Tag Archives: animals

naked

I was doing some research for my book, Horse Dancing, and came across the Jacques Derrida book, The Animal That I Therefore Am.  The book was sparked by Derrida’s experience when his cat followed him into the bathroom in the morning.  He asks what this animal sees when it sees this naked man.

Derrida aside, I wonder about our emotional nakedness before our animal companions.  I know that I feel more exposed and more uncovered with my horses than anywhere else.  I have to be more self-aware, more vulnerable with them than I do at any other time.  It doesn’t happen all the time, because I am not always that conscious, but if I let myself be seen, if I am listening, there it is.

I wonder if we mostly can’t get quiet or humble enough to really feel that sense of nakedness, if we are just too busy being the apex species to let that in.  Or it is too much trouble to take off all the armor, all the habitual responses to our animal companions.  What is it like to allow ourselves to be seen, to be observed?

I read in one of Klaus Hempfling’s books that humans get triggered into violence with horses because the horses uncover their vulnerability, their lack of skill, their awkwardness, their ineffectiveness.  I have experienced that many times.  You can’t ride for very long without stumbling into that tarpit.

So here is a question to which I would love some responses:  how do you experience your nakedness with animals?  How much do you let yourself be seen?

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travels with hazel

Hazel and Ryder with props of alpaca fur and guinea hen feathers under construction.

Yesterday Ryder Cooley and I went into New York City to meet with booking agent Jodi Kaplan.  Ryder takes the Hudson train and I take the Metro North so when we met at Sarahbeth’s  and Hazel (on the left) was also seated at the table, I knew it would be a different kind of day in the city.

Hazel is the taxidermied head of a black-bellied sheep* from Barbados.  At least that is what her mounting plaque said when Ryder found her.  Today she wears two  backpack-like straps at the base of her neck and is worn by Ryder in one of her performance art pieces.  Hazel had come to the city with Ryder in search of a bag so that Hazel could travel as a carry-on when they go to California to perform.

I suggested FEDEX, but Ryder felt that it would be strange to ship her collaborator.  I think it would be easier, but it is not my piece.

The real story is really what it is like to walk down the street in New York carrying the head of a sheep. I would have to say that I saw a greater range of human expression in those 25 minutes that I do in most months.  Puzzlement. Horror.  Fear.  Amusement.  Curiosity.  Confusion.  Anger.  Incredulity.  The list goes on.

And here is the really interesting part.  They all acted as if Hazel was actually alive.  Ryder carried her like a baby on her hip with a sling, so there was this disconcerting animating effect from her movement.  But people did not seem to see her as partial.  As just a head.  They spoke about her as if she were walking with us, or about to sprout legs and move on her own.

Except for dogs, people in New York are not really exposed to animals on the streets.  Hazel seemed to touch something – a kind of primal curiosity or yearning or fear that comes from seeing something entirely out of your context suddenly in it.  I like that.  It didn’t feel like walking with Hazel was exhibitionist or in-your-face.  Ryder is completely cool and easy with her taxidermied collaborators, and I think that is almost as disconcerting to people as the creature itself.

Apparently taxidermied animals are not on the forbidden list for the TSA.  I will keep you posted on Hazel’s progress to California.

*note:  I have since discovered that Hazel is actually a ram, perhaps Henry.  It may be that because both Ryder and I are doing performance work that challenges gender stereotypes, that s/he will remain Hazel. 

breakfast in bed

 Nelson in his food nest.

This week when I arrived, Nelson was actually flat on his side, basking in the sun.  By the time I got my camera out with the long lens, he knew something was up and stood up to see who was hanging outside of his fence.  This photo was sent to me by my friend Michele, from earlier last week.

art – life

I was drawn to this image because its intimacy, the quiet focus of the artist who is also the art.  One of the themes that I will be exploring in January is the way that art and life intersect.  It will also be a big part of the focus of Breaking into Blossom, the online course on moving into an improvisational life that begins on January 23.

Many years ago, I took a workshop with the brilliant Eiko & Koma.  I remember Eiko saying that she and Koma do not commute between their art and life.  For them it is a seamless whole.

I am a householder.  I have animals, a lot of them.  They are a beautiful, essential part of every day. But their presence means that there are a million little moments in every day that are not art.  Scooping poops, feeding dogs, cats, cleaning up vomit and pee.  Brushing, walking, touching.  As I said, not art.  Or what can feel like a lot of little, niggly commutes.

Having said that, there is a way to be with those necessities that is a rhythm, a practice, a yoga even. And there is a direct path from all of that ritual to my work, my writing, and definitely my choreography, which is full of beasts – hooved, pawed, winged.

Are you commuting?

postscript:  This week, The Journal (the little ragged memoir) is about the ways that I have taken art art into and onto my body.  The how and the why of that, including the elaborate mapping of tattoos.