Luna Mrozik Gawler

[5] Being embodied is never a private affair (2)/ All substance is movement(3).

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Gidja and Jaru country

(Creek as choreography.)

(Creek creaks, parched.)

The dry creek bed is an inversion, where there is no water to spill and run, instead its round bodies clutch the heat of the midday and radiate themselves, a hundred thousand small suns, ready for the gentle orbit of footfall. Its story arcs a promise and threat of stretches of country with no shelter – sand, rust, umber, jarrah, olive, ink, azure - rock, brush, palm, gecko, echinda, dunnart, finch, human, goanna.

Attempt: Sliding feet around the unwieldy beds of stone. The best reading here asks an exchange, demands the body map the languages of dichotomy (wet/dry high/low me/you). Meaning through movement. A contribution to the temporal, choreographic cartography. Your feet slip, shifts left/right, right/left ankles role and ripple up through the flesh and bone. It is an intra-active articulation, almost worthy of the wind rushing through faults in the red valley walls.

[A cave can be affable if approached at the correct pace.]

2. Alaimo, Stacey. 2018. ‘Trans-corporeality’, in Posthuman Glossary, ed. by Braidotti, R. Hlavajova M. (Bloombsury, New York) p 435.
3. Grosz, E. 2008. Chaos, Territory, Art: Deleuze and the Framing of the Earth, (Columbia University Press) p19.