ruth flying kite

The drifting kite score:

(the small indoor kites we used we hand made by a man in Taiwan and are called iflights):

kite flying final

1. walk into the space (a studio)
-for 5 minutes try to sense into the particularities of the air currents in the room, find multiple ways for sensing into them
-let these air air currents gently move you if or when you sense into them
question:  how do we sense into or touch or feel what is backgrounded in our everyday experience?  How do you move differently, or how do they move you, when they are forgrounded?

2. fly the kite and watch it land
-play with swooping the kite into the air, giving the kite its initial loft and then giving it slack and watch it drift with the air currents in the room until it lands (try to be as still as possible. move when necessary so the kite can fly its own course -but dont move so quickly that you create so much wind that you redirect the kite)-
-repeat 5 x

3. fly the kite 2 minutes- 100 percent of your attention on the kite, keep it flying but let the kite drift along as much as possible on its own course

4.  repeat # 3 but keep the kite only in your peripheral vision
notice how it moves you differently

oscillate between 100 percent of your attention on the kite, keeping only your peripheral attention on the kite and zero visual attention (when you can).  Find gaps where you can dance your own dance- ramp to the floor, jump, balance on one leg,  turn, stand in stillness, lie on your back, while always returning to moving with the kite so it stays drifting in the air.

6. improvising with the air currents again without the kite

The kite as a choreographic object:
They extend beyond their objectness to become ecologies for complex environments that propose dynamic constellations of space, time, and movement. These “objects” are in fact propositions co-constituted by the environments they make possible. They urge participation. Through the objects, spacetime takes on a resonance, a singularity: it becomes bouncy, it floats, it shadows. The object becomes a missile for experience that inflects a given spacetime with a spirit of experimentation. We could call these objects “choreographic objectiles” [in Deleuze’s sense of objectile] to bring to them the sense of incipient movement their dynamic participation within the relational environment calls forth. (92)

kevin and ruth flying kite

Video A.  Penny flying an iflight

video B:  Ruth learning to fly a larger kite

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