Classical guitar shed lyrical study 13 series#
What comes out of them is what is needed in any given moment, not a predetermined series of steps or even an improvisation as we might understand it in dance or musical terms. I have asked them to look closely at the obvious and less visible ways they have been shaped by those experiences.This is a method of body-processing an often pre-verbal, sometimes ancient state of un-knowing or remembering through movement. “These dance artists found their way to the project because of their personal proximity to the experiences of migration, displacement, loss of home or culture, and the erasure of lineage and history. Gionfriddo has worked with each dancer through a process of improvisations, inviting personal responses to the stories and music. And so, I’m trying to feel what it might be like to be waiting and hoping for six years in one place, not knowing when a shift is going to occur.” There’s no distinction between waiting and hoping in Spanish. And that means we waited, but it also means we hoped. The first Spanish word you hear is esperamos. “The idea of waiting for six years before you’re able to make any sort of move. As a white-led organization, ARCOS considers our role in this project as similar to how Joe defined his original approach in 2017 “to facilitate space.” This is not what we, as white, educated, employed and documented United States citizens approximate the refugee experience to be, but a container in which those lived experiences can be honored and shared.” Bonnie Cox, ARCOS Dancer, on location © Paulo Rocha-Tavares Bonnie Cox who is working with a movement called Waiting In No Place. It requires an ability to respond, or as Donna Haraway calls it, a “response-ability.” When Joe Williams approached ARCOS to collaborate on this reimagining of I/We, we shared this value of response-ability which has allowed us to honor, not re-tell, the stories of Mai, Munel, and the Alaama family. “It requires us to listen deeply to the nuance of what we hear while acknowledging the complexity of our own experience. Says ARCOS choreographer Erica Gionfriddo.
“There is a great responsibility in sharing someone else’s story.” The concert had an amazing cast of international musicians and artists, and won Best New Composition at the Austin Critics Table.įor I/WE 2020, ARCOS, with choreographer Erica Gionfriddo, dancers Bonnie Cox, Ginnifer Joe, Kaitlyn Jones & Oddalys Salcido, along with filmmaker Eliot Gray Fisher, recontextualize the original stories and music through movement filmed in natural spaces around the State of Texas. We wanted to explore empathy and listening in an age of polarization. Inspired by interviews with Syrian & Iraqi refugees during their first 90 days in Austin, the original i/we was a multimedia concert we made in 2017.
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