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Spending such a long time on one project made me keenly aware of the ways in which I wanted to develop my life as a dancemaker, and allowed me the time to begin to track that development within the making of one piece.
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Margaret Morris is a young choreographer and improviser. Her ultimate goal for concert dance making is to give the audience an experience that leaves them feeling deeply invigorated and affirmed. She seeks for her work to sneak up inside the witness and open up blockages, shift habitual perceptions, and uplift the spirit.
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Margaret decided she was going to deal with healing, so she read a lot of books on indigenous healing practices and meditated every day and did solo improvisation until she started to feel that she was losing herself. Then she stopped all that and started rehearsing with a group of dancers. They told stories and laughed and confided a lot. Finally she found herself obsessed with her and her dancers' personal stories of violence and redemption. So the final piece, Laying of Hands, grew out of that obsession. One thing is for sure, a year is too long a time to avoid trying things out for fear of putting them on stage. So she got over that and is exponentially more open to allowing her career to be a series of experiments wherein the final results may or may not support her original hypothesis.
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