Showing posts with label goddard college. Show all posts
Showing posts with label goddard college. Show all posts

Thursday, August 20, 2009

Excerpts, Continued



In those moments, of breathy expansiveness and of airy improvisation, I remember:
Pulling myself across the paper, across the floor, while gazing up and directly into Deb's eyes; looking up at Monique, who had entered a cue early and witnessing the recognition of this fact as it illuminated her eyes; while speaking the "I am the sun" line, Deb and I both motioning to each other with outstretched arms; gliding over to the piano and gently directing, with a finger to my lips, for Greg to bring the decibel level of the piano down; forgetting a few words of my poem, such as the whole "I am a performer, taking center stage," paragraph, and the "I am the philosophy major.." line; rolling over my shoulder, a number of times, and performing some arm-pressing, handstand like movements; and looking directly into almost every one of my audience member's eyes (hmmm... the juiciest, best part).

At my poem's conclusion, I backed my way off of stage and around behind the audience. Monique stepped forward and read her excerpt. She became choked up over the lines, "the story is the heart of the matter. My story, your story, Cara's story - ourstory." She then invited the audience over to the program-making station. I requested not to have a program for my graduation ceremony, which was to be held on the following day. Instead, Monique invited the audience to make their own program using the excerpts, of images, exercises, and prose, from my portfolio that I had strategically placed around the room, along with ribbon, scissors, glue, and writing utensils. The visual artists were already off, and on the job, creating phenomenal pieces of art. Richard made a bow tie using the black and white copy of the "Eve" sequence, which he then wore to my graduation the next day.

Whitney then stepped forward and invited the audience over to the portfolio station where she spoke of the metaphorical structure of this body of work. Jessica then pulled a CD from my portfolio and spoke of my community dance practice and of my heartfelt philosophy: "That there is no one right way to dance." (Or, to live.) She then invited everyone back to the dance floor where everyone was welcome to dance to the diverse mix CD that she had created for the occasion.

Back on the vinyl floor, Petra had rolled herself over and lowered herself onto the smooth surface. Her and I then engaged in a contact dance, demonstrating to those watching what contact can look like between two people. Bonnie, Laiwan, and myself shared a nice moment together, of a twirl here and a spin there. Jess grooved like the wild woman she is. People talked, and hung out. I got people up and dancing. Alaina had her camera on hand, and when she tired I picked it up and danced around the space with it, snapping photos along the way. Laiwan joined Deb, Greg, and David, in beating out pulsating rhythms to the dance tunes. It was splendid and perfect. Then, Laiwan's workshop began, people left the building, and the music petered out. And life continues.. just as it always does.

"Excerpts on Process, Practice, Portfolio, & Performance"



In order to receive that lil' slip of white paper (aka an MFA degree), I had to make, at least, a half hour presentation to my peers, advisors, and Goddard community. Over the past four years, I have attended more graduation presentations than I can count on both hands. I've seen dances, I've attended galleries, I've watched films and Powerpoint narratives, and I've heard concerts as well as soon-to-be graduates read directly from their portfolios. One of my favorite graduating student presentations, however, was Tiffany Lee Brown's.

TIff had her 'audience' dress up in red and then she asked a few of her peers to take the group on a meandering tour of the landscape surrounding Fort Worden. Ann and Kristine created found-art sculptures, while Nancy was in the process of doing so, along the way. Jess was the audible guide, while Emily served as the visual cue that kept the group moving forward. I was to be found, inverted in a shoulder stand, at the ocean's edge and on a cement jetty where I united the horizon with the foreground. As we walked along the sun-lit shore, the visiting sunbathers gazed at us and wondered what this large group in red was up to. Children followed behind our little parade, and were heard saying, "What are they doing?" and "I want to go, too." We continued following the ambling coastline, until we reached the Battery just adjacent to the Pt. Wilson lighthouse.

Winding our way through the multi-leveled, stone bunker, we created a soundscape of drifting lullabies and haunting echoes within one of the darkened chambers. Emily and I danced, with each other, with the hard stone below our feet, and with the warm rays of the sun. Ellen stirred an invisible cauldron, after which Tiff emerged from a hidden compartment to take her place within the welcoming womb at the center of our gathered crowd. Her presentation was called 'Seeds.' As a woman who has never given birth (nor was ever expecting to), Tiff was exploring this cultural taboo while also metaphorically associating it with the devastation of Easter Island and its native inhabitants. She was also investigating creation and the birth of creative work. Prior to her presentation, she had requested that our community make something representative of these 'Seeds.' She planned on traveling to Easter Island the following year, and taking these Seeds with her. That was a year ago. Tiff has been taking her ideas on the road with her - traveling around, from the east coast to the west, presenting, talking, making, and creating. She has yet to make it to Easter Island, however. You can check Tiff's work out at magdalen.com

Finally, one full year later, it was my turn to take the spotlight. I had requested extra time so that a DanceJam could follow on the heels of my presentation, and I also enlisted the help of a number of my peers. At 3pm, last Saturday, the Goddard community was ushered into the USO building (an old performance hall that has a wooden stage at the back and a vinyl floor placed squarely in the middle of the old carpeting). Greg was on the piano, diligently creating moody melodies while Deb was improvising with her voice. Plucking up excerpts from my portfolio, she hummed tunes to words that I had penned in the past. "On the brink," she sang. "On the brink." She also had a wide array of music makers (shakers, recorders, & more, some of which were borrowed from my Dance Church community in San Diego) to add to the overall ambiance. At the center, back of the vinyl flooring, and just below the towering stage, sat two chairs draped in black fabric. A microphone towered over them. Deb and Greg were positioned just to stage right of these, while the audience sat around on each side of this makeshift stage.

After the audience was well positioned, and the space had been sufficiently warmed up by the musical talents of Deb and Greg, David emerged from the audience holding a thick stack of white papers. He stepped onto the fabric-draped chairs and began to read from the manuscript in his hand. After thanking the audience for their presence, he began. "Human story is the fabric of our existence," his steady voice called out. He read the first page and a half of the introduction from my portfolio. "Make the best life story for yourself that you possibly can." He repeated it again, and again. At his conclusion, he tossed the script up into the air with a flourish and the white papers scattered, and fluttered, down down down. He stepped off of the chairs and began to walk a dramatic half-circle around to the back of the chairs. Meanwhile, Monique had entered, from the audience as well, and she bent down to the ground and picked up a sole piece of yellow paper. David tilted the chairs backward, towards himself and the stage, and I rolled out and onto my strewn portfolio. I entered into a contact dance with the body of work that I had spent the past four years crafting. I slid, spin, and glided across the papers, across the floor.

David and Monique stood watching, off to the left, while Greg accompanied my movement on the piano, and Deb improvised right along with me, her voice twirling with my body, as she stood watching from the right corner. Then, I began to speak a text, my text, an untitled poem that captures what I feel is an essence of embodiment.
"I am the grass on a cool, autumn, day," my voice called out. "I am the sun, radiating warmth and heat."...
"I can be me on any given whim, and I can be you without having to be told to."...
"I am the moment, I am the kiss, I am the "yes" falling from your lips, I am the perfect reflection."

Wednesday, August 19, 2009

Diving Into Embodiment


Those four weeks proved to be the penultimate pressure. Finally, I realized that I am an embodiment artist. "On the Brink: Diving Into Embodiment" flowed fairly well after that. There was less force needed, ya know? However, it wasn't until this past week when I truly understood the title.
For, it was I who was on the brink.
On the brink of emotional insecurity, or rejoicing as a free spirit.
On the brink of self-imposed isolation, or reveling in joyous community.
On the brink of not finishing graduate school, or finally graduating.
On the brink of not being a rigorous student, or being the disciplined artist I am meant to be.

And it is I who am (still) on the brink.
On the brink of financial obscurity, or success.
On the brink of personal narrative, or published prose.
On the brink of continuing to knock my head against the same door, or opening up and walking through another.
On the brink of responding from my vulnerable defenses, or being majestically open to the rawness of vulnerability.
On the brink, indeed.

Yes, we could debate whether or not it has been my self-esteem that has made my MFA journey so long. (1.5 years longer than the program is stipulated.) But, why bother? For, I have finally recognized that what I want more than anything in this life is to move around this world as I glide along a dance floor - gracefully giving and generously unafraid to offer myself up to the moment. Then, moving on to the next moment - irrespective of what may come.

To this end, I am glad that I stuck with Goddard and its Interdisciplinary Arts higher education degree program. As one of my roommates from my time spent on the Plainfield campus once shared with me, "It is the most expensive therapy that you will ever give yourself." I am so grateful to have spent the past weekend offering myself up at my graduation presentation and ceremony in Port Townsend, and to now, be home again in San Diego, where I feel thoroughly entrenched in a thriving, vibrant community.

Yes, I still have my own personal b.s. and issues to deal with, but I am more than ready to face the challenges that lay ahead. For, I now have hope on my side.
No longer do I feel trapped by my own skin and bone. Rather, i revel in this party - of being here, now. Of being able to reach out and touch others. One day, all too soon, I will be released from this body and this life, and I will once again experience pure energy. But, I won't be able to contain it. I won't be able to kiss another, or gaze at a rising sun. I won't be able to smell fresh baked apple pie, or hear a Michael Jackson dance tune that makes my legs want to move. I won't be able to taste sweet fruit fresh from the tree. Indeed, this time now is precious.

So, this is the hope that I now take with me.
A hope that what we have now is perfect - it's enough.
And a hope that I am open and expansive to what comes,
even if what comes is my own untimely demise...

Coming 'Round Full Circle, Take II


After attempting to breathe through a break in my studies, I resumed my Goddard career in the spring of '07. Back again to Vermont, I flew, even though the action made me nauseous and, while there, all I wanted was to not be there. But, I tried - to re-focus and be excited. This time, I was placed in the group of an advisor who lived in San Diego (and taught at UCSD). However, this person emphatically stated, early on, that she did not want to have a physical relationship with me. Rather, I just dropped my five packets off in a mailbox that was situated within a stucco wall that blocked the passer-by's vision from the decrepit yard that lay on the other side. This was my official third semester and it was time for me to create and embody a practicum. Although my Goddard advisors were advising that "Cara not be in charge of, or lead, any groups," I jumped into my role as facilitator. I began leading weekly meditation, movement, exercise, and dance, classes to a group of over 20+ senior citizens at a residential facility in North Park.

Ah, my friends at Cathedral Arms. Truly, it is they who saved me. My work and time spent with them was exactly what I needed. It was all I could focus on that semester. According to my advisor, however, it was not enough demonstration of an arts practice for the MFA degree. Thus, I was told that I would have to perform another semester of study prior to writing my portfolio.

In the fall of 2007, I transferred from the Plainfield campus to the new site that had just opened up on Fort Worden State Park in Port Townsend, Washington. I never envisioned that I would make this move, it just came down to convenience in the end. But this move was exactly what any doctor would have ordered. My first year in Port Townsend was awe-some. I wanted to be there - amongst the pine scented breezes of the Pacific Northwest; on a historic, military outpost that was not only for our program; and in a smaller, more intimate community (we began with around 20 students). That school year, which included the fall of '07 and the spring of '08, went along swimmingly. I was back on track.

Back at home, my life was mirroring this transition, as well. I found myself back within the DanceJam community, in which I had begun teaching a weekly Contact Dance class to my peers. Dance Church also became a regular part of my practice, and I began taking advantage of our weekly Tuesday night space as a means to dive deeper into my process. By the time the fall residency of '08 had rolled around, I thought I was ready. I had even brainstormed a great idea for the structure of my portfolio. Because my spine is quite literally the backbone of my work as a movement practitioner, I sought to shape my portfolio with this structure in mind. However, upon hearing this plan of mine, one of my long-standing professors, said: "That's so western." (She was referring to how I was forcing my will upon my portfolio, rather then just letting it organically evolve from deep listening and an expansive breathiness. I get this now. At the time, however....)

Then, I presented a workshop. My goal had been to have a contact dance with the body of work that I had created over the past three years. My participants were led into the wood-floored workshop space, pulled along by a blue and white string that they were grasping onto with closed eyes. In a large spiral, I had laid out excerpts of my work from my many semesters of study for them to hold, touch, feel, read, and watch. I asked them to choose something that resonated and then we had a round table discussion about the work, my work, and what it meant to me, to them, and to us. Yet, at the conversation's conclusion, one of my peers ambled up to me and said, "So, I've seen your work, Cara. But I still don't get what it is you do." "What do you do?" he sweetly inquired. I was stumped. I didn't know, and I didn't have an answer. Ouch, this hurt.

Yes, I knew that I am an interdisciplinary artist who predominantly focused on dance/movement, writing, and digital media, but what was the connecting thread? I didn't know. So, I focused on living and what a grand fall it was. However, my advisors were not impressed by the rough draft that I did not have by the third packet due date. When I finally turned in a rough draft of the portfolio, at the end of the semester, I was understandably told, "You can do better, Cara." Ai, yai, yai. Oh goddess. Again? Yup, this time I was told I had to take a four week extension and I missed the spring '09 residency. I missed a peer's graduation, as well as meeting new advisors and students. C'est la vie...

Coming 'Round Full Circle



It all began in the fall of 2005, when I was eager to begin a new journey as well as the process known as 'graduate school.' Upon arrival at the green Goddard campus on a humid July day in Plainfield, Vermont, I merrily strolled through the adjacent woods as I hopped along from the iconic Clocktower to the expansive Library. This summer week was chock full of forging new connections with a myriad of talented musicians, performers, and visual artists, from across the U.S. We were a large community (of over 100 people) of interdisciplinary artists and we came together in the dining hall, and elsewhere on our quaint school grounds, to hob knob, rub elbows, intellectualize about art, plan our studies, and meet with mentors.

As the unwavering routine of that first residency played out, I became acutely aware of the idiosyncracies and unique quirks of our MFA program. Just like anything else, improvements could be made. In example, it could not be agreed upon as to what kind of school we were. Some argued that we weren't an art school, yet we always included an art gallery in our week long gatherings. Student presentations ran the gamut - from hastily thrown together to well-thought out. Thus, a few of us questioned what we felt was a lack of subjective standards applied to all students - across the board. Nonetheless, it was the people who defined the program. Today, after four years of this process, a question still remains, however. "How do we create a diverse program that honors each individual's distinct voice?"

My first semester was productive yet I was painfully aware of how small my world, back in San Diego, was. I could count on my fingers the total amount of people who made up my weekly community members. My own self-imposed isolation had hit an extreme note. When I followed up on a peer's scathing email to the entire Goddard community, at the end of that fall season, it was not my intention to hurt or anger others. At that time, I felt that was I simply trying to present an unbiased viewpoint of my experience. I also felt that I was attempting to contextualize my peer's criticism (he had referred to Goddard as the lint at the bottom of the graduate school washing machine but he never said why he felt this).

The anger and resentment at the following, spring residency was palpable. It was a silent storm, brewing just below the surface. There were no attempts made, by the advisors, faculty, or leaders, to create a safe space where our community could come together to address all of the emotions and to attempt a dialogue about what had transgressed. (Aside from some bizarre opening forum in which a few invited members of the community went on stage to share why discourse was not a relevant word for our 21st century community. 'Discourse,' by the way, was the word that I chose to use in my pages long email.) Instead, a malignant tumor began festering. I continued to crawl deeper into my own hole, even as I tried to look forward to my new advising group and to a new year, semester, and teacher, as well.

Upon my first meeting, with said teacher, I shared fresh insights and where my artistic work had taken me over the course of the past semester (I had begun to work with the metaphor of how a forest needs fire in order to grow). After which I was told to "Get real." I was not offered any context for why this was said or what was meant by it. (And, at the time, I did not have the courage to ask.) It was the most confounding thing. Especially when I had to sit back and watch as one of my peers bought in to the whole objectification of her person as she made numerous hot, and sexy costume changes when she performed the role of MC for the habitual, residency Cabaret night. There were also the advising group meetings during which we would walk along the scenic campus discussing ideas of 'consumption of the self' only to then return to the library, where said individual sat in a plush, leather chair and snapped self-portraits of her gorgeous face. Perhaps, this was "real" for her. (????)

Now, I was angry and now I did not have any outlets for my emotion. I began to suffocate. I crawled deeper into my relationship, desperately hoping that this would provide a way out. As for my arts practice, I had no focus and no discipline. It was impulsive, and whimsical. Upon my return home, my boyfriend and I would disappear from San Diego often - to go camping, snowboarding, wherever. We just didn't want to be "here" and, together, we fed this bad habit of each of ours. I barely followed through on this second semester and I hardly made it to the following summer residency. I was an emotional mess, but I tried again - to be positive and excited about a new start, a new semester, and a new advisor.

After sharing a written piece with my fall '06 advising group, my role model responded by saying that she didn't understand why I had chosen to share what I did. (Early on, I felt that there was a desire to box me into a "dancer" label. And, I have never been just a dancer.) Then, when I went in to visit with her, one-on-one, she invited in a man whom I did not know (the Director of Student Affairs) to tell me that she thought I needed therapy. "Well, geez, thanks. But, seeing as how I am spending close to 20 g's a year for this program, I simply cannot afford the additional expense." Good thing the Director of Student Affairs was there - he offered no hard solutions, only his flimsy business card (with a Vermont area code, no less).

After making my G3 presentation during that residency, my advisor from the semester before offered this advice: "Forget the painting of masks on palm bark," she said. "It's distracting." Suffice it to write, I withdrew from my studies that semester. And, I climbed farther into my relationship. Of course, neither of these were wise decisions. Both mine and my partner's anxiety had us literally crashing his Volkswagen into a telephone pole along a winding road in the mountains east of San Diego. I had no sense of boundaries. I allowed him to pull my hair, and be abusive in other, less obvious, ways. Yes, I was sick. Yes, I needed help. Sometimes, though, time is the best healer of all.

Wednesday, November 7, 2007

An Anatomy of Shorts


Navy blue and nylon, they are sewn together along the inner recesses of invisible thighs. At the apex, at the center of the crotch, fine threading has twice before been sewn. Begging yet another go at it with a needle, a dime-sized hole slowly pulls the fabric apart. The tenuous opening casually flirts as fingers gingerly probe the six-year old piece of clothing. Young hands gracefully glide over fading material while a mind conjures up images of past travels and nostalgic tribulations.
A bottom hem falls just above vertically challenged knees. An elastic waistband is stretched beyond recognition, retaining the contour of a voluptuous shape once worn like a scarlet letter. These days a plastic, blue button, with the emblem of two women sitting back to back, and a Velcro fly, struggle to keep the shorts up. A white and black label at the back reads “XL.” Random stains, a yellow dot on the rear, left thigh, pay tribute to the life of a struggling artist. Stitching is coming loose along numerous lines. On the right butt cheek, the cloth was once torn and then stitched back together using royal blue thread. What remains is an L-shape, which is also pulling apart at the seams.
Washed into the layers of silky fabric, the sweat of a time now past. Ground into the highly resistant textile, the dirt and soil from spills taken and adventures pursued. Today, even after having purchased the infamous pair of shorts from a department store in a suburban neighborhood of Lake Geneva, six summers ago, I don the gym-like garb and I wear it with a mix of pride and melancholy.
A bumbling twenty-four year old, I worked as a camp counselor for an American company based out of Switzerland. The first six weeks of my sojourn had been spent on an amazing landscape. Living in a tent and sleeping on a cot, I was privy to the southern, rolling hills of France’s wine region. I spent weeks underneath a canopy of limestone caves while learning how to perfect the j-stroke as I attempted to guide Canadian canoes down the river Ardèche.
Meals were spent out of doors. Media and mirrors were few and far between. On nights off, I would drink red wine by the glass full, oft times alone and sitting beside an ambling river. From the get-go, I did not know how to canoe even though it was my job to lead children on such an excursion. My peers, like-minded college aged folk with a penchant for both travel and experiential education, all but rejected me. I was certainly tolerated, just not accepted. The feeling made for an uncomfortable first few weeks yet somehow, as painful as this was to my ego, I was galvanized and invigorated. While the others were entranced by videos and television during their meager time off, I was out of doors, teaching myself to juggle, picking up the guitar again, or riding a bike up undulating, narrow roads and over to the singular nudist colony on the river’s banks.
I found solace in strolling along country roads and over to neighboring village castle ruins. Once, while returning home from such a journey, night had fallen and a strange grunting sound began emanating from the dense bush to my right. Initially humored by what I mistakenly thought were humans, I employed a singing voice after my laughter had dissipated and fear was quick to replace it. Pleading with whatever large creature was foraging nearby, I sang that I was just a harmless human out for an evening stroll. The tune soothed my panic and I high-tailed it over to a play structure where I found refuge up off of the ground. With my composure regained, I quickly walked back the few remaining steps to camp.
Weeks later, while in the office of a photographer who captured our descents down a specific rapid along our canoeing route, I gazed at framed photographs that lined a wall. In a few of them, large, waist high, feral pigs were fording the river. Finally, I had discovered the source of my earlier cause for concern.
As summer approached the riverbed began to recede, and along with it the judgment of my peers was also giving way. I had proven myself. While the majority of the male staff would help beach the canoes and carry all of the gear up the hill, only then to prepare their own campsite for the night and rest for a period of time, I along with a few other women, continued to prepare the campsite and meals, and then play with and keep the children occupied until night had fallen, stars were overhead, and we all fell into an exhaustive heap on our sleeping bags. Not to mention, my paddling skills had improved 100%. I was, at last, accepted.
With my acceptance, came less alone time. I joined the crowd, in drinking red wine by the river, in rock diving, and in skinny-dipping. One day, I even borrowed the camp cook’s moped and attempted to ride it over to Vallon-Pont d’ Arc, the nearest commercial village. Desiring to show off after first sitting upon the vehicle, I accidentally rode into a wooden beam adjacent to the camp’s recreation room. I then cruised the two-wheeler over to town. On my way back, I somehow, again, pressed on the accelerator, instead of the brake, causing the bike to rear up, and my rear end to fall off of the seat. Humorously, I tore a hole in the back of the orange pair of name brand board shorts that I had recently purchased. With borrowed thread, I had to sew up the mistake prior to the next week’s canoe trip.
At the spring season’s conclusion, I spent the following week traversing the Heidi-like mountainsides of Andorra, a principality that lies between France and Spain. Supple, rolling hills; rushing white water streams; wildflowers of every shape and hue; wild horses grazing in verdant meadows; slanting, scree slopes; towering granite peaks, - the Pyrenees has it all. Like a Billy goat, I leaped and jumped from one stone hut to another. (A series of 25 huts, or stone refugis as they are called, dot the Andorran countryside. These shelters are free of charge and well tended to.) For days on end, I swam in chilly, fresh water streams and I sunbathed on snow-patched mountaintops, attempting to make snow angels in the evaporating, white matter.
Again traveling alone, I was greeted by numerous other trekkers including hunters, hikers, and even a few rogue revelers. I had arrived into Andorra late on an inauspicious evening, not knowing a soul, and bedded down behind a sandy rock formation in the back of what appeared to be an empty ski chalet. My trip had included the stashing away of cumbersome clothes, on the hillside and in a hut, and the escapade of making friends with four Belgian men who had backpacked in cans of red bull and a bottle of vodka, marijuana in numerous forms, and mushrooms and ecstasy. During my last night there, I had a gentle make-out session with a Catalonian boy who could not have been more than twenty. I awoke only a few short hours later to ask him the time (which was a difficult task, for he spoke little English and I did not speak Catalan whatsoever). After realizing that it was 5:30am, I jumped up with anxiety. I had a mere hour and a half to run down the mountain and make the bus that would carry me back to France and, eventually, on to Switzerland.
With only minutes to spare, I bounded down and onto the main thoroughfare just a few short blocks away from the bus stop. After boarding, I fell into a seat with relief and quickly dozed off. Seemingly only minutes later, I was awoken with a start. A French policeman was shaking me awake, inquiring as to whether or not he could check my purse, which I had haphazardly tossed into the seat to my right. Immediately, I knew that an action from the night before, of moving a small metal pipe and a remaining tiny nugget of hash that I had on my person, stashed in a front pocket of a Mt. Hardware fleece jacket, and into the dainty bag I wore around my shoulders, was a mistake. “Pipa,” the man cried out. “Le pipa,” he alerted his co-workers. I sank down further into my seat, as they ransacked my bag. I was escorted off of the bus, while the driver patiently turned the engine off, and into the back of a marked police van. A minor strip search was conducted. (I had to take my shoes and socks off, and they searched my larger backpack for more paraphernalia or illegal substances.)
With my passport noted, a fine paid (50 French francs, I believe it was), the pipe and hashish confiscated and, essentially, a slap of the hand, I was loaded back onto the bus to continue along my journey. I refused (and, still to this day, refuse) to be ashamed of my enjoyment for smoking marijuana. However, I was a little embarrassed for slowing down the other passengers’ and the bus driver’s morning commutes. Nonetheless, I had a new job, and another foreign destination, to get to. Thus, again, I and we were off.
The excursion was marked with continued mishaps and stories in the making but I eventually arrived to the Auberge, a small hotel, bar, and restaurant that would serve as “home” for the next month and a half, located in a suburban village town just due east of Lake Geneva (or Geneve, as the locals call it. Also, the lake there is, actually, called Lac Leman.) The newest set of employees, fresh off the boat from their teaching stints and other day jobs in primarily the States and Canada, were already gathered and mingling. They were excited by the journey that they were embarking upon. Meanwhile, I was physically exhausted from being smack dab in the middle of my own exploits. I retreated early, to the comforts of my own bed in a room that I shared with three others, to write and contemplate. This behavior remained consistent throughout our short time together.
The day-to-day of summer camp life quickly came to emulate a pattern that I had only been too eager to escape. Monday through Friday, at 8:30am, we were to be outside and ready to hop on a short bus for the quick ride to the Chataigneriaz (the school grounds where our summer camp was held). Usually, I skipped the bus ride and walked up the hill along fields of sunflowers and lines of grapevines. Over Monday morning breakfast, which was comprised of cereal, yogurt, or bread with jam and Nutella, talk usually centered around the weekend just had, - a quick trip to Italy; our group celebration of the Swiss independence day; or the time spent partying down in the streets of Geneve. By Wednesday, conversation had already lapsed into what the up and coming time off had in store. The monotony quickly wearied my being, and I was acutely and sensitively aware that my life had segued from living in close commune with the land to a life further removed from it.
I began to question myself and whether or not what I was doing was of meaning. As the sole gymnastics coach, I ran the ‘Gymnasie de Cara’ with a solid hand. Managing all of the hundred plus children as they moved around the apparatus, from the floor, to the beams, to the mini-tramp, I was simultaneously coaching my peers on how to spot while trying to learn a few French verbs. The depth of the experience was cemented when, one night, while languishing around the Auberge, I decided to take a bicycle that a co-worker had found (deposited along the side of the road, it had been headed for a landfill), for a dusk lit ride. I rode east along the curvaceous, lake road and towards the nearest large town, Nyon.
In Nyon, ancient Roman columns are crumbling on an overlooking hill. At night, these relics of a civilization past are lit like beacons, brightly displaying the opulence of western thought. I rode around, enchanted by the sights my eyes were consuming while my thoughts danced merrily in stony daydreams. I headed towards the commercial district, where cars were forbidden, and I continued to steer in the direction of a sign that read “Do Not Enter” for I was a bicyclist and a privileged American who had the right of way (no matter what). A woman’s deep gasp alerted me to my folly.
I went flying, head first, over my handlebars, while my womanly thighs slammed into the gearshifts. I had attempted to ride between two cement pillars, across which an eight-foot long, black chain link was suspended. My training, from a lifetime spent in gymnastics, dance and other movement classes, kicked in and I instinctively tucked my chin to my chest. I performed a dive roll, jumping up at the tail end of it with my hands in the air. “Ces’t bon,” I exclaimed. “C’est bon,” (“I am good”) I tried to assure the on-lookers whose jaws were agape as they stood staring at the stunt. I picked up the bicycle, hopped back on it, and rode back home while the adrenaline pumped its way through my body, and my heart beat out a loud, rhythmic “holy fuck.”
The following day, while recounting the tale with my comrades, I had deep, purple bruises in the middle of each thigh. Corporeal reminders that what I was actively teaching to the kids, day in and day out, was a skill that could one day save their very real human lives, - just as it had mine on that very memorable occasion.
In the time that has since passed, the navy blue, nylon shorts have continued to play an integral role in my life. As a graduate student, they accompanied me to my first residency at Goddard College, in Plainfield, Vermont. While rubbing elbows with artists of every craft and medium, I fled from the typically scheduled cabaret, an evening of live music, dance, and theatre, performed in a refurbished hundred plus year old barn, for a quick respite. Under a warm August sky, I climbed the metal roof of a greenhouse. While careening back down, the shorts caught on a metal bracket, thereby ripping and puncturing my behind. With my ass partially visible, I wandered back into the event and proceeded to get my groove on as our local hip-hop artist and beat boxer spun the records (or, er, pressed buttons on his computer’s keypad).
Weeks later, after having returned home to San Diego, I was again out in public in these same shorts. Still torn, and still refusing to wear underwear underneath, I gallivanted on a Pacific beach with a dear playmate who was quickly becoming more than just a friend. We tossed a Frisbee disc to and fro, I in the torn shorts while also wearing a tank top, without a bra, that read, “Put the Fun Between Your Legs” (it had an image of a bicycle drawn in between the wording). Meanwhile, he had taken off his jeans and was running around catching the disc and flinging it back at me in nothing more than boxer shorts (which, he initially realized, he had forgotten to button). Indeed, we were a sight for sore eyes.
When we tired, we began to play in the sand, - creating sculptures out of found materials and objects. Bent at the waist, I was not afraid to raise my head and offer a “Hello” to the lifeguards as they drove by in their jeep. We capped our lovely afternoon off together by enjoying a meal of sushi at a local restaurant. Still parading in the fading shorts, I moved around with a little bit more apprehension as I ambled in and out of a black, leather booth.
That was two years ago. Today, the shorts hang from a 31 year-old waist. They hardly stay up, yet I cannot bring myself to part with them. My partner, the same man from the story above whom I now live with, scoffs whenever he sees me in them. Still, as old and failing as they are, they represent more than just an item used to cover up shameful body parts. The thinning remnant is a hint at a body embodied, - it is a historical artifact of lived experience. Stories are woven into the very makeup of the precious fabric. Parting with them would be like turning the last page on the chapter of my twenties and I guess, well, I guess that I am not quite ready to do that yet.