New footage

I'm playing with the idea of choosing to be on all fours. The distinct decision to be in any position affords a certain level of power and agency. Nefeli's character in particular will choose very clearly that she wants to be on the table and she wants to play on all fours for some time. She wants to define what the position means to her rather than the position defining what/who she is. Enjoy.

Images

These are the images that have been on my radar since the research began.

Research Continues...

I wanted to share some of the responses I have gained about the position from people not directly related to the development of the piece. In addition I have added some images that I drew from in the beginning of the project. I have decided to look back at these images after not viewing them for about 6 weeks. Initially I saw them in only one perspective, but now it has become easier to see the imagery in multiple ways after assuming these positions throughout the choreographic process.

Sample of Public Responses:

1. "Animalistic (is that a word?) Ask a little kid to act like a dog, cat, bear, lion, etc... they're immediately on all fours. It's the closest way most people (dancers excluded) can emulate animals. And on a side note, being on all fours makes me hyper-aware of my core/center.... not wanting my gut to hang down like a cow. :) I do not feel sexy on all fours, but maybe thats not the case for other people." (woman)

2. "I think in many ways it's a vulnerable position. It's also very primitive and powerful at the same time!" (woman)

3. "Ditto, and because the powerful and vulnerable can exist simultaneously, also very mysterious and sexy." (man)

Sample of Performer Responses (all women):

1. "on all fours: submission."
2. "grounded, unwinding from tension, balance, steady"
3."submission, dominance, strength, hierarchy, relaxation, solid base"

For me personally, this position is still teetering between pain and pleasure.

deepening the idea of 'on all fours'

more animalistic approach to the position. featuring nefeli tsiouti, laura cherry, marina pogiatzi

Rehearsals Continuing...

More rehearsal footage (Performers continue to develop their solos or duet through recalling and developing improvisations from being on all fours and from the notion of being consumed-literally, eaten alive.) Some important words from Emilyn Claid's book Yes?No!Maybe....Seductive Ambiguity in Dance......"Seduction in performance becomes an interactive, interchangeable, pleasureable play of multiple meanings and identites between performers and spectators-a physical action of desiring."

"submit to pleasure as a statement of power.." (171)

I begin to really refine my research now as I ask: can the woman's body be submissive and dominant on all fours?
Other questions beginning to surface: What does the position 'on all fours' mean for a woman? How is it perceived in different situations, cultures etc.? Can this position be a source of power? Can being in a submissive position be a source of power? Are images of women, therefore, their bodies, being consumed by spectators?