I'm only five more sleeps away from flying out and into the Moroccan desert for one month on artist residency at Cafe Tissardmine. They have advised it is hard for most artists to last the entire month, yet I'm relieved that there will be no internet and I am divining for solitude, silence and rejuvenation by getting up close and personal with a vastness of Earth's terrain that has me meditating on death, physical laws of thermodynamics and more mystical stirrings of rebirth.
I also wish to include my own long durational performance and Bodyweather practice into the elements of the Sahara, so that they may inform my movement and art making for the next year. The current body of work that has beaconed my creations has been because of the desert, the dunes and what I found there. I am trusting that I may begin to go deeper into this journey, as I intuit this next step a necessity. I have been resting now in the days before I travel, so that my energy can be focused for work, be grounded physically for drastic temperature shifts, sandstorms and ready to call on my meditation practice once there to guide me further into the chasms of shifting sands and dust. Of us.
A lot of my personal artist and spiritual practice is embedded in Butoh, Bodyweather and meditation. I've recently and quickly trying to scour for information upon which to think before I leave in addition to searching for Butoh dance workshops in Europe while I am overseas. I found this excerpt on Tatsumi Hijikata:
'Hijikata's ankoku butô attempted to shatter the complacency of his spectators by placing on stage everything that our modem world required to be hidden from sight because it caused existential discomfort - disease, disability, sexuality, death, and the waste produced from massive material consumption. Whether physically buried in the earth or repressed deep in the human psyche, these banished parts became phantoms that he believed haunted the souls of modern people. By putting what was taboo onto the stage, Hijikata urged people to look at these disowned parts of themselves.'
I know that my explorations in bones and death stem from a very similar desire. I'm am comfortable with what most people are not. I recall a quote, but not by who: 'The role of the artist is to comfort the disturbed and disturb the comfortable' Hijikata puts it more eloquently and commits action behind this by urging people to proximate with their self's 'disowned' parts.