JEN ROSENBLIT & JULES GIMBRONE
PASTOR PASTURE
Recorded live at ISSUE PROJECT ROOM, May 11th, 2012.
Emerging Artist Commission

 

 

 

One  for the dream structure
With in or with out home

Two for the eyes
The blind reprieve
We do not see so  we don’t know

Three for figments
Each a ghost pair
Mirror mirror mirror mirror

Four,
We do not die

Five, in the dark
Left with the other
Hold me together
Hold me together
Hold me together
Won’t you hold me together?

 

 

Choreography ~ Jen Rosenblit
Music ~ Jules Gimbrone
Performed ~ Jules Gimbrone (music), Reenat Pinchas (cello), Addys Gonzalez (dance) and Jen Rosenblit (dance)
Vocal Track ~ Jules Gimbrone, Becca Kauffman, Geoff Rice and Geo Wyeth
Lighting design ~ E Jenetopulos

Pastor Pasture is a revolving expanse of glory and shame. Through research into aural and visceral structures, this work harnesses the performers in all its queerness–as soft, ecstatic, plural, unknown and full of desire. A nonsensical nature is established when sound occurs, when it registers as music and when the moving body chooses to relate or not. Logic emerges from the inside, there are no external cues for understanding.

A classic duet between dancer and cellist gets modified, blended, disturbed and tormented as the composer and choreographer enter to complicate and mediate the preciousness they created. Within the intricacy of this duet lies the solo body, three and four all in and out of relation with one another. Composition for solo cello is divested of its singularity through vocal interventions, sound spatialization, and the piercing calm of a resonating sound sculpture. With lighting design by E Jenetopulos, internal terrorisms reclaim power and images of blindfolded bodies charge the space with our knowledge of hostage situations. We are full under an empty sky.

 

 

Pastor Pasture is a creation between the visual and compositional thoughts of Jules Gimbrone and the choreographic desires of Jen Rosenblit. Developed in residence over the past four months with cellist, Reenat Pinchas, and dancer, Addys Gonzalez, this is the first showing of a larger conceptual investigation. Considering all of our performative bodies, the nature of an audience, and the meeting place of the aural with the visual as well as visceral is where we developed much of this work. We looked into varying language structures, and how to address the different needs of our specific mediums. Arrangement, compositional relationships and tone have all been active locations between the placement of the sound and the moving body or still image. The notion of performance as going beyond a space of music and dance is where we seek to place this work. This piece is concerned with the nature of relationships in the most unknown sense of the word.