Countdown to Gala 2017, Day 16: Excerpts from Issue #36 of the Movement Research Performance Journal
The 2017 Movement Research Gala on May 8 will celebrate 25 years of Movement Research at the Judson Church and 50 Issues of the Movement Research Performance Journal. As we count down the days until the Gala, we’re posting #50DaysOfMRPJ with Editor’s Notes and excerpts from each Performance Journal.
Movement Research Performance Journal Issue #36 was released in Spring 2010. You can view the full Table of Contents here.
*The Movement Research Gala will take place Monday, May 8 at 6pm at Judson Memorial Church. For more information, to volunteer or to purchase tickets, click here.
#MRGala2017 #50DaysOfMRPJ
MRPJ#36: Hahn Rowe
Editor’s Note
Editors: Trajal Harrell, Troy Lambert, Timothy Murray
You learn something new everyday. I’m really excited for you to read this issue. Some great articles including an excerpt from Penny Arcade’s newly released book. We also have two portfolios–our cover artist and one in tribute to Merce Cunningham. My undaunted collaborator, Troy Lambert who designs the MRPJ reminded me that portfolios in number of pages divisable by four can be taken from the journal whole for convenient carrying. Unbeknownst to Troy, I was naive to this fact. I’m looking forward to maximizing this new knowledge in the future.
We’ve promised pieces on Boris Charmatz and The Giant Women and sorry we’re still working. So, lots to look forward to as 2010 keeps rolling.
All the best, Trajal
When I was approached about editing the Hahn Rowe artist portfolio for this edition of the Journal, I didn’t know very much about Rowe or his work. I agreed, in part to learn more, and in part because a fellow musician had once told me that seeing a Hahn Rowe dance score made him believe that writing for dance could be fulfilling musically.
Hahn has flown a bit under the radar, though his credits are long, both in music, film and dance. Among many others, he has performed on recordings for David Byrne, Michael Stipe, Glenn Branca and Moby and written dance scores for Bebe Miller, David Dorfman, John Jasperse and Meg Stuart. Yet, writings, reviews and even photos of him seem to be in short supply.
The focus of this portfolio is on Hahn’s involvement with dance, and hopefully provides an introduction to him and his work. I’d like to thank all the people who contributed their materials and time to making this come together.
-Jon Moniaci
Undefined Space in Auf den Tisch (excerpt)
an edited conversation between Beth Gill and Danielle Goldman
View PDF of full article here.
Danielle: I think improvisation provides an interesting way to rethink some of the more traditional power structures between music and dance. I was struck by Rowe’s selflessness within the work. While all the performers were generous, ego never seemed to get in the way of his participation. I initially attributed this to his sensitivity and skill as an improviser, which of course are immense. But now I’m thinking, as you suggest, that it also had much to do with visibility–the hyper-visibility that being on the table brought about for the dancers. At times, this charged visibility (coupled with the dancers’ elevation above the audience) magnified the “star” status of the performers, if only to bring about an elusive set of impossible expectations. This is part of what they had to negotiate during their improvisations.
It’s strange, given how close we were to the dancers, that I didn’t get a fuller sense of their bodies. By mentioning Rowe’s presence, experienced largely through sound, you’ve gotten me thinking about aspects of the dancers bodies that I couldn’t access.
