"The choreographic question you are interested in investigating and its relationship to somatic principles and experiential anatomy.

I have become extremely intrigued by the nature and physiology of the tarantula and its hidden similarities and vast differences to that of the human being. One of many of my fascinations and indeed the main focus of my work; is in the movement of a tarantula. Due to them being shaped and structured by an exoskeleton their internal structure is more akin to liquid jelly, movement is by aid of nature’s hydraulic system. In order for the creature to move it pumps its bodily fluid directly along the limbs by aid of the heart. The limb is arranged into four segments like the human finger and to extend the limb each segment experiences the fluid entering the joint via inflation. When the joint is full the fluid is then sent along to the next joint; allowing the next section of limb to extend. In order for the limb to contract; the process is reversed, contracting the limb inward toward the body once more.

The heart and indeed all its organs including the brain; are contained in the abdomen (in young spider-lings this can be seen quite clearly under the skins surface). Due to the position of the heart in relation to the legs; which are attached to the carapace (the area where the eyes are situated and often referred to as the ‘head’) it means a tarantula’s movement is driven from behind, or as I like to term it... they move from the heart.

Underlining this investigation I hold in the back of my mind a fable or moral tale I once heard as a child. The Greek myth of Arachne and Athena. This story will lie in the shadows of my working process as it holds many emotive and cultural references. For instance; I have decided to use an all female cast which has brought about notions of feminist readings and the role of the female performer in a strong, authority role such as the ones presented in this work. Arachne represents the boastful, talented mortal and Athena the righteous and respected god. When cursed; Arachne witnesses the eternal turmoil of being trapped inside a web of her own making, weaving constantly and endlessly but having all her works destroyed by man, a tale which reflects the history and development of nature in our culture.

It is evident that this work has a multi layered quality in its questioning, nevertheless; in short the main choreographic nature of this work will emerge from my fascination of the embodiment of another living creature and the movement possibilities this may bring to the human form. The significance of the 'suchness' of the tarantula is particularly informed by the experiential anatomy work of the human form I am experiencing through the MA (this is explained further under the subheading of sourcing and structuring)."

These paragraphs are  taken from Gemma Collard-Stokes Deepening Process and they express her interest to tarantula world. Our final performance will be on 4th of June, in Ice Building Studio and will be an mixture of instalation, sound, lights and movement.  We were asked by our choreographer to learn 4-6 tarantula names in Latin, and the ones that I chose are the following:

• Avicularia Fasciculata;
• Avicularia Huriana;
• Avicularia Purpurea;
• Avicularia Versicolor;
• Bonnetina Rudloffi;
• Gramostola Rosea.

This group of artist has some videos as well, which can be seen at:

http://www.facebook.com/home.php?sk=group_101086986644035&ap=1

I will add some photos just to enjoy some tarantulas:)

I really enjoy the principle of "moving from the heart" and acting like a tarantula, which has interesting moments of stillness, waiting for the food. This stillness is actually an active rest, which doesn't mean relaxion, but means the still state of being ready to attack. A tarantula can wait in the same position even years and years, but it is still am active being. This principle is the score for our improvisation and set choreography, which will transmit to the audience a "creepy" feeling.