‘Sri Ma’ – Brenda McMorrow & David Darling
I shot and edited this video for my good friend Brenda McMorrow. It was a great pleasure to meet cellist David Darling & capture a bit of his spirit.
I shot and edited this video for my good friend Brenda McMorrow. It was a great pleasure to meet cellist David Darling & capture a bit of his spirit.
The Dietrich Group presents Paris 94 / Gallery at the Enwave theatre this weekend. I’ve been collaborating with choreographer D.A. Hoskins on composition & sound design this spring. Based on his time spent with David Earle in France, Paris 1994 was originally an abstract almost Cunningham style work for Danielle Baskerville & Mike Moore. A TV onstage played footage shot by D.A. & David in France and the sound score was made up of manipulated field recordings from those videos. For this ‘gallery’ iteration of the piece, each section takes on a different quality of installation. I was challenged to attack the sound on a conceptual and persistent level, as though it were being created to accompany a sculpture or installation. I got to work with the original field recordings, using them to create ambient atmospheres and sound experiences that reference different states of embodiment. Part of what struck me in this process was the totally non-phenomenological job of the sound designer/composer. I had a strong desire to base my sound off of a tangible studio or theater experience. For this process I was asked to finish the sound before rehearsals were to begin. This week I had one hour in the theater to edit and EQ the sound live, in the space it will be played in. Although I am very pleased with the work that I’ve done, I hope to do more ‘site specific’ sound work in the future. So come out and see the show! Check out the Dietrich Group’s new website for details: www.thedietrichgroup.com
Excerpts from my adaptable site specific work. Originally the material was generated for Series 808. A character who compulsively crossed his or her knees emerged, attempting to move through space while sticking to this physical task. This iteration had more improvisatory elements. Performed with Claire Turner Reid & Tanya Williams at the Guelph Contemporary Dance Festival’s CSA Nooner Nov. 2011.
I took a trip to Massachusetts with my friend singer/songwriter Brenda McMorrow. She is following a calling to lead Kirtan, which is a form of call & response devotional chant. It’s an incredibly energizing and uplifting practice. I captured some of it on video and edited this for her. Check out Brenda’s Website. Across Europe & through the states, she may even be touring near you. We also shot a video with Cellist David Darling, which I’ll be posting soon.




















Photos from Robert’s work at the Guelph Contemporary Dance Festival’s Women’s Voices show. In celebration of International Women’s day, the proceeds go towards Guelph’s Women in Crisis. “Can Be is Hiding” with Katie Ewald directing me on how to be receptive. We invited the audience to choose their own vantage point including onstage, in order diminish the dominant qualities of a theatrical performative space.
The dance festival asked me to write about my work at the Women’s Voices show. I worked with Katie Ewald on a somewhat interactive piece about receptivity. The article can be found here.
I propose:
In human experience the senses were not originally separate from one another. In our first stages of life they came all at once as a unified whole. The mind, using language to identify experience took them apart to study each sense one at a time. In our language dominated experience, we have forgotten the totality of the senses and tend to get stuck in one sense at a time.
I have begun to notice a major pattern in the relationship between different senses becoming dominant in my consciousness and others being relegated to the unconscious. When my visual sense is dominant, feeling or kinesthesia of my body becomes somewhat unconscious. When my feeling body becomes dominant, I often go ‘inside’ of my experience and stop relating to the exterior or seen aspects. I believe that this split between what we feel and see creates polarity in the bodymind. Through giving too much meaning to either the external or the internal, we begin to navigate our own abandonment of total sensory engagement, leaving other parts of our experience to the ‘unconscious’.
When our visual sense is dominant, we identify meaning by our relationships to what is external. Dividing our experience of all that we see into categories, the endless contents of space-time become objectified. Hence we identify meaning through objects. This manifests in innumerable ways, proliferated by language. Everything in our experience becomes named and the things we don’t have words for become forgotten or are not experienced in the first place. Through objective identification the dimensionality of embodied relationship is lost. We see objects as objects and disregard something once we have recognized what category it fits into or how it relates to our past experience. This disenchantment through naming instead of feeling the external world has unfortunately made it harder to feel ourselves and the contents of our own bodies. When we are not aware of our feelings unconscious behavior can take over.
On the other hand, when the feeling sensations become consciously dominant, we stop the natural flow of sensory information where feelings are always connected to what we see and what is in the world. The feeling becomes isolated or frozen for a time and the related part of us can become closed to the exterior or the seen. This is not like having our eyes closed though. It s more that the meaning felt of our experience colors everything that we see and whatever we see reminds us of how we feel. Too much identification with internal feelings can close us from relating outside of ourselves. This creates a chicken/egg dynamic where we blame the external because we think it makes us feel the way that we do. Really we chose to hold onto a feeling and let it dominate to the point that we withdrew from the world.
When we have experiences of empathy (feeling what we see) our senses recombine and this can allow for the flow between felt and seen to continue. If we can avoid shutting down from ‘over-stimulation’ we have an opportunity to heal. I recommend a natural and quiet setting when attempting this kind of deep work between the felt body and the senses.
Allow seeing and feeling equally in order to become embodied and let the flow of life energy move through you naturally. The sensation is dynamic, almost as though what you see gently looks back at you and allows you to feel yourself. When we see the world from a place of feeling we have compassion and respect for all that is. I believe that this describes why people can be so affected by their environments yet also heal and re-create the world. Start with the senses and help those around you to balance their experience out!
Robert’s been busy sampling, re-arranging and mixing old soul music for Jasmyn Fyffe’s commission for Dance Ontario. The piece goes up at 2pm this Saturday and Sunday. Here’s a sample of the audio work that came out of our collaboration.
A video Robert shot & edited for singer songwriter Nicole Aube.











































Photos from Robert’s work at the Guelph Contemporary Dance Festival from June 2011. With Danielle Baskerville, Janet Johnson, Tanya Williams, Kelly Stedman, Georgia Simms & Robert Kingsbury.