Juggling Rhythms and Patterns
In early December at the Vancouver Arts Centre Bailey Field and Sacha collaborated to explore the innate rhythm and mathematics of juggling and the visual/aural pleasure inherent with this discipline. This was a development of earlier work that Marianthe and Sacha had explored with the relationships of drum cycles and juggling pattern cycles especially common denominators of twelve sequenced to sum to twelve.
Questions
What ways can concepts of Egyptian rhythmic cycles affect juggling patterns?
How do we devise/film/stage/notate our creations?
Is the improvisation only in the devising or can it be in the action?
What difference in the aesthetic effect is created in synchronous versus asynchronous juggling in a duo
What is the aesthetic effect of the same pattern juggled simultaneously in different cycles with different numbers?
How do we devise/film/stage/notate our creations?
Is the improvisation only in the devising or can it be in the action?
What difference in the aesthetic effect is created in synchronous versus asynchronous juggling in a duo
What is the aesthetic effect of the same pattern juggled simultaneously in different cycles with different numbers?
Siteswap is the numerical notation used to record juggling patterns
The universality of numbers provides a bridge across percussion and juggling both of which tend towards inherent rhythmicity.
As with many creative explorations limits where what helped form our ideas and working from cycles of 12 allowed us to easily chart potential pathways.
The staging was problematic in that it was best to be as close as possible for the filming but too close together and we interfered with each others patterns. With further development an exploration of randomly generated sequences that fit within specified length cycles would be the next interesting place to take this work.
The two practitioners are essential for the choreographed visual and aural effect of each sequence. As with one dancer alone, a single performer makes it difficult to tell whether its an improvisation or choreography. Our creative phase was in the design of these sequences rather than in their performance.
The universality of numbers provides a bridge across percussion and juggling both of which tend towards inherent rhythmicity.
As with many creative explorations limits where what helped form our ideas and working from cycles of 12 allowed us to easily chart potential pathways.
The staging was problematic in that it was best to be as close as possible for the filming but too close together and we interfered with each others patterns. With further development an exploration of randomly generated sequences that fit within specified length cycles would be the next interesting place to take this work.
The two practitioners are essential for the choreographed visual and aural effect of each sequence. As with one dancer alone, a single performer makes it difficult to tell whether its an improvisation or choreography. Our creative phase was in the design of these sequences rather than in their performance.