
replica / aftershock + fleshing out
REPLICA SCORE A
Move in turns for a predetermined amount of time. (We did 3- and 1-minute rounds.) The witness of the first improvisation responds with the idea of replica for the same amount of time. (We repeated three times.) Replica could be an aftershock, but also an underlying vibration that comes afloat thanks to the previous movement, or any other interpretation.





PUBLIC SHARING
NOVEMBER 15, 2020
Iki responded to the video through an editing process based on the performance score.
”nibia said: The space is oneself. As we kept on fleshing out, I too felt it became moving the skin with/to the space: rubbing, elongating, offering. The image of kneading bread, the folds, the falling, flapping. Moving to and on the edge.” -Alejandra Martorell
“Aftermath as tragic, desolation;
as the opposite,
as residue, hole, emptiness, death,
for going still, for rebirth
for sustaining, solutions, structure.”
-Alejandra Martorell
"In my memory it came from a conversation about what the island looked like in the aftermath of (hurricane) María. We had a conversation about blue tarps, broken, battered trees and foliage, crumbled concrete. Alejandra brought up something about the tenderness of flesh in this context. The materiality of flesh and how it looks in disaster, swollen, blue, broken.
We decided to activate from our flesh, not from muscles or bones or fluids, but to move our flesh. We did this by moving each other’s flesh. One person moving while the other two are fleshing that person out by rubbing, vibrating, shaking loose.
To me it felt like re-orienting my flesh from any kind of task-like functionality. The buzz of the flesh layer, moving of its own accord, not differentiated from the space and supported by the touch of the others’ hands. Like a suit I could toss myself around in, change my shape, my energetic focus, my sense of boundary porous...
nibia says something about the space as self. Merging with materiality instead of embodiment?
We did it naked, the intimacy of our three bodies, with the fluid differences of gender and sexuality merging in the exercise. Erotics is there but not on the top layer. It moved into a meta space. The trust and physical intimacy of our bodies, soft, curving, fleshy, rounding, pointed, mushy and hard" -Jennifer Monson
REPLICA SCORE B
While dancing, pause, replicate a section of the dancing you have just done in your kinesthetic memory in stillness, then repeat the movement in your body. Try the same with other peoples’ dancing. Observe a sequence, pause, do it in your mind, then move it. Taking the time to move through memory of what is seen, vs memory of what is kinesthetically remembered - moving without moving.
We did the same with observing each other’s stillness as a method to replicate what is not being seen. We experienced how this score displaced us from our space into the others’.

