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Posts Tagged ‘Meg Foley’

Happy Hour on the Fringe with Meg Foley

Posted September 9th, 2018

FringeArts signature podcast returns with the a new episode in a series of enthralling Festival-related shows.

The undergird. Photo by Tasha Doremus.

Hosts Zach and Raina sit down with performer, choreographer, educator, and double libra with a moon in pisces, Meg Foley. They discuss Meg’s Fringe Festival show the undergird, how identity shapes Meg’s work, and, just between us, breaking the space-time continuum.

Her 2018 Fringe Festival piece, The undergird opens at Icebox Project Space on September 13 and runs through September 16.

Listen now to the the wide-ranging conversation about the show and Meg’s signature performance technique.

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What’s Going On Underneath: Meg Foley on The undergird

Posted August 14th, 2018

“The goal is to touch without touching—like really feel and be moved to tears among this long landscape of talking about what our bodies are doing, what we imagine they could do, and about death/loss/grief.” Meg Foley

For the last seven years Meg Foley has been experimenting and and refining her improvisational performance practice, “action is primary”. For a year, she paused every day at 3:15pm to dance, wherever she was, embracing the practice’s central tenet to “hold what you are doing at the center of what you are doing, even as slips towards new centers.” After developing the practice individually, she began to investigate how it could be used to make a group dance.

Foley’s entry into the 2018 Fringe Festival, The undergird is a four-person piece which explores the artists’ “felt experiences” of grief and death in a rhythmic celebration of where memory and imagination live inside the body and how they can be remade through movement. FringeArts talked to Meg about her intriguing title, performance practice, and process.

FringeArts: The undergird” is an intriguing title. How did you come up with it?

Meg Foley: I knew I wanted to use action is primary, an improvisational practice I’d been developing and performing at that point for almost seven years, to make a piece about grief and my relationship to mortality/death, which at first I was like “oh duh, it’s about my Dad dying”. And it is, but quickly I realized it was about something much bigger. I started writing early on and a lot of other material—my experience as a parent and of child birth, my relationship with my mother, the feeling of my own skin—emerged.

I knew that I was trying to stay close to something that I was either pulling away from or avoiding; I was trying to move towards the center rather than away. And I think I had an image of cement and rebar and how it’s held together, a little bit like going down into the boiler room or something to get to where all the mechanicals are.

I think a lot about the action and embodied sensation of words and linguistics, and so it was very clear to me that the title of this piece was a noun. Also thinking about something stretching underneath, holding other things up, or a constant underpinning. Because right away when I started working on the piece, I started thinking about time as a primary material and research point and also thought about earth matter and our bodies as part of that, so in that sense The undergird is both sort of biological and emotional/personal in terms of what’s going on underneath and throughout all the time.

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Artists & Their Coffee: Meg Foley

Posted April 6th, 2012

Talk to the coffee mug.

Name: Meg Foley

Company: Moving Parts/megfoley 

Artistic occupation: Choreographer

First experience with coffee that made you understand coffee: I only started drinking coffee on the daily about a year ago and the kick in the butt that comes with coffee was pretty revelatory for me. It is definitely a different boost than drinking mate or black tea. Prior to that I considered coffee a decadent indulgence totally about taste: a cappuccino at the end of dinner or a cup of coffee on a lazy Sunday kind of thing. I grew up going to a lot of restaurants with my dad, who was a big foodie, and the ritual of the coffee at the end, after an amazing meal with amazing wine, that’s when I first got coffee I think on the pure pleasure level. And then when I started drinking it regularly, the whole other functional aspect of coffee revealed itself. It definitely can get the job done and also totally throw you off.

Coffee you drink at home: Usually the Artist Blend from Whole Foods.

How you like your coffee: With enough almond milk to make it a dark caramel color. And strong.

Average no. of cups per day: 1-2. I still can’t believe it—both that I functioned without the morning boost before and that now I’m so dependent on it.

Fave coffee shop: La Citadelle at 16th and Pine. Ultimo in South Philly is the runner up.

Fave fancy coffee drink: Hmmm turkish coffee. I don’t know if that’s considered fancy, but it’s a special occasion  coffee drink for me. That and a cappuccino.

What’s the most inappropriate thing a barista has ever said to you? A barista told me that my hat was ridiculous. Granted it was a Russian rabbit fur hat and so when it’s not on my head it looks like I’m carrying a cat around. But he was pretty snarky about it. He did not appreciate the awesomeness of the hat, obviously.

Enough about coffee, what are you doing now? Currently I’ve got this improvisational solo practice going that is pretty wild. It plays with states of attention, sensation, guiding form, stamina, and how those three things relate to performativity and audience interaction, so I’m psyched to be getting to put it into play in actual performance. April 14th in JUXT[a]POSE at Studio34. Come come come!