“…a way to discover what images are hidden in the body, either to use them or exorcise them and free up the articulation of the line the body is making. “
SM We both studied with Linda Putnam. Do you find your dance teaching steeped in the ideas she teaches?
JM Because my understanding of Linda’s work is intertwined with life, it is difficult to unravel what is specifically used in teaching. I see it as the responsibility the artist has to the form, and that we continually need to be reminded of why we are making work – for whom do we make it, what is our role?
JM I use the plastiques as a way to discover what images are hidden in the body either to use them or the corporeal they would shape the body into or to exorcise them, in order to free up the articulation of the line in the body.
JM I think of plastiques as joint work and I work with it in all three dimensions.
JM There is an experience familiar to me from Judith Koltai’s work in Authentic Movement when the body is “taken” and suddenly the entire population of the body is attentive and aligned with each other. I understand this as a corporel.
JM I recently saw a performance of elementary school children in Montreal. They worked distally using their appendicular skeleton until suddenly there was a move where their whole bodies were there. It was corporel. They all stood solidly on one leg with leg in front attitude and arms in second, rounded –it looked as though it was initiated, depending of course on the child, from their navel and then engaged their arms or from their arms and they went into their navel.