Charlotte Spencer - Choreographic Journeying

Revealing Process 29th January 2012

choreographicjourneying — Sun, 15 Jan 2012 15:33:35 +0000

Please come to ’Revealing Process’ - an exchange of talking and live performance. We will share some of our findings from my recent residency ’Embodied Drawing’ at The Point, Eastleigh. My hope is that an interactive and exciting dancing, conversation will unfold about process, about touch and drawing and movement and sound. About relationship. About traces and journeys, imprint and history.

image by Kimbal Bumstead

I will be joined by some of the wonderful artists I have been working with – Jennifer-Lynn Crawford, Thomas Goodwin, Janine Harrington, Sara Popowa and Tom Spencer. Kimbal Bumstead, Rohanna Eade and Nick Keegan will be with us more in spirit – physical bodies spanning Devon to Edinburgh to Amsterdam…!

Sunday 29th January 4-6pm,

Roof Top Studio, Siobhan Davies Studios,

85 St George’s Road, London, SE1 (closest tube, Elephant and Castle)

Free for Patrons of Charlotte Spencer Projects

£5 (concs £4) Includes a glass of wine

Places MUST be reserved in advance via email to charlottespencer22@gmail.com (payment on the door) so that I know how much wine to buy and how many people to expect!

This event is also a celebration of my Patrons Scheme – to thank all of my Patrons for their continued support and generosity and to provide a chance to chat and meet over a glass of wine!

I look forward to seeing you there!

warm wishes

Charlotte x

Embodied drawing

choreographicjourneying — Wed, 23 Nov 2011 09:06:06 +0000

Using drawing as both a process and a product of sensory contact in dance, Kimbal and I start to work. How can we use drawing processes to map the embodied nature of our everday human interactions, and how can we translate this into dance?

By walking, dancing, and drawing we aim to produce a body of work which will take the form as both performance and a series of drawings. Last wednesday we mapped and walked and lost ourselves on Hackney marshes. A series of preliminary touch drawings followed our discussion.

Kim moving Charlotte's hand

Touch, movement and drawing

choreographicjourneying — Wed, 16 Nov 2011 07:47:11 +0000

I am starting to prepare for my next residency at The Point, Eastleigh, at the beginning of January 2012. I plan the time to be a laboratory of experiments working in collaboration with visual artist, Kimbal Bumstead, and a collection of dancers and sound artists. We will look closely at 3 shared research strands: touch; movement and drawing; and the interplay between process and product.

As a central point of departure, we plan to use a touch based improvisation tool ‘sacrum dances’ that I first came into contact with through working with choreographer, Rosemary Lee in 2010, and then adapted and used extensively during the process of creation of The Nature of Things. I have been wondering why these dances are so resonant. What is it about them that time and time again bring dances that are so rich both to witness and to be inside? On the train to London one Friday last month to meet with Kimbal, and having just read a fantastic article by Gill Clarke ‘Mind as in Motion’ and re-visited the notes I made during rehearsals this summer in Hamburg, something clicked – something about touch which I will come to in a moment.

Sacrum dancing operates primarily in a felt space. It is a process and therefore draws our attention to the nature of process itself. In moving from process to product, by finding a way to create drawings through these intimate touch dances, work in a new medium unfolds. The drawings that are made during these experiments are equally both process and product, and thus, can be considered artefacts/works in their own right. Such drawings might then be used to create new choreographic and visual art work, in an environment where the creative decisions are informed by touch – felt experiences and are handled through intellectual (more cerebral) processes. In this way, we integrate a variety of mental spaces – noticing how our intellectual decision making is more embodied, more lived, more intuitive.

Having recently visited Siobhan Davies Commissions exhibition at The Bargehouse on the Southbank, I was delighted and excited to observe a likeness in this interplay between process and product, between movement, choreography and drawing that was shared in the work that Sarah Warsop and Tracy Rowledge produced.

Touch is a sensory experience. The vast number of nerve endings in our hands enable us to read and give information far more immediately and accurately than when a directing, primarily intellectual space intervenes. Touch is intimate and personal and is therefore a potent mechanism for bringing us into a different relationship with our physical/sensory experience(s) and, as social entities, therefore potentially closer to others. This micropolitical awareness changes us and our relationships with people and our environment. It changes the people we touch in our professional and personal lives. In turn, it changes the people that they touch from the change in our touch and so it ripples outwards into the world through an endless chain of intimate interactions. In this way there is huge value and potential contribution that movement/ embodied knowledge can make to broader social and environmental concerns. This touch puts us, our audience and our participants in a more receptive and responsive space to be able to make radical changes in our lives.

This research is about people, journeys and tracing, about using touch to tease out greater connectivity between different brain centres – both intuitive and intellectual spaces. It will examine how we can use touch and drawing as a way of capturing the sensitivity of intuitive interaction between dancing bodies without undermining the intellectual brain centre. Our aim is to produce rich food for further choreographic, visual and performance art work that emerges from a more tactile way of working, re-affirming the importance of touch, movement, eye/hand practices to enable fuller integration of multiple mental spaces.

Start again…

choreographicjourneying — Tue, 08 Nov 2011 11:29:52 +0000

sharing some notes from residencies at K3, Hamburg and Le Pacifique |CDC, Grenoble, July 2011:

landing

An ocean of landing

helped into landing

and then rising

the ocean moving into the distance

is this how dying looks?

about rising

how can we melt into the sky?

into flight

pushing, reaching

flow moving upwards

brimming over

so much up that the body can’t

contain it anymore

and so you go up

each landing is as if it’s the only one

and once you have become the ground you are born again so that you can land again.

sharing energy to make more

landing

decaying

becoming the ground

How much down is there in going up?

How much sky in the ground?

How polar/dual, how whole is this rising, landing, taking off, becoming the ground thing?

keeping going, keep on being

start again

i keep going

we keep being

listening

the world is hanging

we are just drawing it down into a plane of ‘now time’, ‘today time’

what is the nature of your relationship?

what happens?

start again

what is it that makes these sacrum dances so special?

over-whelming feeling from witnessing/watching/participating – dancing is good for people. that’s enough.

start again

what about seeing time as circles and not lines? re-gathering my thinking feeling choreographic mind

choreographicjourneying — Wed, 12 Oct 2011 23:32:14 +0000

It is time that I write something new: to clarify my thoughts; to draw together strands/scraps of ideas that are disparate in my brain, but are in fact inter-connected and close knit in their roots; to keep this blog alive! I have been reluctant to write because I am in re-gathering, re-nourishing internal phase of the creative cycle, rather than outward, output phase. I still don’t feel that I have drawn clear conclusions from the research that I carried out during my residency times in Hamburg and Grenoble this summer. But I know that we embarked on a journey that informs and shapes how I am thinking feeling now, and how the next pieces of work will unfold.

I notice that I am currently hungry to see work, and have the time and head space for it (when I am in the midst of rehearsal period, I don’t tend to have the time or inclination to see other work – it is too distracting). And so now I am relishing in my enthusiasm to see as much as possible – dance, art, music, gigs. what are people making at the moment? what are they busy with? what speaks to me?

I find myself re-visiting some of the materials that I read when I was working on Mountain Dialogues in 2010. Especially some of Jeanette Winterson’s writings on time. (Which are wonderful) If you haven’t discovered her prose, then you should. My perception on time and how I live my time is changed a little (if only in terms of perception) having read ‘Pip pip – a sideways look at time’ this summer in Holland and Spain. Jay Griffiths encourages us to disband the rigid boxes that humans have created to divide up time. They are indeed arbitrary, uncreative and rather lifeless concepts imposed by western capitalist culture, directing time as a linear rather than a circular path. We have become so tied up with efficiency, productivity, speed, progress – but who’s progress is it and at what cost? what about child time? what about play time? what about wasted time? what about glacial time? what about seeing time as circles and not lines?what about time just to notice, to listen?

Being involved in artistic practice somehow gives me the luxurious license to spend time thinking about this. spend time experiencing it – not even necessarily thinking about it. I can justify my need to go walking by the sea, to be in empty space, to read, meet friends for interesting conversations, have time for reflection, for thinking: it all feeds the work. It’s true, it does. But only because it feeds me. And don’t all people need this kind of feeding? Not just artists.

I am explicitly making time for this phase now. It goes against my social conditioning. I fight a little bit against a moral feeling that I am being lazy, or that I am only in this more quiet, more feeding place because I don’t have any other work (if i was more successful – a ‘better’ artist – a ‘proper’ artist i would be busy making all the time). But then i remind myself that this more spacious, less boxed in time is essential. that there wouldn’t be any meaningful art work to make if there wasn’t the opportunity for this phase. this is incubation time for the next ideas to begin the process of revealing themselves – and not just because i have to write funding proposals and squeeze them into existence. proposal writing is not so much a creative process.

The performance at Bold Tendencies

choreographicjourneying — Fri, 19 Aug 2011 07:15:55 +0000

Last Saturday Jennifer, Tristan, Sara and I gathered in Peckham at this old multi-story carpark turned into very cool and trendy Art space – Bold Tendencies. We had been invited by the Elephant and the Nun festival to create a performance there. We had a wonderful few hours experimenting, sharing, creating. The lovely, Thomas Goodwin came and joined in as well. It was an inspiring space to be in, to dance in. Tristan created the perfect sound world to carry us into the sky (shame you can’t hear it on the photos…! That’s when the videos come in handy – and they are coming soon…!)

So for now, here are a select few photos taken by Andrew Clarke and edited by Sara Popowa. More in the Gallery page if you want to look.

Performance this Saturday 13th August

choreographicjourneying — Mon, 08 Aug 2011 07:41:23 +0000

Jennifer-Lynn Crawford and I will be performing THIS Saturday 13th August. At: Bold Tendencies, 95A Rye Lane, Peckham 7-9pm Free but ticketed. As part of: The Elephant and the Nun Festival. We will be dancing ‘Cycle Stories‘ a dance that is about me and about Jennifer and about you and your dreams. You can dance too. That would be lovely! Come!

Bold Tendencies is an Sculpture park in a disused car park in Peckham. The current exhibition is running until the end of September.

Charlotte and Jennifer

Cycle Stories: ‘I come from/I am from…’ Day 12

choreographicjourneying — Thu, 04 Aug 2011 15:01:45 +0000

Jennifer: ‘I come from a rather dirty floor. I come from several dirty floors in fact, my life is a series of floors. I come from a place of floors being important. I come from my father hoovering religiously each Sunday. I come from having to wear socks all the time lest my foot oil disturb the sanctity of the carpet. I come from important floors. I am from floors that are disagreeable, hard, cold and brook no resistance. I come from floors that seem to be telling me the ground is not a friendly surface. I come from an unfriendly ground and so then I must inquire how that is for me. I come from leading myself into questions like this all too often. I come from turning myself in circles because I feel I might get somewhere this time around. I come from a recognition of that and an absolute inability to cease circling. I come from hard surfaces and concentric circles. I come from several rather different ideas about space and movement. I come from linearity and spherical motion, rotation around an axis, an axis around which I rotate.’

Ben: ‘…I am from what people have made of me. Who I am is all that has been before and all my potential. I am from the most beautiful mind set which makes me sure that I am doing the right thing even though my body protests it. I am with the world. I come from spiritual connections that I can’t separate myself from. have I lived before? I quite like to think so although I would like to be a rabbit, no some kind of primate because I like the idea or a opposable toes. Imagine having hands for feet. I come from monkeys but only the clever ones…’

Anna: ‘…I come from/I am from makes me afraid. I come from/I am from makes me feel that experiences stick and don’t slide off like you might want them to…’

Sara: ‘…“I come from” funny how much I resist this statement, how my mind keeps going in doubles, duals, in two lines at the same time the impulse which comes to me seem like the conventional way of looking at it. It’s no news I don’t want to look at things according to templates but with this simple question or statement ‘I come from’, so many things about how I perceive myself and how I believe others perceive me comes out. So if I look at ‘i am from’ well the next thing is I am from the stars, some sort of hippy statement pops into my mind perhaps we have not given enough time and effort to really go to the bottom of this perhaps I am from myself, the the more interesting question is ‘what am I from?’

Cycle Stories: ‘We are moving…’ Day 11

choreographicjourneying — Tue, 02 Aug 2011 13:44:10 +0000

Charlotte: ‘…We are moving together. coming together. separately again. we are moving towards a common place that we want to share with us with other us with life and self and speak in you and me and we, us moving. making. movie making. maybe. we are moving from this time to another in now from this Hamburg place towards disparate place. when will we move together again? and when we leave what do we take with us? what does it move in us? what we? we are moving….’

Ben: ‘We are moving together, apart, against each other, towards a goal. Each goal separate but still we are together. Move me to where I’m supposed to be otherwise I will not shift, contort, trust, misplaced occasionally. Better to fall on your face. Who needs to stop moving? Every second some part of the body is firing. trying to best itself. It’s purpose for existence….’

Jennifer: ‘…Can we move in opposite directions? We are moving away from each other, which can be a physical distance but we can also move away from an existing intimacy, leave it to shrivel in the vacuum left by our presence. Or maybe only one moves away and then is left to nurse this bit of emotional clingingness as it slowly collapses in on itself. We are moving and moving we are ourselves. We are moving each other, we are moving ourselves, alone, to make others move in a certain direction…’

Anna: ‘…We are moving towards Charlotte’s 3 hour piece. We are moving with the cranes, they are lifting and landing us. We are moving towards flight. We are moving towards compost. Sometimes we are not moving towards anything. We are moving for a reason, multiple reasons…’

Sara: ‘We are moving through space, through empty black space, no it’s not empty it’s full of glistening shards of stars, light sources, all those things you imagine being inside, filling that big empty! – space. We are moving fast, the wind catching our clothes, they are moving with us in the wind of speed, we are moving and everything around us seems to be still, solitude, solitary space all around us, but we, we are moving, together, laughing, speaking very little, just moving…’

Cycle Stories: ‘Today…’ Day 8; ‘Yesterday…’ Day 10

choreographicjourneying — Sun, 31 Jul 2011 17:11:39 +0000

the writing streams continue…

Anna: ‘…To do the day. Today the should not be followed by I will/I might/I go. Just today. That’s enough. No anticipation. To day is the same as to now. To be. To live. To day. Today is not your own, however, and these things are not either. To be is not just your being. To be. All to being. All today-ing. Todaying. Nowing. Being. Living. Doing words… Today. As the day closes today becomes historic. A reflection – there’s less ‘nowness’ left.’

Charlotte: ‘…Today things are close to me, they draw in because they are imminent either now now or near past, near future the ripples of the pool of today are closer to me than they are when I feel yesterday or tomorrow, last week, next decade. instead I am in this intimate now, today time…’

Sara: ‘…Today is different from tomorrow. Today is yellow, perhaps and today is also an accepted idea of what we call both the chunk of time between our sleep and what we can do in this time and it is also a word with, let me see, how many letters: T O D A Y, that’s 5 letters, to describe something so complex, so full, but perhaps also something very simple if you think of it as just ‘NOW’.’

Jennifer's foot and Ben. Today...yesterday...

Jennifer: ‘…Yesterday wore itself out, gave itself up to become today. Yesterday must be put down to rest in order for today to actually come into itself. Yesterday, today, all this causal linearity – Yesterday is not. Yesterday is. In the past – Yesterday was. yesterday is another concept, a bit of brain fluff to distract and give imaginary reasons for today’s events which often, too often, include planning for tomorrows…’

Anna: ‘…Skimmed past me. Yesterday I felt as though things could not change and remain the same. Yesterday was full of friends and laughing. Yesterday I made a leek into a head. There were day times and night times. Alan and Steve were still around…yesterday was a care free void in my careful life. Yesterday. Yesterday is now not today. Yesterday has become what today isn’t. Yesterday has become loaded. Yesterday is not remembered without the context of today or tomorrow. Yesterday changes when it has left. Yesterday is nostalgia. Yesterdays nostalgia is not feeling useful today. Yesterday is making me feel a bit annoyed. I wish to stop writing soon about yesterday.’

Sara: “Yesterday all my troubles were so far away. Yesterday all my troubles seemed closer actually, i was drowning in an overpowering feeling of loss of control, of what is going on, who i am, what i want and why. Yesterday a green light was shining in that park we passed through…yesterday, to me, today, seems like something which is about to fall off, in a very physical way, like yesterday lead me to this point but i am far more interested in tomorrow. Yesterday of course flows into my now but i want to cut it off…’

Cycle Stories: Start again… Day 7 cont’d

choreographicjourneying — Sat, 30 Jul 2011 07:15:20 +0000

During our time in Hamburg, I initiated a series of improvisation scores that used the device of ‘start again’ which could be called at a point when someone on the ‘outside’ felt that they desired a change, a shift, a renewal, reset of some sort. Often for me, I called ‘start again’ when I felt that the quality of presence of those moving in the space had got lost a little. it proved interesting and useful as a compositional tool and as a way of encouraging increasing clarity, presence and engagement in every moment of each improvisation.

the following are a few extracts from the writing streams that run alongside these danced scores…

Charlotte: ‘…start again is like, come back. come back to yourself and start again. there is this thing of constantly starting again which makes me feel that i should stay with something for longer. does the interesting ‘thing’ happen when you start again or when you stick?…starting again to come back to me.’

Anna: ‘…To start again is abrupt. To start again. Starting again is to change – renew – to leave behind that which is started. Starting again is to start a new thing but to stop being the old thing. It’s a polite term for a hard thing. To start again is to be able to produce and throw away. Starting again is stopping preciousness…’

Sara: ‘Start again you said, or I wanted to have heard these words. Start again, how could I ever have forgotten, how can I ever forget, I want to forget what is heavy and painful and damaging – well the thing is, – it is not about starting all the heavy things again – it’s about starting the freshness & the simplicity again, as it is when you start again…’

discussing important things. Charlotte and Jennifer outside K3, Hamburg

Jennifer: ‘…Start again is to carry on but with a fresh breath, a slight adjustment of scenery. Start again start and gain. I gain in starting again. To start again is not like a beginning, it doesn’t have the same melody as a return and it really avoids the whole problem of ending…’

Cycle Stories: Tomorrow… Day 7

choreographicjourneying — Fri, 29 Jul 2011 07:06:01 +0000

Extracts from writing streams. And while I’m thinking of it, perhaps a quick note about the writing stream. I give the subject. This must be the start of every sentence. You can change the tense. Occasionally you can break the rules. You must keep writing (you can’t break that rule) 5 mins only. We time it!

Jennifer: ‘…Tomorrow is always just there isn’t it – just lurking around the corner, not here yet, it is like trying to stay ‘present’, thinking about tomorrow. Tomorrow is a useless rather tempting concept – if I am in each day then all days qualify as today and tomorrow is one of todays that hasn’t todayed yet. Or maybe it has – actually tomorrow is a concept for something that has already taken place in our heads – I’ve made my plans for tomorrow, tomorrow is already sewn up in today….’

Ben: ’Tomorrow I will feel lighter, brighter, smarter, closer to the people around me. To what I want to achieve in life. but there is no end to tomorrow so that may never come, but this is not a bad thing or something to be feared. Tomorrow may prove something impossible may happen or I may eat less on a daily basis. Why do we judge the world on what not happened yet? always looking to the future, which repeats the past and yet no one seems to realise it…’

Sara: ‘…Tomorrow I want to be with you. Tomorrow I would like all obstacles that we have today to have melted away, disintegrated into a deeper understanding about ourselves, about us a unit and about how we function together and how we can function together, practically, emotionally, psychologically – tomorrow… i want tomorrow to be now, I want to be with you now, i don’t want to wait, yes i think i have a problem with ‘tomorrow’…’

Jennifer and Ben in Hamburg

Charlotte: ‘…tomorrow I try not to dwell too much in tomorrow. I used to but that was before. now I’m better at pretending to myself that I’m better at being in now and not wishing for tomorrow. pretending, fooling, right word not here – maybe i’ll find it tomorrow. tomorrow that world where I am more than today…’

Anna: ‘…Tomorrow is what we think of when writing of today but we don’t say that, oh no…tomorrow what I will want will be different. To what I want tomorrow today. Tomorrow today becomes yesterday. Tomorrow I will have all that has happened and all that has not yet…Tomorrow’s focus is being becoming and owning being and becoming today…Tomorrow is not living, that is left to today.’

Cycle stories – writing streams: ‘Keeping Going’ Day 6

choreographicjourneying — Thu, 28 Jul 2011 07:29:56 +0000

Excerpts from writing streams

Jennifer: ‘… keep going on being self is a way to keep going. is there only this way? keep going on and on and round and round in circles. i keep going on and often it seems there is no end. i keep on to find the end un-end. what is there is no end?… i keep going on, running out, leaking from the cracks in my personality. a little well spring of words and movement. odd sounds. keep being safe keep being alive…’

Anna: “Keeping going, keep on going, being, be in, be in, keep on. Keeping. Keeping going, going gone. Gone. Keep gone going. Going. going gone. Being. Keeping being in going. Keeping going by being. Keeping going by being. Keep in by going. Keep in through being. Be in by being. In what though! Ahhh. Keep in it. innit. I knit. Not knit. Keeping in it. Do you knit? Being in it by being in it. Being through being. Be involved. Keep in by being involved. Keep involved. Keep being involved, Anna. Anna. Keeping going Anna. Keeping being Anna. Stop writing Anna. Being involved. Engaged. Being engaged. Being being by being engaged Anna. Going . Keeping going Anna. Keeping going engaged Anna. Anna is engage. Don’t disengage.”

Jennifer

Charlotte: ‘keeping going, keeping being. keep on being. Being in. Being there. Being me. Being present without the thinking about being. Less time space for thinking more going being. Keeping on is the way of forwards backwards non thinking…And what about being whilst watching. the I can’t be wishing for anything if I am truly being. Keep on going with being with what I am seeing now and now and now. this now, not tomorrow’s now. Being with these people – this Jennifer and Tom and Anna and Ben and being me with them. with less judging and more me-ness of now and now and not what was then…’

Ben: ‘…Death is the end of being …but its not because the cells that are decomposing are still evolving and becoming something new. To be, is to refresh the system constantly second by second but this could lead you to distraction and to be distracted by the world is to be a part of momentum which is itself being.’

Cycle stories: ‘taking off…’ day 5

choreographicjourneying — Thu, 14 Jul 2011 21:41:24 +0000

Jennifer and Ben and Anna have now joined us in Hamburg. The writing streams continue to support and reflect the physical work in the studio…here they are.

writing stream: ‘taking off…”

Ben: “To take off is to wind up and release, the pressure builds momentum and then finds its deepest point of contact onto which it can exert forces- namely the floor. Taking off feels a lot like sinking even in that moment of release, one is drawn deeper in to the core to then rise up from it. Taking off can be continuous especially due to a chain reaction throughout the body- the foot/leg/ chest and then the energy through the head. Taking off for me involves a lot of the other being- no limits. So to take off is to reach the extreme of a movement even though you may be only lifting a hand. Taking off will always be the hardest, deepest part before the enjoyment of the flight can actually begin but the body only seems to notice this when it lands. “

Charlotte: “In taking off I wonder how long I can fly for and what brings me back to the land to the ground. Can I take off indefinitely? Taking off from where to where? for whom? I take off for me. Taking off needs preparation, but how much and does it affect how long I can be taken off for? And taken off to where anyhow. i have taken off. I take off. Take. Take what? The more I write the less sense it makes and the more strange that word ‘take’ looks. take from whom. for what reason? for flying? where is the relationship to the ground in taking off? Is taking off really just about my desire to fly? slowly building pressure, resistance through the air so that I can take off again and again and again. there is a gap in time between deciding and taking.”

Jennifer: “I take off the hair from my sleeve, i have taken off from the ground but sideways. sometimes in taking off i reveal repeal peel kneel. in taking off of a time or two or three. to take off one’s hat, clothes, shoes, all sorts of interesting associations. i take off my head for strangers. taking off of the ceiling the floor and the walls. i have taken off in flight down. of taking, to take off, take off of a new idea. a new approach to landing. to take off one must land first. in taking off i am taken. taken of myself. taken a token off. of taking off is now taking off is always happening. take off is continuous movement that keeps us moving. take off is anti-stillness. in take off, landing gear is made ready by the take off itself. take off your hat. take off your impressions. taking off layers of boring words and taking off a filter or two.”

Thomas: “taking off into up, only up without down. taking off from ground. leaving it behind pulled into up away. taken off into bathing upwards – suspended into timelessness because gravity is not. taking off to another way away away i took off many times but felt like once once is the same as twice up is homogeneous.”

Cycle stories: day 3 – Landings

choreographicjourneying — Sun, 10 Jul 2011 21:25:45 +0000

writing stream: Landings

Thomas: “layers of (dust and) skins, expanding outwards, knees bulging, falling backward into air- becoming land, into or out to land, spreading all over. I am going into land, fading outward – into a patch of layers, becoming area. three dimensions becoming area, reforming me, dissolving into area again. Deciding to go into earth, deciding to fade, expanse, away, widened and flat. I land. Wept into land.”

Charlotte: ”Landing through the thickness of air into the ground. Being landed. Becoming the ground in order to become the sky again so that I can start landing once more. this action of landing connects the ground to the sky through body. Landing from where to where. Is it possible to always be landing? Landing suggests flying. Being air bourne. land born. Landing. landing in the skin in the density of pressure. There is resistance in this landing. Landing is controlled because if it weren’t controlled we would give it another name like falling or collapsing. Landing has more resistance. Once landed become the ground there is this thing of composting in order for new life, new growing, new flying for more landing earthing. Landing is part of this life cycle, living and dying.”