Tuesday, July 5, 2011
I created art to inhabit the various cracks in our walls as a way to process the earthquake with a magnitude of 8.8 we experienced while living in Santiago, Chile...and deal with the aftershocks. The damage was all superficial but the visuals were reminders none the less.
Sunday, August 23, 2009
Self-Defense/ Spatial Awareness Class
September 11, 2009
Seoul, South Korea
September 11, 2009
Seoul, South Korea
I was invited by the esteemed Professor Pilwha Chang, Professor of Women’s Studies at Ewha University in Seoul, South Korea, to take over her lecture class for one day. The idea was to get the students out of their seats and give them something unexpected but useful.
Goal: To wake-up sleepy students and to practice observing and moving through the world with curiosity, awareness, and confidence while learning valuable self-defense techniques.
Awareness practice - posture, breath, and observation
Balance - standing and moving with a strong sense of base and flexibility (tree/surfer)
From ground to standing
From wrist grabs (same side, cross grab, and both
From rear bear hug
Voice projection & Spatial Confidence
Walking with awareness and confidence
Role-plays with escapes and practice saying “no” with confidence
If time allows we will cover a little more groundwork and escapes.
Posture, Breath, Awareness (be alert and curios)
Posture - What does your body do when you are frightened? Intimidated? Bored? What happens to your posture? (drawing inward, closing off, hunching over, collapsing shoulders)
*Broaden your shoulders and stand up straight.
Breath – What happens to your breath when you are frightened or intimidated? Does your breath become shallow? Do you hold it?
*You need to breath to get oxygen to the brain. Breath awakens your senses. You need to use all of your senses (sight, hearing, smell, touch, etc.) to be alert.
Observation/ Awareness - Look around you. Who is in front of you? Who is beside you? Who is in back of you? How much space is between you and them? Check in with your senses. What do you hear, smell, taste, etc.? Listen to your intuition. How do you feel right now and what do your instincts tell you about the situation that you are in? Keep this in mind for the rest of the class, the rest of the day and beyond.
Balance and Mobility
Balance - pole / roots / surfing tree / fighters stance
- Pole stance: stand feet together sway side to side.
- Root stance: imagine you are a tree - stand with feet hip
distance apart and grow your roots deep into the
ground. Sway side to side, and back and forth.
- Surfing tree stance: feet hip distance apart, one foot
forward one foot back. Sway. Explore your balance.
- Fighters stance: arms up ready to block a strike or kick to
the face or body (or throw a punch)
Practice mobility by moving forward and backwards (step, slide). Change sides.
Language/ Listening Practice Interlude
Right/ left hand. Raise your right hand. Right/ left foot. Raise your left foot. Right/ left arm. Block with your right arm. Right/ left leg. Block with your left leg. Sit down. Stand up. Sit down. Sit on your right side. Sit on your left side. (left buttock). Scoot forward / scoot back. Prepare for the Technical Stand-up.
Self-Defense (or Technical) Stand-up – from the ground to standing. The technical stand up is important to create distance between you and a standing attacker. It puts you in a ‘ready for action’ position.
Person A is on the ground, Person B is standing and is trying to tag A’s head. A keep legs in front (between herself and Person B) ready to kick at B’s knees, A’s free hand is up blocking any blows to the head.
Wrist grab escapes (then possible elbow jab)
- Same-side grab
- Two hands on one
Voice projection exercise
Divide the class in two. The two sides face each other (one side is person A, the other is person B). Start standing close. Each side speaks in unison, then switch roles. Do it again from across the room – project the voice. Person B must make herself very big when saying NO! (No means NO). *The following role play references a common practice of young men paid to get girls into nightclub establishments in Seoul. This practice is part of the regular night-life scene and is not considered particularly threatening, but I see it as an opportunity to practice being assertive.
A. Come with me to the nightclub.
B. No thank you.
A. Why not?
B. I’m not interested.
A. Come on!
Walking with confidence and escaping wrist grab – The two groups are going to walk past each other. Group A is going to try to grab their partner’s wrist and talk them into going to a nightclub. Previous dialogue can be used.
Escape from rear bear hug - Drop base, shooting arms out like opening an umbrella turning thumbs down with elbows out to the sides. When dropping base – turn slightly towards the attacker (same idea as fighter stance – one foot forward one back for more stability) Step out to the side – escape and run. Drop attacker if needed. (If they’re taller, you can duck under)
Escape from Mount – if time allows.
Avoid presenting a victim’s profile. Keep your head up and walk with confidence. Enjoy the world - don’t be frightened of it, but be prepared. Use curiosity about the world around you as a tool. The more aware a person is, the less that person will find themselves in dangerous situations. If you find yourself in a dangerous situation – get away. If you can’t get away, talk to the person in a calm but firm voice, if that doesn’t work, you may have to fight – be prepared to follow up with everything you’ve got.
Sensitive areas for attacking an assailant are: Groin, eyes, ears, nose, throat, and knees.
Squat at Sarah's
We went to 'Open for the Making' - The Saturday, January 10th Residency - At Triple Base Gallery in SF
Thursday, August 20, 2009
I'm remembering some of these older works now as leading into this ongoing 'Home Squat Residency' project. I explored notions of home as, uprooted, flexible and nomadic.
Our Household Window, Collective project with my New Zealand flatmates Tim, Bex, and Shauna - Sharing Spaces, Roar Gallery, Wellington, New Zealand 2004
Nesting, a private performance piece, Wellington, New Zealand, 2003
Finding Home...with ladders, 2004
Homebody IV, 2005
Homebody III, 2005
Homebody II - with Body of Evidence performance ,2005
The first suitcase in the Homebody series, made from my childhood suitcase
Homebody I, 2005, effects carried from Wellington, New Zealand to San Francisco, California
Material Girl - things from my closet, 2004
Material Girl Run, a sweaty run around the neighborhood
Material Girl on display, 2004
Global Threadbare, 2005 - made from travel clothes
Monday, January 5, 2009
The 'Home Squat Residency' is an exchange - you allow me a small space to work (a table, desk, or a place to squat) in your house or office for a day and night. You can choose one piece of work from whatever I create.
"Squat" refers more to the crouching position rather than the idea of occupying property (otherwise unoccupied) - because you live there... and by no means do I want to take over your space - or make a mess. No need to play host to me either - unless you really really want to. I'll stay out of your hair while I'm there and feed myself :-) If you are an artist and want to collaborate on a work - I'm totally down with that.
I aim to create a body of work for a show at the end of a two month period with work inspired by my various surroundings during the home squat residencies.