You Can't Hurry Love. Or Dance.
Lynn’s latest choreographic journey involves multiple dance disciplines and techniques for generating movement. Kalle Laar, her friend and co-conspirator in creating art, expresses his thoughts on how they started working on their current project:
“We bring together the different skills that we have — dance, poetry, music, sound art — and see what comes out of it. We decided to collaborate without necessarily having an idea for the piece. We just know we like to work together. At first, that’s enough, and we work without any clear direction. Direction evolves very quickly and we come to a few points of interest. Lynn’s interest in Baroque music, for example. The idea of game came up through sign language and thinking of signs used in sports – then we’re connecting this type of popularity with our project… These become reference points.”
Kalle is interested in the juxtaposition of old and new. He finds Lynn’s work with the duet engaging because of its seemingly inherent quest for the qualities shared between its multiple disciplines.
“What I liked from the very beginning was the idea of the very traditional represented by Baroque music or dancing en pointe with the very new. I like this clash — not trying to clash these things but instead seeing what the common ground can be. Maybe we can come up with the common ground.”
Because Kalle works and lives in Munich and Lynn is making strides on the project here in Brooklyn, the collaborative process will be lengthy and happen in parts.
“We don’t want to do just another piece in the usual way — make it and then it’s finished. We decided to conceive it as a process where we’re creating content in a year or longer; sending bits and pieces back and forth, whenever we can we get together.”
Kalle visited Brooklyn to attend the Mixed Movement session hosted at Brooklyn Ballet in mid-December and Lynn will be in Munich in mid-February. She wants to find a way to bring the duet with her to Germany, either by incorporating it in a performance by projection or some other type of showing. She plans to showcase her work in “Raw Barre,” Brooklyn Ballet’s first home season series of performances in April, but she’s not set on that showing being the project’s final phase. She suggests that this duet may grow in stages, referencing the late Merce Cunningham’s inclination to number things – Event 1, Event 2, etc. April’s performance may be World Premiere, Phase 1, indicating that it exists in time and place without it needing to be more than that.
Kalle agrees with this approach for this particular work. Lynn’s improvised solo at last September’s Mixed Movement was a complete dance on its own. The last few showings of the progressing duet were also complete in their own way.
“I have nothing against a finished product at the end,” Kalle says.
But this collaborative team doesn’t want to rush to a result and miss out on the magic of the process itself.