Diagram Scores at ESMoA
Between June 24th and August 20th, Flora Wiegmann decoded the thought-objects of Matthew Ritchie’s NOEMA into dance. By utilizing them as scores, the dancer translated the diagrams into the language of movement, and recorded these readings as they activated the space. She also provided museum-goers with scores to try on themselves and to guide their viewership of the show. This process could be glimpsed at unspecified times during regular museum hours and on the evening of July 20th. On August 20th, Wiegmann presented the collection of choreographies and scores in a formal duet with Devika Wickremesinghe.
Public Scores: A New Pattern for Viewership
As you view the show, instead of making one big circle around the room, criss-cross from artwork to artwork. What connections you can make between the previously viewed diagram and the one you currently see. (i.e. content, time, line quality, shape, new ideas)
The Outstanding Score:
Think of the 3 things in the show that are most memorable to you. Trace pathways with your body in the actual space between them. Think about what connects them to each other, and to you. Next can you make a heavier gesture in between them by moving your body in a different way?
Orbit Score (for 3 or more people):
Each person begins moving on one specific circular pathway on the floor diagram (at the end closest to the museum entrance). As you get used to your path, pay attention to the group’s movement in space. Feel free to vary your speed, change directions, or move backwards. What reaction can occur when you meet one of your friends at an intersection?
Connie Purtill Diagram Score:
Make a path through space that describes the figure 8-like marks. Notice the breaks in continuity of line. Let that be apparent in your path. Loop it indefinitely.
Paul Klee Line Score:
First, walk aimlessly in a path from one end of the space to the other. Retrace that same path until you know it well. Move along the path again, but by using a zig-zag motion. Next, move in curling, arcing motions along the line you have established. Lastly, move along it again with a friend trying to copy what you are doing like a shadow.