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The penultimate day

This week, everyone has been really focussing on what to present on Friday but still leaving room for play and experimentation around their ideas. As these pieces are works in progress, the artists and performers seem keen to keep the ideas alive and not set anything in stone. 

The morning began with a dance routine rehearsal before each group begins outlining the logistics of what they'll be presenting tomorrow night. There's also a sense of sadness that we all only have two days left together on what has been such a unique collaborative experience. I think everyone has learnt a lot from observing each other's practice, and a lot of this has informed the work which will be shown tomorrow night.

Unfortunately there are no more tickets available for tomorrow night but I'll be working on creating access to a series of photos and audio as a document of the event.


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Rough Mix: Week 1

It’s been an intense, stimulating, challenging and exciting week. My project spirals and meanders around the myth of Echo and Narcissus; I’m exploring (in no particular order) mimicry, repetition, echoes, stones, birds, parrots, circles and landscapes. I generally have quite a solitary practice, so having the opportunity to collaborate with so many other people is fantastic, although it can be a little terrifying too, and I’ve definitely felt out of my comfort zone several times this week. I’m working with some ‘cut-up’/collaged texts and some texts that I’ve written, working with spoken text is a new direction for me but is something I’ve been keen to experiment with for a while. I’m interested in exploring how live text and performance could form part of my installation practice, co-existing with drawings, objects, video and written texts. It’s been great to observe and participate in some of the other sessions and workshops, and the morning work that Nick has been doing on Viewpoints has been a really interesting way of thinking about connections between different practices and processes. 

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darkness and us


For the past week in Rough Mix 2 I’ve been investigating in two main concepts. First of all, darkness, second, us. The first one questions what happens when you put out the lights in a performance, in a theatre, in a room. The second thinks on how do we tell the story of ourselves nowadays.


Each day, all the team of RM, has met as the work time comes to an end in the T4 space of Tramway to jump into the darkness. It has, in a way, become a sort of ritual, day after day, meeting each other as a last action, and spending some time together deep in obscurity.


There is something compelling in a community of people inhabiting a space where they can’t really see each other, reaching to one another, trying to stay together in a place where solitude is extolled by the surrounding and thick darkness.


Darkness, as I see it, has two main characteristics related to the individual and the community. On one side, it makes oneself more aware of himself, his physicality, his loneliness, his voice, his thoughts, his actions. On the other hand, it equalises everyone, sharing a common reality where we are blinded, dissolving our outlines into a sort of totality where we are one, where our edges can`t be really defined.


It is this duality that links for me darkness with the story of ourselves nowadays. Where we need particular stories, private anecdotes, confessions, dreams, that touch our individual being next to songs, events, facts that define a common background, history. A place where what is told has this dual characteristic, it has a personal link, told by a voice, attached to a personal life, but belongs to no-one, as there is not a body to link it with, it flies through the darkness and hangs there, like vibrating, resonating in all the bodies. Saying it belongs to no one is also saying it belongs to everybody, it has no owner or it is owned by all of us, to the community. We are free to feel addressed, identified, with it, as it doesn’t belong to anyone.


This path from individuality into community provoked by darkness and worked through storytelling takes roots in a long ritual tradition that can be traced into tribal feasts and shamanic events and somehow, in a society where this apparently doesn’t exist, still echos in us. 



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Looking back on the First week

I’ve been meaning to write something for the Rough Mix blog for the last few days but things have been fairly full on and time has just flown by, so its now the weekend which seems like a good time to look back on the first week.

I took part in the Rough Mix 1 in October at Lyth Arts Centre, near Wick, where I first met Linda and Christine, which had more of a retreat format and where we discussed in depth approaches to collaboration and how to keep developing as an artist. There are a few things that we talked about then that seem to keep cropping up again and again over the course of the week - discovery moments, formless hunches, going back to a default setting, avoiding saboteurs, being open to change, staying curious, seeing yourself in a different context, being in an in-between place, freeing-up-ness.

To begin with this week I found myself saying “this is not my area” or “I’m slightly out of my comfort zone“ but as time has past and we have become used to the rhythm of the days I’ve realised I’m not really out of my comfort zone at all and I’m doing things I really enjoy. As with so many of these kind of activities, so much of it is to do with having confidence…

We are all united each morning during the one hour warm up, which usually involves working in the studio space, working with the space and then we get on with our own endeavours. During my introductory session I asked the group three questions; “What are the big questions?”; “What have you learnt about life so far?” and “What advice do you have for others?”; and then asked them to choose one word or phrase to use as a basis for a collage.

I guess this kind of workshop, which I often do with community groups, is a good ice-breaker, a way of getting to know people, of finding out what other people have to say. In a way I wanted to see how this kind of workshop would work with a group of creative practitioners. As always happens, the session becomes as much about the conversation round the table as the images that are being created.

Other questions I’ve asked have been “What is your quagmire?” and “What does angry look like?” I’ve found myself going back to the familiar, e.g. using the children’s game of “Consequences” as a working process, working with text, protest songs, creation of lists, flags, and revisiting ideas that I’ve had previously but rethinking them within this new context. Also it’s a luxury to have willing and able people to work with. Other things that have influenced the work this week have been conversations with my ten year daughter about political parties and their use of colour, things shouted by drunk students outside my flat during the night.

My final session of the week became a bit of a revelation as I decided to work with the ‘personal’ rather than the ‘political’. I asked the group of five to create a list of things that upset or annoyed them and we started off reading these out, discussing them, adding anecdotes, and as others gradually joined the group the session extended and extended until basically we ran out of time. I had anticipated spending about 10 minutes on the lists, and getting on with other activities, but our lists of annoyances took over the entire session and it seemed more like an outpouring or therapy session.. All very interesting in itself… those other activities can happen next week!

There has been a subtle cross fertilisation going on which I became aware of on Friday when Christine got us involved in a piece of choreography, that used movements she’d seen Bill doing while making his sound works, and also stemmed from the text piece she had made during my collage session. Also Miguel who has been working with darkness, asked us to give a confession while sitting in complete darkness, and I divulged a dark secret of mine from when I was in primary six. Again this felt really therapeutic. We are all learning from each other.

This first week seems to have flown by and I think we are all starting to think about Friday’s ‘Sharing’ which currently feels like a double-edged sword, as we all seem to be working with what appear to be formless hunches. But having an event with invited guests tends to focus the mind somewhat, which is probably a good thing.

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Day Two and Three

As I didn't get a chance to get near my computer last night, here's an update on days two and three. Sadly my laptop isn't playing ball and won't let me upload more than one photo to this blog. I'll have to save them all for later!

Day Two:

A morning Viewpoints warm-up seemed to set the tone for the day. Rhythm and response, reacting to one another's movement through text, music, sound and darkness.

After warm-up Janie led a collaging workshop as an introduction to her social and community practice. Creating collages in response to a set of questions kept our hands busy and allowed us to feel comfortable getting to know one another.  A collage of voices was then built up in Kate's workshop using text from the myth of Echo and Narcissus, through mimicking and repetition. Later in the stable, Linda lead a group in a series of games about comedy and play in order to discuss and discover what makes something funny. Playing a series of non-verbal games allowed the focus to be on 'how' things are funny rather than content, and encouraged non-verbal responses across the group. Complicity and conviction were explored, between performers and their audience.

To end the day, Miguel asked us to write stories of ourselves, our societies and our world. We then experimented with interacting with complete darkness in the space. Next time Miguel will work towards combining these elements.

Day Three:

This morning's warm up was similar to yesterday but with a greater sense of play from the artists, who 'found the game' in the spirit of Linda's workshop yesterday afternoon. Miguel then led a playful game of 'Monkey', using numbers and gesture, at the request of Linda who would like to work comedy games into some group warm ups to develop her ideas across the two week residency.

For the morning's workshops I headed off to T4 to witness the building of Bill's sound sculptures before Bill and Miguel experimented with using Bill's transducers in darkness. The sculptures also gave the performers a chance to experiment and play with form.


In the stable, Christine first developed a way of working with and towards Ian, responding to and connecting with one another through the space before adding sounds from Bill, written text performed by Kirsten and improvised observations from Sean. Christine will continue to develop the work this week before moving to a residency at Dance Base where she will continue to work with these ideas.

At the end of the day, Miguel wanted to play with darkness again, this time sharing stories we heard as children. Stories, some remembered, some half-forgotten were shared along with familiar and traditional songs. The group reflected on the intimacy and also fear of speaking to one another in the dark.

It's a shame I can't sit in on every rehearsal to record, photograph and document, but hopefully I'll be able to make updates on how all the projects are progressing as the residency goes on.  It's really exciting to see how what began as 6 distinct ideas and projects are being influenced and expanded by the work and ideas brought by others in the group. The ideas are being given new possibilities in a way that wouldn't happen were these being developed on their own, it's really unique to be witnessing it all.



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Latest Comment

J. Sharp Taking A Walk
07 September 2014
Very much enjoyed your show at the Brunton Theatre last night and the silent walk to start was an excellent addition, creating the perfect atmosphere....