Moving Matter I
June 5 – 18, 2024
Lobby Screen Array
149 W. Hastings St., Vancouver
This short film is one of four created by a team of SCA artists working in collaboration with materials.
Created by Rob Kitsos, Meagan Woods, & Beau Han Bridge
Choreography by Rob Kitsos & Dancers
Garment & Wearable Designs by Meagan Woods
Projections & Production Design by Alexandra Caprara
Dancing by Anna Wang Albini, Sydney Bluck, & Olivia Johnson
With Special Appearances by Erika Latta, Max Tyler-Hite, Michael Meneer, Desiree James, Brett Palaschiuk, Alexandra Caprara, & Rob Kitsos.
Cinematography, Editing, & Sound Design by Beau Han Bridge Music by Westport Sunrise Sessions
Material-Led method template (M-LMT)
STAGE 1 EKPHRASIS: Vigorously study and describe the material. Before touching or moving it, observe the matter closely, devotionally. Compile an ekphrastic collection of descriptions.
STAGE 2 CONTACT/KINAESTHESIS: Haptically engage with the material, noting its texture, mass, and feel on the body. Practice listening and following more than leading and deciding. Return to your ekphrastic writing and add new observations.
STAGE 3 TRANSFORMATION: Explore how the material can change compositionally. Fold, stretch, freeze, burn, blow, drop, crush, slide, etc. Document how and if the matter alters its form under various conditions.
STAGE 4 ROOT: Research the origins of the material- where on the planet is the matter derived from, how did it get here, what are the historical, political, and social contexts this material has found itself situated in, then and now? What are some of the cultural associations? How has it been used by other artists, designers, consumers?
STAGE 5 DISTILLATION: Centre around key terms/images/patterns that resonate or consistently resurface throughout the process. What ideas speak to the spirit of the material, to the rising interests of this collaborative process? Sharpen and refine the pathways that are most compelling to the team.
STAGE 6 MATERIAL GENERATION: Explore, develop, and revise movement motifs and textile fabrications. Work back and forth between choreographic and wearables designs to emphasize an impacting approach across dance, body, and non-human matter. Consider other interacting material components, including sound, scenography, projections, lighting, location, architecture, landscape, and public engagement.