The Journey
Pedagogy meets Choreography
(Setup)
On the 15th October 2024, I invited two mover friends for this session: Mila, with a background in silks, and Nienke, who has experience in mountaineering and contemporary dance. Neither had worked in trees before, which made it an a fresh canvas for exploration. Just getting to the point of having two people to come join in the tree served as a challenge. Explaining that you will move in the trees, without harnesses seems to be a tough pill to swallow for some people.
I gave them a pre-talk to explain how their existing skills applied: Mila’s experience in climbing and locking through silks, and Nienke’s mental fortitude, familiarity with heights, and physical stamina from mountaineering. With the right guidance and adaptation, I assured them they could safely navigate the tree.
Scheduling presented its own hurdles. After aligning availability, our first session was rained out, but we managed to reschedule and finally had decent weather for the second attempt.
This was an experimental project, aimed at exploring what could be achieved from a basic foundation in just two hours. The focus was on merging pedagogy,building a base, and then using a simple choreography score to see what could be created. The experience pushed them to confront fear, stay focused for safety, and ultimately incorporate artistry, flow, and improvisation into their movement.
(Process / Pedagogy)
"mapping," a critical first stage of creating familiarity and understanding of the self and then outwards into the surroundings.
We began with warming exercises both in and out of the tree, starting with sensory awareness (Self mapping)
The self mapping was done by using the sensory game/technique to establish a connection to their own bodies and surroundings. The 5-4-3-2-1 it entails, identifying five things they could see, four they could touch, three they could hear, two they could smell, and one they could taste.
Next, we mapped the tree. This began visually, as participants walked around the tree, observing its structure from various angles and reflecting on its architecture. They were encouraged to distill insights purely from observation.
Throughout the process, I encouraged participants to take notes and reflect, not just in a factual way, like noting that the wood is hard or the sand is soft but also by exploring how the experience made them feel or what it reminded them of. I emphasized staying open to what emerges, observing with awareness that some insights may not be immediately obvious.
Physical mapping was approached in stages, gradually warming up the body while also addressing the participants' confidence and managing any fear related to moving into the tree or gaining height. We began with basic gripping techniques and shoulder rotations, then progressed to hanging exercises from the first branch, keeping feet close to the ground, where they could still touch for support if needed.
We then explored additional techniques and open-ended tasks. For example, while experimenting with grips, participants used their hands for support and practiced placing different parts of their feet such as the heel, inner arch, or toes on the branch. From there, they explored how shifting their weight at various points could create movement possibilities. This open approach encouraged exploration without strict parameters, allowing participants to discover their own pathways and deepen their understanding of the tree’s layout and potential for movement.
Once a basic vocabulary of techniques was established, we advanced into the tree. This served as the first mapping of the tree. I gave the score of examining the tree in its entirety, focusing on every detail: the lines, the stability of the branches, and the texture of the bark. I encouraged participants to touch every part of the tree to the best of their ability and be as thorough as possible.
Next, we did a "follow the leader" exercise, where one person created a path for others to follow, breaking down the observed techniques. I referred to useful techniques or notable movements as landmarks, technical movements that can also be viewed as tricks performed slowly. This concept resonated particularly well with Mila, as the terminology is familiar to circus practices.
Throughout, participants were asked to reflect and take notes on these exercises, documenting what stood out to them. This combination of sensory awareness, mental mapping, and physical exploration created a solid foundation, preparing them for the challenges ahead merging safety and focus with artistry and improvisation in the tree environment.
We concluded with a five-minute improvisation session.
The Score & Performance
The Score (First Round): I suggested starting with a previously practiced landmark, a leg lock to hang and catch a branch below. This allowed us to sync with the pace of the other dancers before branching into improvisation. Given that both were new to working with trees, I aimed to move away from technique and instead focus on an open-ended improvisational piece.
The tempo could shift with the music, but since they were both new to the trees, I encouraged them to move at their own pace, prioritizing safety. Being more dynamic comes with greater risk, after all.
The Score (Second Round):
We then explored the idea of building a circuit with set movements, similar to a phrase or parkour route. This circuit was designed to be revisitable and repeatable. If one person entered the circuit, others could join, and if someone broke the flow, we could exit. The tempo was completely up to them.
Space & Reflections
The space we chose was the Scheveningen Bosje in Den Haag, a charming and expansive park surrounded by sandy areas, often frequented by dog walkers and families with children. The space's openness and natural beauty made it an ideal setting for our exploration. As we prepared, the park’s visitors became our main onlookers. While we worked in the trees, the curious children occasionally ventured under the branches or even joined us in the trees at different points, adding an unpredictable and playful dynamic to the process. Their presence, though unplanned, provided a sense of connection between the work and the everyday passersby, creating a beautiful moment of interaction between the public, ourselves and the tree.
The performance itself was largely shaped by the surrounding environment. As we explored the trees, we found ourselves interrupting the usual calm of the space. People walking their dogs or children playing would pause, intrigued by what was unfolding in the trees. This blending of performance/pedagogy and nature and public life created a unique energy, filled with curiosity, playfulness, fear and understanding.
Afterward, we held a debriefing session. Both Mila and Nienke expressed a sense of enjoyment from finding flow in the trees, each exploring their own comfort zones. Mila was drawn more to the technical aspects, embracing the specific movements and structures we practiced. Nienke, on the other hand, gravitated towards improvisation and the freedom of set choreography.
Reflecting on the session, I realized how well the combination of landmarks and circuits worked to suit their individual body types and movement styles. Mila's preference for more defined techniques aligned well with the structured nature of landmarks or some could look at them as, tricks,techniques. Whereas Nienke's inclination for improvisation felt natural in the open-ended circuits. It became clear that both approaches had value, and the space allowed for these contrasts to coexist harmoniously, offering a balance of structure and freedom.
The performance in the park also underscored the importance of context, how our physical exploration in the trees, paired with the natural curiosity of the public, could perhaps create a shared experience?