SPONTANEOUS IMPROVIZATION
Some years ago I had the opportunity to draw a dancer while in movement. I wanted to know why the a9tude of a body spoke so much to me and to understand the expressive quali>es of line drawing. In 2015 I was again fortunate to be able to draw dancers who’s movement was mainly guided by improvisa>on.
Lately, drawing the group of dancers moving in an improvisa>onal way, I too had to be ready to perform with a spirit of spontaneity and intui>on
This >me there where many people performing. I felt that these new drawing sessions would further reinforce what I had previously learned and internalized. I thought about how I would approach the challenge this >me around.
I imprint an image on to my memory. Then drawing rapidly, generally within ten to fiIeen seconds, no more than thirty, I sketch what I see have in my memory rather than from direct observa>on.
Rapidity is important, because the image in my mind’s eye will dissolved quickly, being replaced by the next experience.
I wait, ready to capture a brief moment; a swiI expressive movement that catches my eye
A few seconds to draw what I have commiMed to my memory forces me to iden>fy the main expressive line
Exact human propor>ons are not the primary goal. I am making an expressive work, whether figura>ve or not
At >mes some dancers would connect with each other in two’s, three’s or even more
Dancers meld into each other crea>ng combined forms
I observe how one person’s movement and form can be a result of the interac>on with another dancer’s posturing
I react to an impulse; a sudden realiza>on of what I am seeing. In this case the geometry of the body in movement.
A sudden realiza>on sees me diverted into a new direc>on. The animal appears.
My reac>ons are spurred not only by the formal shapes that I see, but also the dancer’s expressive movement. I have liMle >me to think; just react. So, only on comple>on do I fully see the dancer’s emo>ons and character.
I was giIed the privilege to see the dancer’s express their very personal feelings in movement. Improvisa>on comes from a decision to liberate emo>ons and so I had to be ready for the unexpected.
Acknowledgments I would like to thank Einat Tal for her generous invita>on to draw the improvisa>on dance groups in Barcelona and Sant Pere de Riudebitlles in Catalunya. Thanks you also to all the dancers for allowing their work to be experienced by others. I also extend a thank you Judit Rodriguez for photographing me drawing at the Barcelona session.