Siriol Joyner comes home to the Capel

Obsession. Obsession. Obsession. Nid practis ‘mo hwn and it’s not a performance either. This is a ymgais i ymchwilio what needs to be dealladwy a be sy’n iawn ei fod yn anealladwy also. In a middle place, archipelagic, the first colony, language as sensual material in my mouth. A lingual event in my mouth, my hip, your eye, that spot in the room. Ac mae byw yng Nghymru‘run peth a syllu ar the paint drying and grass growing up.

Siriol Joyner is an artist who dances. Daw’r gwaith hwn o’r flwyddyn ddiweddaraf of an MFA in Choreography at the University of Arts Stockholm.

A Sharing 29/07/17

Diolch yn Fawr Siriol.

 

Ffoto gan Tim Skinner.

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Siriol Joyner

CAPEL Y GRAIG
Gorffennaf 2013 July
IauGwenerSadwrnSulLlunMawrthMercher
A Sacred Arc of Seven Days
SANCTEIDDRWYDD
A Weddai I’th Dy o Arglwydd Byth

I.
Gwlân yr Oen
Arogl gwlân
Arogl y caws ges i ginio
y flanced lwyd a Joseph Beuys yma gyda mi.
Blew du- arogl y ci- black dog
Deborah Hay’s “Lamb at the Altar”
Gwlân- Oen- Arogl
Sancteiddrwydd

I lay on the ground
I lay on the blanket, the light on my belly
Light on my face.

The space feels symmetrical and brings me to the image of my own skull and its symmetry. Two ways in, two ways out.
constant wave a broken figure of eight.

I

II.
My strategies for making are the space itself, blankets, tea, books, notebooks, objects.
Avi lends me ‘Always more than One” by Erin Manning.
We talk about language and ethics, dance making and perception.

“Cleave the notion of the body beyond the human. Connect it to all that co-combines
with it to create a movement of thought. Keep the movement of thought in the world (instead of putting it back in the body) and see what it can do. Consider this image: you are in the garden, your knees covered in mud, hands deep in the earth for an early spring planting. Instead of seeing the earth as a quality apart from the knee attached to a preexisting human form, see the knee-hand-earth as a worlding, a force of form, an operative ecology. See this ecology as an active technique for creating, for the bodying, a taste of spring. Instead of thinking the body as separate from the earth, as separate from the arrival of spring, see the ecology, knee-hand-earth in a spring planting as a technique for tuning the season.”

At one point I dance and begin to think about whether in dance, a technology and a technique might be the same thing.

Drawing Dancing Darllen Photos

II

III.
Mae’r Capel yn fy nghofio- the Capel remembers me.

Gosod y gwrthrychau a’r blancedi mas:
Gwlân
Stick
Blancedi
Sancteiddrwydd
Wool
Stick
Blankets
Sanctity

Dancing and reading again.
TEXTURE VOLUME MOVEMENT
sculpture and choreography
electricity
“I sing the body electric”
“Sometimes I speak of imagination as a force, an electricity or a medium, a place.”

III

III (i)

IV.
SUL – SUNDAY
Arrive early and arrange the space
Playing with space and textures, making secret sculptures
Mae’n fore braf o haf. The space is still.

“Sometimes I am electrified by animals”
‘Dwi moyn gwisgo fy siaced Mekaisto a darllen am ychydig.

BE HERE NOW

Solitude, surrender, practice, listening.

….Alignment is everywhere
….there is no one way alignment is everywhere looks or feels. .
….the whole body at once is the teacher
…..it doesn’t matter if it’s true or not. Just notice the feedback when you play it.

(Deborah Hay, “My Body, the Buddhist”)

VIBRATION TREMBLING MOVEMENT

IV

IV(i)

V.
Begin with the objects again.
Gosod, newid, chwarae, photos.

Y gwynt yn chwythu’r olwynion yn y ffenestri.
More movement to the Capel today.

Watch the hanging light bulbs, the yellow rings on the ceiling. The pink and the blue.
Constellations. Music of the spheres.

“Art is not purity: it is purification”
“Art is not liberty: it is liberation”
Clarice Lispektor

More object work without meaning to.
“My body engages in work”
“My body likes rest”
“I am alone in a canoe under a blue sky in Vermont. For the first time I experience breathing as a dialogue with all there is”
Deborah Hay

V

V(i)

V(ii)

VI.
My Mother drops by to visit me in the space.
We note the stillness of the space, and the how the Capel is marked by the care and labour invested there over the years.
SANCTEIDDRWYDD
A Weddai I’th Dy o Arglwydd Byth.

VI

VI (i)

VII.
Lladd gwair yn y cae gerllaw. Arogl melys heddiw.
Fertigol/Llorweddol
Vertical/Horizontal.
A gift from Avi: “The engaged position is to run along the earth: – Andre’s lever 1966.

MY BODY LIKES REST (I like rest, not just my body)

I clean and clear the space, returning the Capel to how it looked when I arrived a week ago; it’s almost too far back to remember now. I sit with the Capel and write in my notebook. I enjoy watching the words appear on the page.

I follow my instinct here, in this place.

“A Romanian dog meets a French stick in a Welsh Chapel”.

— Diolch yn fawr Avi —

VII