early morning catching up w/ oneself before just as day breaks begins
http://www.alansondheim.org/catchup.mov
http://www.alansondheim.org/ew1.jpg
http://www.alansondheim.org/ew3.jpg
even if time doesn't loop, we do, but there's always the possibility of
catching up with ourselves -
involdance 1, 5, 6, 4
breaking new ground
"if you want to understand what they're about, perhaps these works
will open up the vast chasm of comprehension on the edge of falling
apart - I can't think of any better pieces in this regard, and, for
that matter, in the sheer beauty of fractured movement"
http://www.alansondheim.org/involdance1.mp4
Foofwa d'Imobilite, dance/choreography, Alan Sondheim, yayli tanbur
http://www.alansondheim.org/involdance5.mov
Foofwa d'Imobilite, dance/choreography, Azure Carter, solo voice
http://www.alansondheim.org/involdance6.mp4
Foofwa d'Imobilite, dance/choreography, Alan Sondheim, cobza
http://www.alansondheim.org/involdance4.mp4
Foofwa d'Imobilite, dance/choreography, Azure Carter, dance, Alan
Sondheim, hegelung (listed again)
works based on choreia, return, withdrawal from broken edges
(before one is cut) (before the sound loses its grasp)
how does one write or circumscribe the body of movement within
horizons defined by mappings of hyperbolic geometry in the circle?
the edge isn't just asymptotic; from the outside, it's a bad pill.
what looks like chance is a battlefield; what looks determined is
incandescent birth.
there are so many things these movements and sounds are not: listing
narrows sublimity: just look, it's almost drained away.
