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Glad to be back in the studio—and the present—after several weeks of intensive research, reading, writing and focused thinking about future plans and projects.

After an initial period of focusing on conditioning my instrument, I am also glad that new movement has begun to emerge. It is so new that I have no idea yet whether it will become part of one of the two group pieces I have been wanting to develop next, or whether it will become a different piece altogether.

Grateful for creative renewal in the midst of so much uncertainty about the future of our country and of our planet—and taking heart from the sight of a variety of green plants thriving in the cracks of the tracks of an elevated subway station.

lemons

The Lemonade Variations is the title of a new work that I began creating this past summer. I continue to experiment with several movement variations of a basic phrase and am currently searching for music that works well with the movement and will allow for further variation in performance.

Other considerations not yet decided are whether to expand the piece with sections of spoken text, whether to include other performers and, if so, whether they will be performing live or on video.

In the meantime, yellow is a wonderful color to contemplate in the winter.

While many members of the dance community turned out for The People’s Climate March, I only noticed one other dance person when I attended Birds with Skymirrors at BAM on Wednesday. Most of the cast members were from islands in the Pacific Ocean that no longer exist due to rising ocean levels caused by global warming. As it turned out, the young woman in the seat next to me was from New Zealand and half–Samoan. Before the performance she said she had been looking forward to seeing it all fall. Afterwards she said she was disappointed as she had expected it to be more celebratory of her culture and, indeed, the beautiful imagery was more mournful than uplifting.

BirdsWithSkymirrors

For me, the stage was so dimly lit that at times it was literally difficult to see although I had a perfect view of the stage. On the subway going home I read the translations of the songs and wished that there had been supertitles. The piece was non–narrative, yet the poetry of the songs would have provided more context to the mystery of what was presented onstage. Even so, retroactively, the poetry clarified the imagery in the solo and group, live and recorded elements of the piece. It was such a technically elaborate production, however, that using supertitles might not have been feasible. And even if it were, the supertitles would have to be redone for multiple languages as this work has been touring internationally. Still, the piece has haunted me for days.