"The ability to envision a second world is a major source of ritual knowledge-
That which is so deeply felt, so primal in form that it is neither word nor outcry, neither sign nor symbol, but the ineffable thing itself, that which precedes speech and thought,
that which is the raw experience itself without evaluation or moralities. It is the ineffable structured into an event - that which is called ritual".

Jamake Highwater

The most striking part of Cistern, for me, is the final section. On Friday, when we were discussing the tone we should try to convey in our movement, my first instinct was that of course we should be demonstrating sadness and loss. The water in the cistern has dried up, leaving us with only mud. It's occurred to me, however, that the situation is far more complex that that. We will have just spent an hour creating this fictional community - the audience will have seen us dance, bathe, work, play, etc. By the end of the piece, we just are - we're existing as a functioning community in front of their eyes. As we continue on, dancing without the water, they are just witnessing the next phase of our experience. As we take our last breaths in silence, and lie down to die, it is without ceremony or tragedy or drama. It just is. In real life, when we are faced with harsh realities, we don't break out violin music and make dramatic arm movements, trying to convey sadness or fear to an audience. Real life isn't Swan Lake, and neither is this. The beauty that exists in the final section (other than the haunting music and wonderful movement) lies in the unadorned truth of the situation. Its simplicity, free from puffed-up emotion, is beautiful.

Ford has stressed that the feeling of community is essential to this piece. I found it difficult to fully realize this feeling within the context of isolated sections. For me, last night was a huge step towards a more established sense of community, and I'm excited at the prospect of further growth leading up to the performance. The change of facing after the canon just felt right, and seeing the other groups move gave me a completely different sense than the frontal facing. The new section of solo/duets/trio really solidified the whole community thing, though. Standing on the side, I felt that I was watching a small village going about its mid-morning work. I'm tempted to compare it to a documentary of some primitive group of people, but that doesn't do the section justice because we (and the audience) are actually there rather than behind a camera. Additionally, the movement gives the feeling that these actions are about more than just daily work. They are ritual and I almost felt privileged to have the opportunity to peek into this world.

Michael's images are amazing and indescribable! Their swirls and dips and striations seem so alive and touchable, they MOVE! Truly inspiring. Speaking of inspiration, I was telling Marie last night that I recommend this movie I just recently watched called "Water". It's an Indian film about widows who continue to live in poverty and restriction even today(though the film is set in the time when Ganghi was alive). What I found apropos to this piece were the scenes(and there were many) of bathing in the sacred river(was it the Ganges? I'm not so good with geography...!). It reminded me especially of Marie's section with the stools and the bathing, but I think it would be interesting for every one of us in this piece because it shows this connection between water and it's cleansing abilities, not just it's cleaning abilities. The movie left a mark on my imagination because of it's visual beauty and the blend of story and picture and sound into a cohesive, compelling whole. I can't wait to see how our piece comes together!

Hi dancers,
I have posted this one image as a test, look for others to follow. I will also be putting some short video clips up so you can all see the palette of images I will be working with.
It’s a pleasure to be working with Ford and all of you on the project. I'll be seeing you on the 23rd in the studio.
All best,

Michael

Hi Michael,

Just wanted to give you an update on the piece. The last section is now complete with everyone dancing, which really changes the feeling of that section by bringing everyone together in unison movment for the finale. I am going to include a solo, as I mentioned, and it will be just before the last section. The solo is dark, animalistic and foreboding. It is about a 2 min. and 43 seconds. In addition, Marina Harris, guest choreographer will be returning on Feb. 26 - March 8 to do one final 5 minute group section on the dance ensemble. In this section the dancers will be filling the cistern back up with mud, which will be wiped on the dancers faces and arms and legs in the last section. (It is going to get messy on stage, but I think create a very powerful final image of the community of people) The score for this section will be a very melodic driving/kinetic drum score. Also, Marina is going to do one more short duet section to the sound of rain. It will be with a man and a woman and will deal with the woman trying to get to the empty cistern and the man keeping her from doing so. The stool section has been shortened and is still evolving choreographically. It is taking on a primitive and mysterious feeling, which I find to be a wonderfully intriguing, and dramatically unpredictable part of the entire work.
At last I start on the first section this week with the entire cast. I am anticipating it will be pretty well complete by Feb. 26. I am very excited about this section, as it will establish the sense of ritual, cycle, and community from which the piece will develop.
Let me know if you would like the new musical sections and if you have had any new ideas or feedback about the work.

I am looking forward to seeing your images.

Ford