Internal Landscapes
()
About this ebook
Related to Internal Landscapes
Related ebooks
The Dreaming Source of Creativity: 30 Creative and Magical Ways to Work on Yourself Rating: 0 out of 5 stars0 ratingsEsalen's Resident Alien: Secular Sceptic in a Utopian Community Rating: 5 out of 5 stars5/5The Zodiac Gestures in Eurythmy Rating: 0 out of 5 stars0 ratingsButoh: Cradling Empty Space Rating: 5 out of 5 stars5/5The Art of Dreaming: A Creativity Toolbox for Dreamwork Rating: 5 out of 5 stars5/5Love and the Soul: Psychological Interpretations of the Eros and Psyche Myth Rating: 0 out of 5 stars0 ratingsDream Theatres of the Soul: Empowering the Feminine through Jungian Dream Work Rating: 5 out of 5 stars5/5Healing the Wounded God: Finding Your Personal Guide to Individuation and Beyond Rating: 5 out of 5 stars5/5The Language of Dreams: A Jungian Approach to Dreams, Dream Interpretation, and Spiritual Dreamwork Rating: 5 out of 5 stars5/5Unintentional Music: Releasing Your Deepest Creativity Rating: 0 out of 5 stars0 ratingsThe Dreambody in Relationships Rating: 0 out of 5 stars0 ratingsEarth Based Psychology: Path Awareness from the Teachings of Don Juan, Richard Feynman, and Lao Tse Rating: 4 out of 5 stars4/5The Myth of Meaning in the Works of C. G. Jung Rating: 5 out of 5 stars5/5Ecstasy: Understanding the Psychology of Joy Rating: 4 out of 5 stars4/5Animal Soul Rating: 4 out of 5 stars4/5Healing Dream and Ritual: Ancient Incubation and Modern Psychotherapy Rating: 0 out of 5 stars0 ratingsPregnant Darkness: Alchemy and the Rebirth of Consciousness Rating: 0 out of 5 stars0 ratingsThe I and the Not-I: A Study in the Development of Consciousness Rating: 3 out of 5 stars3/5Inner Gold: Understanding Psychological Projection Rating: 4 out of 5 stars4/5Transpersonal Dynamics: The Relational Field, Depth Work and the Unconscious Rating: 0 out of 5 stars0 ratingsMeetings with Jung: Conversations Recorded During the Years 1946-1961 Rating: 0 out of 5 stars0 ratingsBecoming Whole: Jung's Equation for Realizing God Rating: 5 out of 5 stars5/5Jung on Active Imagination Rating: 4 out of 5 stars4/5The Practice of Ally Work: Meeting and Partnering with Your Spirit Guide in the Imaginal World Rating: 5 out of 5 stars5/5Personality. The Individuation Process in the Light of C. G. Jung's Typology Rating: 0 out of 5 stars0 ratingsCharacter and the Unconscious - A Critical Exposition of the Psychology of Freud and of Jung Rating: 0 out of 5 stars0 ratingsInner Work: Using Dreams and Active Imagination for Personal Growth Rating: 4 out of 5 stars4/5The Unconscious: Interpretation of Dreams, Psychopathology of Everyday Life & Wit and Its Relation to the Unconscious Rating: 0 out of 5 stars0 ratingsThe Liminal and The Luminescent: Jungian Reflections on Ensouled Living Amid a Troubled Era Rating: 5 out of 5 stars5/5Edge of the Sacred – Jung, Psyche, Earth Rating: 5 out of 5 stars5/5
Art For You
Art Models 10: Photos for Figure Drawing, Painting, and Sculpting Rating: 3 out of 5 stars3/5Everything Is F*cked: A Book About Hope Rating: 4 out of 5 stars4/5Drawing and Sketching Portraits: How to Draw Realistic Faces for Beginners Rating: 5 out of 5 stars5/5Art 101: From Vincent van Gogh to Andy Warhol, Key People, Ideas, and Moments in the History of Art Rating: 4 out of 5 stars4/5The Alchemist: A Graphic Novel Rating: 4 out of 5 stars4/5The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life Rating: 4 out of 5 stars4/5Anatomy for Fantasy Artists: An Essential Guide to Creating Action Figures & Fantastical Forms Rating: 4 out of 5 stars4/5Lust Unearthed: Vintage Gay Graphics From the DuBek Collection Rating: 4 out of 5 stars4/5The Designer's Guide to Color Combinations Rating: 4 out of 5 stars4/5Drawing School: Fundamentals for the Beginner Rating: 4 out of 5 stars4/5How to Draw and Paint Anatomy, All New 2nd Edition: Creating Lifelike Humans and Realistic Animals Rating: 4 out of 5 stars4/5Draw Like an Artist: 100 Flowers and Plants Rating: 4 out of 5 stars4/5The Designer's Dictionary of Color Rating: 5 out of 5 stars5/5Botanical Drawing: A Step-By-Step Guide to Drawing Flowers, Vegetables, Fruit and Other Plant Life Rating: 5 out of 5 stars5/5How to Make Love Like a Porn Star: A Cautionary Tale Rating: 3 out of 5 stars3/5The Egyptian Book of the Dead: The Complete Papyrus of Ani Rating: 5 out of 5 stars5/5Super Graphic: A Visual Guide to the Comic Book Universe Rating: 4 out of 5 stars4/5Make Your Art No Matter What: Moving Beyond Creative Hurdles Rating: 4 out of 5 stars4/5The Art of Living: The Classical Mannual on Virtue, Happiness, and Effectiveness Rating: 4 out of 5 stars4/5The Natural Way to Draw: A Working Plan for Art Study Rating: 4 out of 5 stars4/5Creative, Inc.: The Ultimate Guide to Running a Successful Freelance Business Rating: 4 out of 5 stars4/5Story: Style, Structure, Substance, and the Principles of Screenwriting Rating: 4 out of 5 stars4/5The Electric State Rating: 4 out of 5 stars4/5Find Your Artistic Voice: The Essential Guide to Working Your Creative Magic Rating: 4 out of 5 stars4/5Flow: The Psychology of Optimal Experience Rating: 4 out of 5 stars4/5The Shape of Ideas: An Illustrated Exploration of Creativity Rating: 4 out of 5 stars4/5Art & Fear: Observations on the Perils (and Rewards) of Artmaking Rating: 4 out of 5 stars4/5And The Mountains Echoed Rating: 2 out of 5 stars2/5
Related categories
Reviews for Internal Landscapes
0 ratings0 reviews
Book preview
Internal Landscapes - John Ollom MFA
ABSTRACT: The psychological and anthropological findings in my work combine my extensive research into the writings of Carl Gustav Jung and his disciples. In my movement research, I took my findings beyond mere dance productions into movement art filled with running colors. Major findings explore my work in analyzing archetypes, the shadow, psychological projection and the liminal space that is found in my artistic work as well as my praxis. The poems, photos and drawings reflect my own artistic expression that existed alongside the production of the Ollom Art Festival in August of 2013. The philosophy of Nietzsche was examined in his aphorisms that I then analyzed in power dynamics between men in my newest work Prisoner of My Projection. One of my artistic goals was to go beyond traditional queer models of man to man relationships on stage but find imperfection, love and longing as the central premise for movement research in my work.
KEYWORDS:
DANCE
MOVEMENT ART
JUNGIAN DEPTH PSYCHOLOGY
PHILOSOPHY OF NIETZSCHE
QUEER STUDIES
Copyright 2015 by John C. Ollom©
All rights reserved.
ISBN: 978-1-4835487-9-1
Cover: Internal Landscapes
Movement Artist: John Ollom; Photo by Jim Sable©
Acknowledgments:
I would like to thank my husband Jim Sable.
I would like to thank Sylvia Brinton Perera, author/Jungian analyst. I so appreciate the guidance of Susan Brookhart, Franklin Brookhart, Erica Eaton, H. Lan Thao Lam, and Gale Jackson.
I would like to thank the colors of the prism: Janelle Abbott Staley, Sophie Poletti DeVore, Makiko Ishimori Sato, Matt Clemons, Miguel Villalobos, Amber Nalle, Muriel Ote, David DeMato, Osamu Uehara, Greg Thornsbury, Randy Spence, Casey Mauro, Abbie Vachon, Elizabeth Woods, Douglas Allen, Matthew Gayton, Paul Hays, Matthew Wagner, Janet Aisawa, Emily Winkler-Morey, Jeannette Hardie, Shirley Hardie, Fuyuko Asano, Chris Sarasin, Fred Riccardi, Steve Brammeier, Aaron Mann, Matthew Stone, Brie Lobbett, Eric Diamond and Jeff Carr;
our special friends from the Ollom Art Summer Program: Karen Brunette, Jendi Reiter, and Roberta Pato, thank you for always holding us in your arms of love and support;
the board of Prismatic Productions Inc.;
and, our loyal students, fans, friends and family who have shared our journey on the way: Tory Rosen and Diana Alvarez, Jacqueline Lincy, Stacey Asip, Michelle Wang, Emma McCagg, Ellen Terry Trent
Hinds-Brandt, Milton Kerr, Danny Foceri, Barbara Parker, John Healy, Heather Chandor, John Rappapport, Rock ‘n Roll
Ria, Yael Acher -Kat
Modiano, Randall Klein and Jessica Zinger.
I would like to thank Rachel Brookhart for her unending support of my work.
Artist Statement
I live in the holes
between narrative arches. Over years of choreographing movement art, I have found tableaux vivants of movement art that have surpassed definitions of dance
and definitions of theatre.
Though there is a definition of narrative in my work and there are characters that interact, there are holes of ambiguity that are left on purpose by me. It is in those holes that the mystery can be revealed. It is similar to the Japanese art world view or aesthetic called wabi-sabi. The aesthetic is sometimes described as one of beauty that is imperfect, impermanent and incomplete.
Characteristics of the wabi-sabi aesthetic include asymmetry, asperity (roughness or irregularity). This parallels my deep commitment to texture in my work. Texture informs my lack of man-made uniform structures, but rather creations that we find in the forest, woods, or ocean floor; texture that invokes age, experience and interrelationship.
I have a deep respect for the forms found in nature, the ocean or the dirt in the ground that form the personifications in the human forms in my work. This is a deep commitment on my part to the stories of the Other
: the marginalized, the demonized and the repressed in our current societal structures. There is a reverence for diverse forms of being which translate to diverse forms of sexual pairings as well as gender manifestations. Diverse body types, diverse ages, and diverse levels of technical ability are encouraged in my work. This cornucopia of diversity fill my work with a texture that informs the vision of the viewer. Seeing juxtaposed images leaves the audience member to not be able to embrace the gender binary in human culture, but find new insight into diverse ways of being.
This is a direct attack on Judaeo-Christian forms of body identities which encourage body shame and sexual shame. Consciously attacking shame in our society, nudity is often used to free up the genital region as an area of inquiry into the order of expression in the whole body. This is in direct rebellion to the aesthetics of ballet whether classical or neoclassical or contemporary. It is in turn a definition of movement art that looks to the artist to let archetypal energies be released instead of holding the body in a defined shape of what the choreographer or director should direct the object to look like. The beauty is found in the imperfection
and the texture.
Coming from a background of having a BFA in Ballet from Texas Christian University, I analyze the body as a vessel and a means for artistic revelation. Analysis in the studio can take the anatomy of the body to be the map by which inquiry begins, but realizing that many students and humans are locked
in paradigms of held theory, for example, Judaeo-Christian body shame surrounding sexual expression from the genitals, I looked into my own autobiographical body of work to find my own issues of shame, fear, trauma, anxiety and doubt to form my vision. In this analysis, I came to create Internal Landscapes a methodology by which listening
to our unconscious could come up with images, shapes, colors that we could then in turn manipulate as if a sculptor would then turn to clay to take form and shape. After our archetype has form, we can decide if it lives alone or with others, outside or in the studio. We listen to our innermost internal guide to let that vision evolve to find its place of rest.
Much of my research has come from Jungian Depth Psychology and the dance of archetypes that bubble up out of the unconscious. I find these moments of bubbling up
to be healing for both the artist creator as well as the artist participant as well as the audience viewer. The entities that dance to our conscious teach us of the repressed and denied stories that live beneath the surface.
Table of Contents
Abstract
Acknowledgements
Artist Statement
The Tree
Chapter 1: Psychological and Anthropological Findings
There is no Male or Female
Movement
Chapter 2: The Movement Art
Negative Space
Freedom
Chapter 3: Zur Nietzsche
Craig
Ode to a Little Boy
Deep in the Woods
Chapter 4: The Ollom Art Festival
Appendix 1: Website and Email Information
Appendix 2: Feedback
Annotated Bibliography
Photo, Poetry and Art Credits
Introduction to the Artist
The Tree
When people see the trunk of my tree
they comment on the power of the solid frame
yet inside I am feeling the
push and pull of the divine goddess
surging vaginal flow into my roots
evolving in seasonal moods.
yet my branches
reach up for a god that is not
above me
he doesn’t hear.
yet the wind blowing
through my branches
is the dance
that they see.
What lies behind us and what lies before us are small matters compared to what lies within us.
-Ralph Waldo Emerson
Chapter 1:
Psychological and Anthropological Findings
My movement art research and choreographic works live alongside my teaching practice. In the studio when I teach, I realized that I needed to create a methodology that would help students find their archetypal expression as they danced in my works and in my classroom exercises. Internal Landscapes is archetypal movement that leads to art creation. This methodology that I created came out of a place in my teaching, choreographing, and directing practice of over fourteen years that was based in New York City. I had encountered many people who had been over trained
in the syllabus of ballet, or modern, or contemporary dance or acting. Many actors and dancers and performance artists had come to work with me and their technique
was actually getting in the way. It was a hindrance versus a tool to lead them to new levels of artistic expression.
I had a massage experience that made me find the connections between places in my body that housed archetypal truths. The movement art piece Internal Landscapes was born out of this inquiry. I created this piece where each piece of my body had a different movement vocabulary and a different intention. This piece was presented to the public on October 20, 2007. Memories from my own past also appeared in the work along with my archetype of my inner child and a floating goddess figure.
This was the Ollom Movement Art production that was created out of this research, but I dove even further into this inquiry. I wanted to create a methodology that could help my students and others. I wanted to help not only dancers, actors, performance artists, but non dancers. I knew there was a healing aspect to this work and I began to develop my own process that eventually led to the Internal Landscapes methodology.
At the Lincoln Center Performing Arts Library, I looked at the videos of past choreographers and dance companies. When I looked closely at the work, all that I saw were shapes
of the choreographer’s original intention. You can see this strongly in Balanchine’s work in New York City Ballet and Martha Graham’s work on the Graham Company, also in Cunningham’s work. There had been reproductions of shapes that had been translated from years to years from the original choreography. I wondered why when a choreographer died did his or her work die with him or her. All that was left is a museum of shapes, devoid of original intention. New York City Ballet is a perfect example of this.
I had to find a way to look into the intention of movement. Balanchine believed that music was the basis of all movement. I disagree. I have no problem basing choreography on music, but I feel that this is what locks the art form of dance into a secondary art form. It is giving too much power to the music. This is of course my analysis of dance as a theatre art form, when we discuss dance anthropologically, we see dance as the first form of prayer in many cultures. Consequently, the inner intention is matched with the body’s manifestations of choreographic structures.
"The artist is not a person endowed with free will who seeks his own ends, but one who allows arts to realize its purpose through him. As a human being he may have moods and a will and personal aims, but as an artist he is ‘man’ in a higher sense- he is ‘collective man,’ a vehicle and a moulder of the unconscious psyche life of mankind." Carl G. Jung, Psychology and Literature (1930).
I had spent much of my professional career dancing for people who had put their choreography on
my body. I was looking for a way for movement and impulse to come from within
the artist. It would be a translation of internal energy and impulse into my choreographic structure. Now stating this, it is not a good way to make quick choreography for the stage. It is much more cost effective and efficient to tell people what to do with their arms, legs and motivation. It saves time and money, but by doing the Internal Landscapes methodology you create work that is transcendent for the artist creating it, the choreographer/director and the audience members.
One of my Internal Landscapes students states in the Robert Kazmayer documentary about M.U.D. (Men Under Dirt) that John Ollom is "one of the rare individuals who is concerned with the dancers internalized psychology for each moment. You can contrast this to method acting, but it is different in that I am not putting the art creation into a sympathetic character. I am letting the impulse drive the process. It is more similar to discussions that I have researched with Jerzy Grotowski and his discussions of creating a
score" on stage from the actors’ sounds, movements and interactions. Grotowski is attempting to redefine theatre and take away external elements like lighting and costume. In Internal Landscapes I am not opposed to those external elements, I am seeing rate as the defining moment in how we analyze our movements to speak of truth either onstage or without an audience when the Internal Landscapes work is done for healing purposes.
This speaks to a need for a new progressive pedagogy within the world of dance and/or theatre and/or performance art training. I had seen