The first White Box artist was Tania Isaac, a 2011 Pew Fellow in dance and choreography. For a number of weeks, Isaac peppered the walls of the Center with blank pages for writing and sharing ideas, in an evolving project called “The Notebook.” Center staff took her cues to jot down thoughts in response to questions about artistic practice and Center life, and also recorded their daily travels around the Center with color-coded, initialed dots on strategically placed papers around the office. When Gordon came up with the idea for the White Box Residencies, Isaac was immediately drawn to the premise: “More than almost anything else I am curious and I love questions. I would broadly define the work I do as a choreographer, writer, and insatiably curious human, as investigation or observation or perhaps even morbid fascination with culture in its broadest and most intimate terms; from extended historical intersections between countries to the nuances of brief encounters between individuals.”
Scroll down for images, video, and excerpts from Isaac’s original White Box piece, “The Notebook.”
About Tania Isaac
Caribbean-American dancer-choreographer and 2011 Pew Fellow Tania Isaac fuses choreography with personal documentary and social commentary and grapples with identity, post-colonial issues, feminism, and juxtapositions of European and African influences, resulting in dances that are elegant, dramatic, and highly accessible. Her current work is a potentially groundbreaking exploration of creative method she calls the “Open Notebook”—a way of turning a room into a laboratory of investigation and participatory dance. She developed this idea further as Crazy Beautiful, an installation at the Painted Bride Art Center in late 2012.
Culture can be an awkward word in art. It is still odd how a word that technically encompasses everyone serves to identify everyone ELSE. I like the awkwardness of the conversation around what it means and how it identifies, values, and stratifies. So I use it often.
“I would broadly define the work I do as a choreographer, writer, and insatiably curious human, as investigation or observation or perhaps even morbid fascination with culture in its broadest and most intimate terms; from extended historical intersections between countries to the nuances of brief encounters between individuals.”
I quote myself because every now and then my intent and my language conspire to communicate exactly what I mean.
This is a synopsis of my experience and of the potential directions that it could take creatively, as thought, as writing, as performance. We live in a dynamic equilibrium and everything has to keep shifting to maintain balance. My curiosity is how we can change the language we use to describe ourselves and our work, using those definitions to shift the mutual relationship between artists and funders/funding.
About the White Box Residencies
This is a relationship steeped in hope, anxiety, productivity, and directives, and in both directions. It is imperfect. Much like everything else, once you begin to think that you know or understand, from either side, you begin to lose the opportunity to experience what it is. Because it is often shifting. Humans find ways of categorizing; we are brilliant at carving the world into manageable pieces, forgetting to apply the individuality that we understand of ourselves to those we view outside of ourselves.
Our measure of excellence is often the degree to which a thing or an act satisfies what we crave. So what do we crave? How can we articulate it?
How can we establish a dynamic, osmotic flow between the ideal support process and the ideal creative process? At the center of creative investigation is the ALMIGHTY QUESTION. The curiosity, wanting to know, the determined focus to make the best attempt to manifest what you imagine to be possible.
Perhaps at the CENTER of the Center, the commitment to the question is the beginning of its parallel trajectory to the art that it supports. And perhaps, though our products are so very, very different, we intersect in ways that
make better conversations possible.
What is familiar to me on varying scales:
People who are managing tasks, layers of administration, groups of people, actual humans, who care very deeply about work, life, art, process. Who disagree about how it might need to be done. Who engage unceasingly about the best ways to go about it, who struggle with how to democratize unwieldy processes. Who try to sidestep messy egos, including their own.
“What is the dance that you do in order to do the thing you care about?” —Tania Isaac
It is layered with tightly choreographed areas, relieved by improvisational moments that cause shifts in overall tone, contrast to existing material or introducing new movement/stage idea. There are set phrases. It is a tightly choreographed improvisational structure. There are hubs at dense areas, where either larger groupings perform or there is continuous flow along that pathway. Others are solos or quiet spots away from group phrasing.
flocking one organism from many individual parts one organism continues to breathe—performers come in and out of it and affect it in different ways
what does it take to shift. how do you shift and why.
what is the point at which one idea merges or blends or passes out of existence? = what is the point at which what you used to do is no longer applicable?