Indeed the Pacific Northwest’s instruction is found in many of Brown’s works. Her 1970 piece “Floor of the Forest” employs a steel scaffolding to hold a cloth canopy of ropes threaded with colorful used clothing to create a synthetic forest where dancers writhe and wiggle.
Her 1979 piece “Glacial Decoy” is similarly derived from these experiences. In this work Brown and Robert Rauschenberg created fleeting images via gossamer-clad dancers and an ongoing found image slide projection. The mechanical and physical movements become an elegant analog to the glaciers. The images and dancers move and shift forward and back, side or other side, or anywhere in between, like a lateral melt. The fleeting projections become a visual metaphor melting and congealing anew.
I have never been to Olympic National Park, so I followed Brown’s example and combined my own experiences with what I learned from an artist who followed the Hoh River Trail, studied the Hoh Rainforest, and revered the Blue Glacier. We should follow her lead and do the same. We must “give [ourselves] a moment to feel this very mobile sense of how the balance is.”
(Listen to a clip of Trisha Brown coaching dancers during rehearsal of “Glacial Decoy.”)
This rejection is from a few months ago, and ironically I kind of wonder if I should be posting it because I just submitted a new application. Oh well.
I knew I was receiving this rejection letter because they hadn’t asked me to fly out to New York City and meet them, so ultimately I decided to fly myself out to Washington D.C. instead for a performance. Totally worth it.
If you guys ask for more composer FAILs, you will receive more composer FAILs.
I don’t remember what I submitted, but that’s okay: I actually have a few performances this week. (If only I could chat with my twenty-year-old self and tell her that everything will work out okay, I would…)