Ambmelos Geomiatry
Performance, Choreography, Intermedia, Sound
Date of Proposal: May 2020

Proposal for the Shed’s Open Call Program in collaboration with Raziman Sarbini
*Proposal was not accepted in to program.

We propose to produce a dance and movement performance video to create a guided movement work that someone at home or on site could follow along with and explore their body in new ways. We think this is particularly timely for the pandemic, but also for the future as dance is intrinsic for healthy minds and queer bodies. Ideally, a film is made of the performance and then would have an install of the video in which people could follow.  We think the blending of our audio, 3D, and conceptual movement background with Raziman's academic dance and technology background would be perfect for the creation of a new dance dialect and language. The work would build on the precedence of Wayne McGregor's "Technology of the Body" theories, William Forsythe's "Improvisational Technologies", Cari Ann Shim Sham's "Are You For Real?, Akinori Goto's "Zoetrope" and choreographed communal queer street dance. The main goal would be to create movements to further explore concepts of connection, protection and permeation for the queer community.  

The movement and choreography would start from dimensional shapes and configurations. We would model 3D shapes in which then the dance would be dictated by. These shapes for the most part would work like compositional notes in a music piece directing the dancer how to use their body as if an instrument. Some of the direction and shapes would be linear in the sense a dancer would move through them like giant 3D notes (i.e. a dancer moves through a projected tetrahedron, octahedron, torus) and some would be more fluid in which you are building shapes around you (i.e. there is projected armor around the dancer and they would need to build it through the movement). The initial goal of the video would be to prepare energy and space around you to go and face the world. Man Each composition would be introduced by a different casted guidance dancer who would walk through the choreography.


The video would be shot in an infinity space with multiple choreographed segments. As the guidance dancer is giving instruction the anatomy of the shapes being created would be drawn or projected on the screen as the movement occurs. The video would be created, then performed to either in person, on site or digitally. Ideally we would do an install of the video in a room on site with seamless green screen (using a gradient or pink in place of green) in which the video could be played and followed. The installation space would also feature giant wireframe sculptures of some of the shapes being created with the body in the video for guidance.