LéaT

  I am having a hard time understanding what FRAMEWORK means.  So I have looked for the French translations:  le cadre / framework, frame, setting, scope, surroundings, executive la structure / structure, framework, organization, fabric, system, building la charpente / framework, skeleton, woodwork, build, gateway le système / system, method, framework, setup, shape le plan / blueprint, plan, map, plane, scheme, framework les branches / framework la société / society, company, association, framework, folk So my intuition of a structure being a framework - or these two words in my mind being interchangeable might be sort of right. I have been debating my relatioship with framework. I really related to what Matthew, Caleigh and Imogen said about it. A framework could become a "fixed identity" (1) and there, it slips to the darknesses of closed-mind-ness. Or using Honor's metaphor; closed doors.  I realised that there's a pattern going on in my learning practice / pract...

  I grew up in a very big family of Italian immigrants in the North East of France. Family reunions were loud, cheerful. We would sit at the table for hours, eating, singing. My grand father would play mandoline and sing the same songs over and over again. But the loudness. And you HAD to be louder, quicker, more alert than you relatives to survive in this group of people! I believe this shaped my learning style.  No time to think or to overthink. In a family who had to re learn a language, a culture, there was no time for taking the time. Action was their salvation, their pride. My mum and her 8 brothers and sisters would all have careers in jobs where their "hands" were needed. My dad and his 2 relatives, the same. Although there was a tendency for the imagination, the poetic (the mandoline played a role in that). My dad studied Fine Arts and my his brother is a guitarist. They both taught, drawing and music.  The least you would have to speak, the better. It amuses me ...

  I have never been patient. Like. Never. For example; I write these blog posts, I hardly re read them - INITIATING is definitely my learning style.  "Initiating style.  Those who use the Initiating style strive to complete projects and then seek new opportunities. They learn primarily through Acting and Experiencing (feeling), paying the least attention to Analyzing. They enjoy achieving goals and involving themselves in new and challenging experiences. Their tendency may be to act on intuitive "gut" feelings rather than on logical analysis. In solving problems, individuals who prefer and Initiating style rely heavily on other people for information than on their own technical analysis.  Those who prefer the Initiating style think on their feet, back a hunch, network and influence. They are outgoing, spontaneous, and able to shrug off losses or "failure" in favor of of trying again. If someone overuses the initiating style, she* dreads the words "status q...

  Thinking about AOL. AOL. AOL. AOL.  Looking back at the way I went to school, then to uni, then the way I trained and worked. Even the MA today. I have always been part of an institution "from afar". Do I resent institutions? Do I resent being part of a group? Do I work and learn better "on my own"? Experiential learning is getting to question the smallest of events that happened into my life and getting me to understand so much.. It is vertiginous.  AOL.  I am realizing that one AOL that is the umbrella of all the other ones is: ARTICULATING MY THOUGHTS INTO WORDS, SO THAT I CAN CREATE / SO THAT BODIES CAN MOVE AND BE ON STAGE.  One of the advice that stuck with me when I started creating was: "a lot of artists need to learn to talk about their work. Learn to talk about yours." And I did. I dug deep into the instinct and the sensations of what an idea, primarily, is. I brainstormed. I gathered images, quotes, words. I question things. Often it is a ques...

  I guess I got lost in translation. But I did use the word "Selfishness in the creative process" once. Maybe "self-centered-ness" might be more what it is. The act of looking at what you make through your eyes, with your guts, as opposed to through the constant feedback, and the "I would have" conversations I have stopped listening to for my sanity. I believe I am a sort of selfish maker. Not with my collaborator who I highly and genuinely care for. But for the people outside the studio. In that sense I agreed with Olga. The question of the Art being necessary though. mmhm.  Then comes the sharing of the work. THE moment I love the most.  Then, the work slips out of my hand, of myself and becomes everything and everyone's.  In that sense, I believe there is not a less selfish act than sharing something you have sweat for. You have gathered the money, the team, you have the mad courage of making and sharing. From the cave of "selfishness/self-cent...

  I was going to write a note on my phone and thought I should do it here so that I could share some (beginning of) thoughts. Going through Module 1, I cannot help but wonder: what had an impact on my professional life, on my approach to dance, to life, to art. Although I might mix inspiration and learning from experience tonight, I thought I should just get this out of my system. This is a very vague and probably non-sense-ish list.  - Dada, Fluxus - La Monte Young, "Draw a straight line and follow it" - Chris Burden - Georges Perec  - Guy Debord - and my world twisted - Lipstick Traces, Greil Marcus. Situationnism, Fluxus, Punk. The Art of building bridges. - Alain Platel, everything from Alain Platel °° Too many men on that list °°  - King Kong Theory, Virginie Despentes - The Second Sex, Simone de Beauvoir  - The factories and the steelworkers, their anger, their poverty, their enslavement to their condition.  - Italy - the far away country, the place t...

Hello! My name is Léa, I am 36. I have been working as a dancer and as a choreographer most of my professional life.  I graduated in 2007 with a BA in Art History and Modern Literature from Université Lumière, Lyon II (FR) and in 2008 with a Certificate of Higher Education from London Contemporary Dance School. Since I worked as a dancer in London, Germany, Luxembourg. I started making my own work in 2013.. first as a joke. I was angry, bored, revolted. And things started to get serious, little by little. More money, more support, more revolt, more things to dig and to experiment.  Today, making my own work takes most of my time. Between the production, touring, creating, logistics etc. I do work with collaborators on a part-time basis, but am the only full-time worker of the company really.  I love making.  I have 2 kids. A 4 year old and a 1 year old. Life is full.  I am extremely happy to be part of the MA so that I can dig even further.  I look forward ...