michael j. morris


documentation of TOWARD BELONGING

On April 29 and 30, I premiered a new dance work entitled TOWARD BELONGING, featuring performers Phil Brown Dupont, Justin Fitch, Eve Hermann, and Counterfeit Madison. Over the last several years, while working on my PhD, my choreographic practice has been almost entirely focused on developing solo queer burlesque pieces, dances that I choreographed for me to perform on burlesque stages in and around Columbus, Ohio. TOWARD BELONGING was a step back into the studio, working with people I care about on making something meaningful and critical together. If you were not able to see the performances, I have finally gotten documentation posted.

April 29 in the Barnett Theatre in Sullivant Hall in the Department of Dance at the Ohio State University, videoed by s lumbert:

April 30 in Studio 290 in Sullivant Hall in the Department of Dance at the Ohio State University:

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TOWARD BELONGING

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On April 29 and 30, I will be premiering a new dance work entitled TOWARD BELONGING, featuring performers Phil Brown Dupont, Justin Fitch, Eve Hermann, and Counterfeit Madison. We have been developing this week since the beginning of January, and now we are mere weeks away from sharing our work with you. This new dance moves through the mechanics and formal dimensions of sociality, the physical vocabularies of how bodies are together. It examines how bodies follow one another along paths that are straight or along trajectories that veer queerly, how they fall in line and out of step, how they carry one another along and are moved by what other people do, how they gather and separate.

Here are the details for the performances:
TOWARD BELONGING
choreography: Michael J. Morris
performance: Phil Brown Dupont, Justin Fitch, Eve Hermann, and Counterfeit Madison

TWO PERFORMANCES:
-Wednesday, April 29, the Sullivant Hall Barnett Theatre, 8pm
-Thursday, April 30, Sullivant Hall Studio 290, 8pm
Sullivant Hall is located on the OSU campus at 1813 North High Street in Columbus, Ohio.
This event is FREE and open to the public.

Please enter from the front (east) entrance facing N. High Street. Other entrances to the building may be locked after hours.
The Barnett Theatre is on the third floor, just off the rotunda.
Studio 290 is on the second floor, in the north-west corner of the building. Follow the second floor north corridor.

Accessibility:
Sullivant Hall has an elevator to the second and third floors, located just off the rotunda.
The seating in Barnett Theatre is folding chairs on risers, with floor space for additional adjustable seating.
The seating in Studio 290 is folding chairs and floor seating.
Please contact me at morris(dot)787(at)buckeyemail(dot)osu(dot)edu if you have any questions about access or have particular access needs.

You can RSVP on Facebook here: https://www.facebook.com/events/1411144869192127/

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columbus moving company: IN HOUSE

Today I managed to make it to the second performance of Columbus Moving Company’s IN HOUSE at the Garden Theater.

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The production involved three different dance pieces, with guest musical performances by Counterfeit Madison.

The first piece, “Staticsystem,” introduces four dancers of CMCo, Eric Falck, Jeff Fouch, Gabby Stefura, and Christeen Stridsberg. The relationship between these four dancers evolves like the formation of a pack, but rather than a pack populated by wild animals, this pack is comprised of arms and legs sweeping and swiping through the air and across the floor, deep squats and lunges that rock back and forth, sudden bursts of forceful, frenetic activity, and moments of shared, sustained, focused articulation of their joints. Actions, gestures, and movement qualities spread through the group from one body to the next, the flexible cohesion of this pack developing over time through the migration and gestation of these movement contagions. Throughout the short track by Amon Tobin, the four alternately cling to one another and break away for brief moments of dancing solo, being absorbed again and again into the group until finally dissipating to into the backstage wings.

At the start of the second piece, Counterfeit Madison comes onto the stage out of the audience, her face hidden behind the hood of her sweater. Not being able to see her face lends her two songs a strange anonymity despite the soulful style of her playing and personal quality of the lyrics she sings. After her second song, six dancers emerge from the audience and make their way to the stage. This piece, “Obstinate Trajectory,” is performed by students of the CMCo, Zachariah Baird, Jason Brabbs, Justin Fitch, James Sargent, Corinne Steger, and Heather Stiff, and accompanied by Counterfeit Madison. At the start of the piece, the dancers stand at the outer edges of the stage; each one moves in their own ways towards the center—towards one another—and back away to the edges, some moving in quick and startled patterns, others as if they are exploring how it is that they might move moment by moment, and one walking in slow, concentrated, patient steps. Later, they move in a line from stage left to stage right, and their formation allows me to appreciate the various ways in which their actions come into brief and unanticipated alignments with one another as well as the many and varied differences between them. It seems to me a physical exploration of co-existence, how we move towards and away from one another, and how we stay together—not in spite of, but inclusive of our differences and fleeting similarities.

The final piece of the production, “Living Rooms,” again brings the dancers of CMCo to the stage, now set with an area rug and four pieces of living room furniture. Each dancer enters the space one at a time, and each in turn reconfigures the arrangement of the furniture, rotating and pushing and dragging and overturning the ottoman, end table, and two chairs. Over the course of the dance, the four performers attempt to exhaust the possible orientations, functions, and challenges of both the furniture pieces and one another. In a smattering of solos, duets, and group movements, the four wrestle and grasp at one another, impede one another’s actions, partner and lift and carry one another, watch and are watched by one another, and occasionally they dance in canons or unison set choreography. At its most subtle, I feel drawn by their movements into the intimate proximity of this living room space; at its most exuberant, their movement seems to fling them to its edges, like fervent attempts at escape that take them no where. If there is a unifying characteristic of “Living Rooms,” it is that these four figures will be drawn again and again into the folds, grips, embrace, gaze, and intentions of one another. No matter how many times any one of them deconstructs the space or reconfigures the bodies and furniture inside of it, there is always someone there to remake it—and each other—into their own design. The possibilities of these living rooms are not limitless: incessantly, inexplicably, these four are drawn back into one another, and however they attempt to reinvent the living room, this is where they remain.

I am delighted that the Garden Theater and the Short North Stage are continuing to include dance in their production seasons, and I look forward to continuing to see more dance, more of the Columbus Moving Company, and the work of more local choreographers and dance artists on this historic stage.