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below is a selection of support material relevant to Eliza Sanders application for the creation of ‘e.motion 3.0 (Eliza in Motion)

Motion Poetry

Motion Poetry (2020) is a sharing of poetry that has been written in response to live dance. Each session is delivered with information to enable listeners to move creatively in response. Listen HERE

E.motion

e.motion is a 4 hour gallery performance installation which explores the nature of emotion and being seen. Eliza improvises non-stop with the intention to move from and with her emotion continuously, noticing how the audiences presence affects her desire to be seen and influences her (e)motions. The audiences is gently invited to challenge their habitual ways of viewing and responding to performance with a list of gentle provocations of how they might engage with the space, themselves and the performer. e.motion is a base concept for a work that can be translated to numerous different settings, spaces, environments. The work is both the product and an artefact of ongoing research.

View the ‘How to engage with this work’ document

HERE

Selection of Poems

Basket case casket

I have taken all your love and spit and sinew and inserted it into my ribcage through a large but gentle needle 

rib cage, basket case, body cabinet, casket for my lungs 

you are like casket 

I lie inside you lying about my independence

dancing with your dentistry and dermatology wishing I could read your thoughts

forgetting myself

my fingertips shaking 

left and right have been confused with up and down

because of the horizontalness of it all 

that is to say nothing for north, south east and west

all the direction of the world condense into this sensation 

.

this is imaginary

its future past imaginary memory

and quite unrealistic to say the least 

reality is for a different kind of happiness

Eye balls. Eye balls. Flesh 

Fresh attempts to temp temptation 

To elevate sensation 

A dormant destination ecstatic in its erotic audacity

(exotic)

Irreversible elasticity; a consequence of irresistible stretching of tendons, veins and limits

(Elasticity maintained in order to attain a liminal state that sustains. lasts) 

Electric evocation

A vocation coloured by correlation covered in skin and eccentric colouration

This is the nation of your skin  

This is my dent

This is a doorway 

A flesh attempt to tempt temptation

Freshly made with your skin  

Flesh wound. Fresh bodily purse. Concealed lips. 

Lips peeled to see the sensation of another’s mouth

Ecstatic elevation

(as a result of the contact)

(Hard but hardly there – remembering something instead)

Instant gratification and a lifetime of longing

Insistent on switching the room so the walls become the ceiling, the ceiling becomes the floor and the past become an echoed present

Repeating itself in time again and again

Immemorial impossibilities echoing the present into the past 

The dirty shoes of a dead man who had been the fastest at running in slow motion

Curled and curdled his flesh cuddling deceased chest meat. 

He is the one disintegrating -  because of the grief

The other is the one decaying -  because of the deadness

And there is a melting at the meeting point

Two sets of pointed feet - because of the inability to let go of the sharing

In order to share being alive is required 

The living knows this

That is why they grieve

The original form

Cocaine. Coriander. Cock fight. Fist cuffs.

Handicapped curled curdled flesh cuddling deceased flesh meat and melting at the meeting point of two pointed feet.

Dirty shoes made of lace.

Broken and spoken very fast in order to avoid affectation.  

In other words

A lover cradles a lost breath 

Or thoughts 

Or apprehensions

Flat feet frustration  

The homo sapiens goddess is not manifesting as efficiently as originally hoped for

Although she emerges more effeminately than expected  

Consequences intentionally rearranged.

Oxymoronic because toes and grey hair 

Your accidental virtues; sin and mindlessly keeping mental agility in tow 

Because of the toes 

The ultimate sacrifice for sarcastic manifestation

Contents. Container

Content. Container is an improvised work by Eliza Sanders and Brendan Anderson which explores the intersection of giving and receiving.

Contents. Container was created as a commission for Belco Arts Center’s 2019 Dance on the Edge season.

DANCE. DANCE. HAVE FEELINGS

Dance. Dance. Have Feelings is an entirely improvised, experimental, ensemble dance work. It is the first performance artefact of a dance improvisation method Eliza has been creating in collaboration with an ensemble of artists. The method aims to create entirely improvised works that sit within a predetermined aesthetic framework. The idea is to give freedom and agency to the performers while also expressing a delicately nuanced choreographic voice.

Images by Lorna Sim, Stephen A’Court & Phillip Merry. Footage & edits by Jacob Edmonds & Natsuko Yonezawa