: 3rd to 8th September

September 7, 2010

Things have been going as planned. The audience have great feedback and really seem to have enjoyed the performance. Overall everyone loves being a rabbit. Are amazed at being inside a stranger’s home unattended and unsupervised. Are shocked when Vera cuts this cloth that has traveled so far and wide, and touched when they receive a piece. Some struggle to find the end point with the photo-book, but they all do. Some are uncomfortable with eating the golden apple, but most do. The behavior of the group is very different based entirely on the chance coming together of 6 people from varied backgrounds and interests. The dynamics seems to be lead by one or two strong characters in the group. Some seem to party through the whole piece, some chatter, some maintain silence. But there are key moments – when they are in the apartment for a little more than 3-4 mins that they all calm down irrespective of how rambunctious they might have been earlier. Vera’s travel mascot story puts them into a more somber mood and perhaps readies them for the part they are going to be interacting with the city alone.

Watching the audiences, here are some thoughts for future projects:

  1. Putting people in a challenging position, something that they have not done before – is most often appreciated. Eg. Being dressed as a rabbit on the street
  2. Group dynamics are entirely dependent on the individuals that form that group
  3. Even one person who seems reticent, shy or tense will transmit that to the rest of the group
  4. Doing things without knowing why they are doing it is both challenging and invites trying to solve the puzzle
  5. The sense of a group is really enhanced when strangers are thrown together into a whole new and challenging experience
  6. The idea of building on these feelings of togetherness or bonding and then deliberately breaking it up would be interesting to follow through
  7. The coming together of the group, after being separated is something that happens joyously if people can see each other. This need not be facilitated. What happens if we block their meeting of each other in the end? Is this desire to meet the people that you had bonded with stick? Could this be facilitated online – a community blog via SMS or some such device…what is the point of doing that?
  8. In this particular performance I felt that there was a lack of solitude – some point where one could introspect, ask and form questions…
  9. Wouldn’t it be really challenging to be yourself (not a rabbit), alone on a street and doing something that differentiates you from the rest of the world…slightly. Eg. Each person is made to stop and stay perfectly still for 5-9 minutes at different busy streets while the world rushes on around them. We could mark their spots with an ‘X’ on the floor – like on a stage to show positions for the performers. Would this subtle indicator trigger questions on what is a performance, what is reality, who they are in the grander scheme of things?
  10. Apart from pushing personal boundaries, what are collective boundaries that we can push?

DAY 17: 2nd September 2010

September 7, 2010

Today was a day of tying up loose ends and tightening parts that needed to be tightened. Essentially here was the day that everything would be planned so that we were completely prepared for our premiere audience on D-Day – the 3rd of September – tomorrow. Here is the overall set-up as is final:

Opening:
People are made to buy their tickets. Then led into the vacuum area. Here they are asked to give up their identifying belongings and then led into the factory area. They are given a potato peeler and asked to be seated at the potato table. They wait for their group to gather. It is expected that they will, on their own initiative, peel potatoes in the interim.
Once the group is gathered, they are led into the waiting room. Each one seated such that they are apart and can see everyone else. One by one they are led into a room where they are asked to wear the rabbit suit. They are asked to exit through a second room that has a different door into the waiting room. They are told to continue wait with the others of their group. This process is repeated until all the group are now rabbits.

Then they are each given MP3 players as guides for their journey ahead. Asked to start it together, and off they go over to Sonder Boulevard with Vera’s voice guiding them.

Flags:
At the mid point of Sonder Boulevard, they are met by a performer rabbit (Ronaldo), who hands them flags of different colours and leads them in a march down into Skyebendegade. He then tells them to knock on Door No. 30

Apartment:
Here a performer rabbit (Archana) waits for them. She opens the door and then tells them that she is from a different group and was asked to stay and wait for a group of rabbits to come and knock on the door. She says that she was told to convey that they are meant to take off their costumes and Players and put them into a box under the stairs. Once done, they are to go to the very top of the apartment building. The group finds a note on the door saying: Hello! I had to rush out. You are all welcome into my home. Love Sussie.

  1. Water set-up: A bottle of water + 6 glasses. A note saying: This is for all of you to share. Feel free to pick things up and pass them around.
  2. Potato installation: A wooden board with half a dozen washed potatoes, 1 half-peeled potato and a peeler.
  3. Exit Set: A little kitchen timer, that the performer would turn on, with a note stuck under it saying: Thanks for coming! Please leave now from the back door.

Down in the yard:
Vera, with a caro table-cloth tells its travel story then cuts a generous square piece for each person.  Then she leads each person through a different exit door. Here she gives him/her a photobook that would help them in their next travel to the end point.

Photo-book Journey:
These were done with a collection of photos that we pasted together with some tape. The books contained some lines from the Rumi poem + other poetic instructions. The audience are expected to find the end point by looking at these photos. If they are lost, they would hopefully ask people around on the streets where to go.

End Point:
Here Ana waits for everyone to collect before making an appearance. Once they have gathered, and shared the apple that awaits them at that point, she arrives with their belongings and says that this is for them. The Jesk Kartofellskaelleri cartons contain their vacuum-sealed belongings. The packs contain the message: “when you break this seal a new performance begins.”

DAY 16: 1st September 2010

September 7, 2010

The morning found us all in high spirit and ever so slightly agitated. We scrambled about trying to fix the photo book, the gold on the apples and trying to make a call on the storyline and prop that Vera would use. The beginning from the audience entering Jesk to divesting them of their belongings, them peeling potatoes, donning rabbit suits and walking over guided by the ‘start text’ to Sonder Boulevard was all figured out and as planned. There were small changes in the remainder of the performance, and here below is a documentation of that:

The apartment:

  1. Welcome Note: Hello! I had to rush out. You are all welcome into my home. Love Sussie.
  2. Water set-up: A bottle of water + 6 glasses. A note saying: This is for all of you to share. Feel free to pick things up and pass them around.
  3. Potato installation: A wooden board with half a dozen washed potatoes, 1 half-peeled potato and a peeler.
  4. Exit Set: A little kitchen timer, that the performer would turn on, with a note placed under it saying: Thanks for coming! Please leave now from the back door.

Down in the yard:
Vera with a scarf told its travel story then pulled out a thread one at a time for each person.  Then she lead each person through a different exit door with a photo + map to the end point.

Photo-Books:
Ana put together 6 routes to the end point from the apartment. We couldn’t however put them together in time for this audience. So the audience received only the end point picture with a little  map behind that would take them there.

End Point:
Ana waited there as another audience. When everyone arrived she would ask to open the bag containing the golden apple and tell that that it was to be shared. Once this action was complete, she would open the big carton containing people’s belongings.

Feedback from Audience:
Overall positive. There was confusion whether I was a performer or audience. They waited for me at the end-point as they were told to share the apple together. The opening scene + rabbits were successful.  They wanted to be rabbits longer. There was some confusion on the threads and some really were holding on to it, and wanted to know what to do with it at the end. A couple of people were a bit confused on some routes.

DAY 15: 31st AUGUST 2010

September 7, 2010

This was a frantic day of prepping for our big dress rehearsal. There were some parts that we worked out in detail and some that were missing in parts. Here is what we focused on:

  1. How do we weave the threads of what we started with, such that some could be tied up in the end and some would allow the audience to take with them out into the world.
  2. What happens from when they leave the apartment to when they arrive at the end point to share the apple and receive their belongings?
  3. How do we enhance the feeling of separation from the group such that the feeling of re-uniting at the end comes out strongly?
  4. Should we split up the group at the apartment, upstairs, or get them to spend a moment together downstairs so that they can bid adieu to each other as they set off alone for the concluding part.

The plan we worked out then was that the audience would go through the performance, come to the apartment, exit on hearing a bell ring and finding a note that suggests that they leave. They would be met downstairs in the yard by Vera who would tell them a story of a traveling piece of cloth and then take it apart so that each would have a piece of it. They would then be given a set of photos that would enable them to reach the end-point.

Ana set off to take photos of the various routes, with me helping a wee bit…but mostly trying to get myself to a dentist to cure my incredible tooth ache.

DAY 14: 30th AUGUST 2010

August 30, 2010

TIE-UP

Today it was mostly each one tightening and completing various set-ups. I pretty much spent most of the morning at the dentist trying to repair a very painful tooth issue which has been plaguing me the last 10 days now :( Post lunch Jacob and Vera worked on audio tracks for the walk from the Meatmarket to Sonder Boulevard. Ana also ended up with a tooth issue and went off in the afternoon to visit the same dentist, while I spent some time at Skybennedgade and Istergade trying to come up with ideas for the ending scene. Here are my thoughts:

I would be great to get the audience to exit the apartment building alone rather than as a group. COuld a performer meet the group as they exit from the back door with Ronaldo’s story of receiving a key-chain with a bunch of keys from a person he met while traveling in X country. And then requesting them to take each a key from this bunch and to give it to someone they think might help it travel on in this world.

When they get to Istergade, it would be great to get them to stand still for about 4-5 minutes while the world surges around them (could we replicate some part of my childhood school trip – where we were made to be statues for a minute everyday).

Ana suggested that instead of keys, they would receive a photo book that would lead them from place to place on Istergade, while getting them also to stand still at some point.

SOME FURTHER THOUGHTS  FROM ME ON EXIT SCENES:

1. Performer meets the group. Tells them the Traveling Keys story. Gives them each a key and says that they must spend the next 5 minutes on Istergade in an attempt to give away the key & story to someone else. When they have accomplished this, they would look at the note in their pocket, which would direct them to a Rendezvous Point where they would receive the silver potato and their belongings.

2. Each audience exits the apartment individually. They get a photo guide that eventually locates them at Rendezvous Point.

3. The group is met by a performer at the bottom of the stairs. They hear the statue bell story. They are given each a photo of their statue point. This locates each of them on a different part of Istergade. They are told that once they arrive at that point they would take 5 minutes standing perfectly still and looking at the world around them. Each is given a wind-up music box (or timer clock, or Stone, or an hourglass) that they would wind-up when they are ready to be statues. When the music stops (or bell rings, track ends) they would then look at the note in their pocket. The note tells them to go to the Rendezvous Point.

4. At the bottom of the stairwell there are 6 envelopes. A note on the wall suggests that each audience take one. Each person receives a picture post card of a specific and differing point on Istergade. On the back of the postcard is written (poetically) to go there and stand still for 3 mins. at the end of which to look at the note in their pocket. The note leads them to the Rendezvous Point…someone will meet them there.

OTHER RANDOM IDEAS

> Can we use blowing bubbles in some way? Eg. The performer  is the just standing at Rendezvous Point blowing bubbles. When everyone arrives, he walks up and gives them the silver potato/apple?

> Can the postcards seems like out of a book? Like a tear-away book. The performer tells them the statue bell story and then says “I am new to this city, but have walked several times on Istergade. Take any one page from my photo-album. When you find it, stay perfectly still for 5 mins and look at the world move around you.”

>  The audience fins an album with 48 photos of places on Istergade. They are requested to each take one. At the back of it are instructions to find that place & spend 5 mins. being still there, and then look at the note in their pocket.

> At the bottom of the stairs each finds a photo postcard in an envelope. It contains the instruction that they must walk down to Istergade-Skyebenedgade corner. From there they must take 300 steps to the right (each person gets a different instruction) and then stand still for 5 minutes. After which they must look at the note in their pocket. The note tells them to find the place that the photo is of. The photo is of the Rendezvous Point.

> Performer meets each audience member downstairs one by one. He has next to him a urn of sand. He says”I have brought these particles with me from India. Brazil, Phillippines…everywhere my feet have taken me. Walk to Istergade. Take any direction. You choose. When you get there, let it slowly pass through your fingers and mingle with the particles at Istergade. When your hands are empty stop walking. Pause for 3 minutes and then open the note in your pocket. Note tells him to go to Rendezvous Point. There there is a performer with two urns of water, she pours from one to the other, while audience washes his hands. It is ceremonial. Audience then is asked to rest at the picnic bench there. Others slowly collect. There is a white box (containing the golden apple/ or silver potato). They are told to open and share the contents of the box when everyone is together.

> Performer meets the group at the bottom of the stairs. He has a story + a small piece of crochet. Tears it into 6 pieces and gives each one. He then says – “Walk down to Istergade alone. When you reach there choose any point at stop. Unravel this cloth while you watch the world go by. When you feel that you have completed this, look for a note in your pocket. The note tell him to go to Rendezvous Point.

> P meets A one by one. He pulls one thread out of the cloth. Giving it to the audience, he says ” go to istergade. Count your breath, when you have counted upto 100. Stop. Stay there for 3 mins. Look as the world moves around you. Then look at the note in your pocket. Note gives direction to Rendezvous Point and tells them to take the cloth and join it with the pieces from all his fellow travelers. When all six have arrived and have tied the cloth again to each others’ a performer comes solemnly takes the thread and joins it to a roll that he has with him. Or there is a huge roll of string installed at Rendezvous Point and they have to add their thread to it. When all 6 have done so, performer comes and delivers the apple.

SOME ONE LINE THOUGHTS

> Can a big church bell be rung to signal that the audience must stop playing statues and gather?

> Can a flag be hoisted at the Rendezvous Point to signal that they must come there?

> Can we get a huge blimp that rises where we want to, to signal the Rendezvous Point?

> Can doves be released in large numbers to signal the same?

> Can the audience asked to be seated in a row, apart, to see the world buzz past?

> Can a big vertical banner come rolling out of a top window?

> Can the object be a puzzle?

> Can the performer be sitting with a dominoes set that he gives out to each participant?

OK goodnight!earth

DAY 13: 29th AUGUST 2010

August 30, 2010

SUNDAY SESSION: 29th August

We did a half day session today. Mostly it was to complete practical stuff – sewing, repairs, cleaning, some audio etc. We got s little bit done too.



DAY 12: 28th AUGUST 2010

August 28, 2010

We tested the Meat Market, Sonder Boulevard, Migration walk Sketches, The Flag Sketch + the Apartment Sketch.  The change in the flag sketch was that instead of the performer being installed on the street and having the audience walk up to him, the audience continue to walk down the Boulevard and are approached by the performer from behind. She allows them to choose their own flags and gently leads them towards door no 30 on Shooting Range St. There she collects the flags, whispers that this might have been a revolution and walks away. The other sketches stayed mostly the same.

FEEDBACK
Walk Sketches:
With the walk sketch Vera will be refining the instructions and directions. It was felt that the Migration section felt a bit weak in its current form. We might include an instruction to look at the shop windows, so that the audience can see their reflections, timings would have to be a bit tighter, the ‘look for red windows’ was confusing.

Flag Sketch:
Performer approaching from behind felt weak.
Audience choosing their flags was nice.
Whispering in the end that this was a revolution was not great.

Apartment Sketch:
Taking off the rabbit suits on top spoilt the experience of entering. Take them off on a lower floor
The note on the door carried too many instructions. We should break them up into three separate notes.
We missed the sitting around the table together
We need some ruse to lead people to the kitchen
It would be nice to have the smell of some potatoes/bread wafting in from the kitchen…though this might be too strong.
The balloons were not discussed (tbd tmrw)
AUDIENCE TEST FOR TOMORROW
We will have 5 test audiences tomorrow. We will re-work the above sketches according to the feedback.

PLAN FOR APARTMENT SKETCH
[PERFORMER RABBIT TO OPEN DOOR NO. 30 WHEN AUDIENCE KNOCKS. SHE WILL TELL THEM THAT SHE IS AN AUDIENCE FROM A PREVIOUS GROUP ASKED TO DO THIS AND LEAD THEM UPSTAIRS.]

[ON LANDING 2 THERE WILL BE A CHAIR, WITH A RABBIT SUIT ON IT + A NOTE ASKING TO DISROBE]
NOTE ON DOOR: Hello! I had to rush out. You are welcome into my home. Love Suzzie

DINING TABLE SET-UP: A tray with glass jar of water, 6 glasses, a bowl of potato crisps/snack & a note

DINING TABLE NOTE: This is for all of you to share, and please feel free to walk around, discover things and pass them around.

KITCHEN SET-UP: Half peeled potatoes on the kitchen table/ Potatoes boiling on the stove. Kitchen timer set to 5 mins. Note

KITCHEN NOTE: Thanks for dropping by, please leave through the back door now.

NOTE ON BACK DOOR FRAME: Please leave with what you came in with J

SELECTED POEMS FOR VARIOUS SKETCHES

August 27, 2010
POEMS BY SRI ANDAL
A thousand elephants followed
as you walked in.
The town was adorned
with flags and banners,
And at every threshold
stood a golden urn…
I dreamt this dream, my friend…
—————————————————
Singing the praises of the most excellent, who lifted his leg to measure the world, 
If we all bathe in the waters for our pavai rites, 
The land will be rid of evil. Rain will fall thrice in a month. 
In the rice fields that are full of growth, the fish will play amidst clumps of lilies. 
The bees will relax with eyes closed on the lotus blooms. 
When their udders are held firmly, the large milch cows will gladly yield milk that fill vessels to the brim. 
Such will be the undiminishing prosperity of the land, Oh my dear pavai.
—————————————————
POEMS BY KABIR

O traveler!  purify your body
in a simple way.
As the seed is within the banyan tree,
and within the seed are the flowers,
the fruits, and the shade:
So the germ is within the body,
and within that germ is the body again.
The fire, the air, the water, the earth, and the ether;
You cannot have these outside of You.
O traveller, consider it well:
what is there, that is not already in you?
The water-filled pitcher is placed upon water,
it has water within and without.
Don’t give it a name,
lest it call forth, the error of dualism.
Kabîr says: “Listen to the Word,
the Truth, which is your essence.
He speaks the Word to Himself;
and He Himself is the Creator.”
—————————————————
Between the poles of the conscious and the unconscious, there has the mind made a swing:
Thereon hang all beings and all worlds, and that swing never ceases its sway.
Millions of beings are there: the sun and the moon in their courses are there:
Millions of ages pass, and the swing goes on.
All swing! the sky and the earth and the air and the water; and the Lord Himself taking form:
And the sight of this has made Kabîr a servant.
—————————————————
I have been thinking of the difference between water 
and the waves on it. Rising, 
water’s still water, falling back, 
it is water, will you give me a hint 
how to tell them apart? 

Because someone has made up the word
’wave,’ do I have to distinguish it
from water? 

There is a Secret One inside us; 
the planets in all the galaxies 
pass through his hands like beads. 

That is a string of beads one should look at with luminous eyes.
—————————————————
To what shore would you cross, O my heart? there is no traveller before you, there is no road:
Where is the movement, where is the rest, on that shore?
There is no water; no boat, no boatman, is there;
There is not so much as a rope to tow the boat, nor a man to draw it.
No earth, no sky, no time, no thing, is there: no shore, no ford!
There, there is neither body nor mind: and where is the place that shall still the thirst of the soul? You shall find naught in that emptiness.
Be strong, and enter into your own body: for there your foothold is firm. Consider it well, O my heart! go not elsewhere,
Kabîr says: ‘Put all imaginations away, and stand fast in that which you are.’
—————————————————
Do not go to the garden of flowers!
O Friend! go not there;
In your body is the garden of flowers.
Take your seat on the thousand petals of the lotus, and there
gaze on the Infinite Beauty.
—————————————————
The Hidden Banner is planted in the temple of the sky; there the   blue canopy decked with the moon and set with bright jewels is   spread. There the light of the sun and the moon is shining: still your   mind to silence before that splendour. Kabîr says: “He who has drunk of this nectar, wanders like one   who is mad.”
—————————————————
O sadhu!  purify your body in the simple way. As the seed is within the banyan tree, and within the seed are   the flowers, the fruits, and the shade: So the germ is within the body, and within that germ is the body   again. The fire, the air, the water, the earth, and the aether; you   cannot have these outside of Him. O, Kazi, O Pundit, consider it well: what is there that is not in   the soul? The water-filled pitcher is placed upon water, it has water   within and without. It should not be given a name, lest it call forth the error of   dualism. Kabîr says: “Listen to the Word, the Truth, which is your   essence.  He speaks the Word to Himself; and He Himself is the   Creator.”
—————————————————
There is a strange tree, which stands without roots and bears   fruits without blossoming; It has no branches and no leaves, it is lotus all over. Two birds sing there; one is the Guru, and the other the   disciple: The disciple chooses the manifold fruits of life and tastes them,   and the Guru beholds him in joy. What Kabîr says is hard to understand: “The bird is beyond   seeking, yet it is most clearly visible.  The Formless is in   the midst of all forms.  I sing the glory of forms.”
—————————————————
POEMS BY A K RAMANUJAM
I resemble everyone
but myself,
and sometimes
see
in shop-windows,
despite the well-known laws
of optics,
the portrait of a stranger,
date unknown,
often signed in a corner
by my father.
—————————————————
Images consult
one
another,
a conscience-
stricken
jury,
and come
slowly
to a sentence.
—————————————–
Now you know what you always knew:
the country cannot be reached
by jet. Nor by boat on jungle river,
hashish behind the Monkey-temple,
nor moonshot to the cratered Sea
of Tranquillity, slim circus girls
on a tightrope between tree and tree
with white parasols, or the one
and only blue guitar.
Nor by any 
other means of transport,
migrating with a clean valid passport,
no, not even by transmigrating
without any passport at all,
but only by answering ordinary
black telephones, questions
walls and small children ask,
and answering all calls of nature.
—————————————–
The round blazing sun
creeps in the sky,
raging as a fire
in the forest,
and the silk cotton tress
is leafless
yet in flower
without a bud,
like a long array
of red lamps
in the month of karttikai
lit happily
by bustling women,
in the fruitless forest
where the pools are dry,dusty.
If only
he’d spent the time with me,
it would go fast,
if only he’d walk swiftly with me
on the dunes
over hung with flowering boughs,
all fragrant,
where the forest stream flows now
and the sand
is laid out like a woman’s bodice,
he could have what arms desire,
loving embraces,
body entering body,
and then my guiltless eyes
that now fill
ceaselessly like barren pools
fed by secret springs
could put aside
their daily sorrow
and find some sleep.
—————————————–
Composed as I am, like others,
of elements on certain well-known lists,
father’s seed and mother’s egg
gathering earth, air, fire, mostly
water, into a mulberry mass,
moulding calcium,
carbon, even gold, magnesium and such,
into a chattering self, tangled
in love and work,
scary dreams, capable of eyes that can see,
only by moving constantly,
the constancy of things
like Stonehenge or cherry trees;
add uncle’s eleven fingers
making shadow-plays of kings
and cats, hissing,
becoming fingers again, the look
of panic on sister’s face
an hour before
her wedding, a dated newspaper map,
of a place one has never seen, maybe
no longer there
after the riots, downtown Nairobi,
that a friend carried in his passport
as others would
a woman’s picture in their wallets;
add the lepers of Madurai,
male, female, married,
with children,
lion faces, crabs for claws,
clotted on their shadows
under the stone-eyed
goddesses of dance, mere pillars,
moving as nothing on earth
can move —
I pass through them
as they pass through me
taking and leaving
affections, seeds, skeletons,
millennia of fossil records
of insects that do not last
a day,
body-prints of mayflies,
a legend half-heard
in a train
of the half-man searching
for an ever-fleeing
other half
through Muharram tigers,
hyacinths in crocodile waters,
and the sweet
twisted lives of epileptic saints,
and even as I add
I lose, decompose,
into my elements
into other names and forms,
past, and passing, tenses
without time,
caterpillar on a leaf, eating,
being eaten.
—————————————————
POEMS BY RUMI
Notice how each particle moves.
Notice how everyone has just arrived here
from a journey.
Notice how each wants a different food.
Notice how the stars vanish as the sun comes up,
and how all streams stream toward the ocean.
Look at the chefs preparing special plates
for everyone, according to what they need.
Look at this cup that can hold the ocean.
Look at those who see the face.
Look through Shams’ eyes
into the Water that is
entirely jewels.”
—————————————————
There is a community of the spirit.
Join it, and feel the delight
of walking in the noisy street
and being the noise.
Drink all your passion,
and be a disgrace.
Close both eyes
to see with the other eye.
Open your hands,
if you want to be held.
Sit down in the circle.
Quit acting like a wolf, and feel
the shepherd’s love filling you.
At night, your beloved wanders.
Don’t accept consolations.
Close your mouth against food.
Taste the lover’s mouth in yours.
You moan, “She left me.” “He left me.”
Twenty more will come.
Be empty of worrying.
Think of who created thought!
Why do you stay in prison
when the door is so wide open?
Move outside the tangle of fear-thinking.
Live in silence.
Flow down and down in always
widening rings of being.
—————————————–

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