Code, Choreography, AND Georgia O'Keeffe
I also love computer code, the automation of workflows and the beautiful logic that runs databases and websites. It is everything that dance isn’t; reliable, consistent, and permanent—and yet, for me, the process of creating a dance piece and designing a database are the same. The goal is to hold as much information as possible inside a structured design so that the audience, or the end user, can obtain the information that they need to access.Choreography is made rich by the use and manipulation of time, space, and energy. In a database, these elements would be the tables that hold records which individually don’t say much, but when put with other records, can tell the history of one dancer’s training for the past 10 years. You can see that training when you watch them perform through their skill and technique, or you can pull a report from the database and make a pivot table. We all like to receive information in different ways; for this project I chose to combine my two favorite ways into one.
We are using Xbox Kinect sensors to track the dancers movements, and then using this data to manipulate my animations that are programmed in Quartz Composer. These will be projected during the performance, allowing the dancers to create the entire environment of their performance based on their own choices in movement. That brings us back to audacity—and the power that free choice gives us. I hope the audience sees a little O’Keeffe in the show, and also a little of the students themselves—both inspire me every day.Sarah J. Ewing, CityDance Ignite artist