Within Practice 2018

8–14 oktober 2018

Arkadi Zaides, TALOS, 2017

Within Practice is a seven-day meeting between professional dancers and students from DOCH and interested members of the public. The symposium focuses on practice and practices from the practitioner’s perspective, and includes workshops and public presentations.

The concept of practice(s) is widely-used within dance and choreography today, some would say overused. The concept of practice can provide an opportunity to move beyond the projectification of the art, and instead insist on other long-term approaches. Practice can offer a way of generating choreography and movement, to train/repeat (to practice). In Within practice, we aim to emphasise the inherently experimental and insistent qualities of practices, and offer a space for practising, discussions and artists’ presentations, and continue to build community among practitioners.

“As dance artists, we often talk about practice(s) as a concept, but in public contexts we seldom go into detail in discussing how and why a certain practice is constructed as it is. To understand and experience a practice, I believe that we need to practice it, see it from the outside and set it against our own. The format of the symposium attempts to give space for these perspectives and to create a meeting ground for sharing.”
Björn Säfsten, initiator

In the invitations to the artists Caroline Byström, Alice Chauchat, Jaamil Olawale Kosoko, Chrysa Parkinson, Salva Sanchis and Arkadi Zaides, the discussion on their practices was central. Each artist included in the program during Within Practice will carry out six workshops over four days and then give a public presentation.

Within Practice also offers a third format, a type of open source, Practice/s—An Evening of Open Source with Open Space, in which all the participants contribute their own practices.

The project will run simultaneously with Weld Company’s invitation to choreographer Yvonne Rainer to choreograph a new work for the company. We share the interest and overlap. During the presentation phase in Eric Ericssonhallen in Stockholm, the original version of Rainers Trio A (1966) will be danced during one of the evenings, to set an iconic work, its practice and history, in resonance with discussions of what contemporary practices can be today.


  • Björn Säfsten, Initiator and Curator, Säfsten Production
  • Anna Efraimsson, Co-curator and Head of Department of Dance at DOCH/Stockholm University of the Arts
  • Magnus Nordberg, Initiator and Head of production, Nordberg Movement
  • Anja Arnquist, Producer and coordinator Eric Ericssonhallen, Säfsten Production

Within Practice is a collaboration between Säfsten Production and the Department of Dance at DOCH/Stockholm University of the Arts with support by the Swedish Arts Council, Stockholm Stad and the Swedish Arts Grants Committee.


Salva SanchisSalva Sanchis
In and Out, Through and Through
19.00, Eric Ericsonhallen
Caroline ByströmCaroline Byström
Past as prologue
20.30, Eric Ericsonhallen
Arkadi ZaidesArkadi Zaides
Border Choreographies
19.00, Eric Ericsonhallen
Chrysa ParkinsonChrysa Parkinson
Disorienting Front
20.30, Eric Ericsonhallen
Yvonne RainerYvonne Rainer
Trio A
19.00, Eric Ericsonhallen
Jaamil Olawale Kosoko & Ima IduozeeJaamil Olawale Kosoko & Ima Iduozee
20.00, Eric Ericsonhallen
Alice ChauchatAlice Chauchat
Approximations (temporary title)
21.15, Eric Ericsonhallen

Registration & Tickets

Participants in Within Practice take part in six workshops and six presentations during the course of six days.

Cost for professional dancers and performers SEK 500—which includes participation in the workshops and entrance to the showings in Eric Ericsonhallen as well as the showing of Yvonne Rainer’s Trio A.

If you are not participating in the workshop you can book your tickets through www.kulturbiljetter.se. Follow the links below:

11 Sept: Tickets www.kulturbiljetter.se

12 Sept: Tickets www.kulturbiljetter.se

13 Sept: Tickets www.kulturbiljetter.se



Address: Brinellvägen 58. Directions: If you are travelling by underground please take line no 14 to Mörby Centrum and exit at Tekniska högskolan. Bus no 4, 72, 73, 676 and 670 stop at Tekniska högskolan and so does Roslagsbanan. From Tekniska högskolan there is a 10 minutes walk (about 900 m) to the DOCH premises. Parking spaces are available at the school.


Address: Mårbackagatan 11, House 0. Directions: Commuter Train from T-Centralen to Farsta Strand (takes approx 15 min)


Address: Kyrkslingan 2–4, Skeppsholmen. Directions: Bus 65 or Subway T-Centralen/Kungsträdgården.


Caroline Byström


I am here. And you are here. And we will start from the ordinary. Listening as much as moving. We are audience, body-double, performer, mirror, enabler. Our bodies as filter and filtering. We try to create a situation to practice inner speech (imagination) of a joint space, that which we share for this period of time.

Presentation: Past as prologue

Past as prologue is part of an ongoing exploration of the document as an enabling force and an investigation of what already exists; three ghost documents from a previous performance. It asks the question of how to create and maintain connections over a period of time and is a performance and a documentation. A practice presentation in the making of a work to come between Byström (SE) and invited collaborator Antje Velsinger (DE).

Chrysa Parkinson

Workshop: What’s Front Got to Do With It?

I will propose movement and language-based scores. The workshop will be structured around the question of experiential authorship. Rather than considering the author as an owner (or controller) of actions, roles and materials, how can miscomprehension and disorientation be invited to support the performers authorship? How does the performing artist activate, engage with, form, reform and play with how they are constituted?
How they are comprehended?
And with front?Where is it. How did it get there. What is it up to.

Presentation: Disorienting Front

A performance practice consisting of a collection of voiced statements around and about the experience of front. The creation and performance of this text is an ongoing practice of facing fronts, some current, some ancient, some mine, some not. The collection of statements draws from poetry, science fiction, theory, fantasy, jokes, anecdotes and old dictionaries.
The practice is performed in English with a duration of about 40 minutes.

Alice Chauchat

Workshop: Approximating Dances

Our two hours will be spent dancing, writing (poems) and talking on the base of the Dance of Companionship and a few other scores. Each score proposes a way of being together/apart, attending and responding, reaching towards what between us can not be verified or grasped, yet moves and orients us. Because the relations at work in these dances are not formal, paying attention to dance and to others without the possibility to verify entails embracing doubt and uncertainty, and taking the risk of following one’s perceptions until they sometimes slide into fiction. Or maybe fiction as a departing point can help actually develop modes of relating that are not based on measurable difference.

Presentation: Approximations (temporary title)

Over the past few years my choreographic work has lived its public life mostly in dance studios, across the bodies of people who found themselves practising my scores together. Every now and then it makes a stage appearance and addresses audiences in a frontal manner. In those cases I use language and movement, so that it tends to look like a lecture demonstration. For the symposium I would like to open up the notion of approximation. Related to the image of an always receding horizon, approximation refers both to coming closer and to inexactitude. The etymology of the word translates as “towards very near”; this never arriving closeness might be a chance to keep a relational space alive, of which distance and intimacy function as coordinates. I hope for the context of this performance to be the site of our coming closer—to this notion, to dancing, to attending, to each other.

Jaamil Olawale Kosoko & Ima Iduozee

Workshop: Mapping the Transgressive Body

This workshop considers and discusses the critical position of fabulosity when situated inside a complex environment. How does fantasy serve as a survivalist strategy inside an ever-shifting or seemingly non-coherent pressurized space? What creative possibilities can psychogeographic trauma reveal in and through the architecture of the body? Set to a background of the cultural divisions, fractions, and schizophrenic behaviors currently embedded inside the contemporary political landscape, this workshop queries the ways in which people collaborate to archive their own freedom narratives as a way to negotiate and navigate through culturally charged fields of systemic oppression and loss. Participants are asked to bring costumes and various materials/objects that transform the visual state of their physical presentation.

Presentation: Recollaborator

“Indeed, Blackness provided the occasion for self reflection as well as for an exploration of terror, desire, fear, loathing, and longing.”Saidiya V. Hartman, Scenes of Subjection

Chameleon is a performance project by Jaamil Olawale Kosoko that examines the shapeshifting, illegible, and fugitive realities of Black diasporan people. During the Within Practice Symposium, Kosoko in collaboration with dance artist Ima Iduozee will explore live feed technology, augmented reality, and complexity theory (the study of adaptive survivalist strategies inside complex networks or environments) as a choreographic device. They will explore and share their research through collaborative actions that archive the process and development of the work.

Creative Statement: ”My work grapples with what queer and oblique readings of society and modernity can reveal about the narratives, political realities, and aesthetics of Black life, indigeneity, and decoloniality. I explore connections between my own autobiography and larger political issues. My works address the policing of Black bodies, fear of the Black male body, Blackness and colonial power, madness and mental health, and the ritual and spiritual practices taken up or passed down by Black diaspora communities. Although often interwoven with theoretical texts, as performance, my work is an immediate, layered, analytical, and visceral embodiment of certain ideas beyond dialogue. This means that I am constantly exploring juxtapositions between certain ways of knowing, decoding, and recognizing the body and its behaviors. My work examines the survival tactics used by Black and queer people and holds them up not only as strategies for art making, but also as necessary tools for creating new ways of living and building community. This is where I have difficulty drawing a hard line between, for instance, my performance work and other ‘engagement’ elements of my practice. For me, they are co-extensive. It is through teaching and workshopping through a community and healing oriented creative process (just as through archival research and choreography) that the “work” evolves. This concern is captured in the idea of the transgressive body and brings up questions such as: how does concept operate inside choreographic formation? What are the constraints, patterns, and avenues for future experimentation that influence how bodies might radically present themselves? What frames (classroom, community, performance or gathering) make deep intimacy, appearance, and engagement possible? In Chameleon, the ground shifts and the skin changes; through lighting, live feeds and interplay between identities and roles, observer and observed I aim to capture and comment on certain aspects of the the Black experience, the queer experience, the experience of the immigrant and the colonialized subject.”
Jaamil Olawale Kosoko

Practice/s—En kväll med Open Source och Open Space

Are you practicing something? Something that you would like to practice together with others?

Bring your dancing, theorizing, writing, looking, thinking, reading, moving, shaking, singing, talking and all other possible inging practices to share with your peers. Several studios are booked at DOCH and we will collectively make a schedule, on the spot, departing from the model of Open Space following the logics of Open Source.

There is no curation, no pre-selection, everyone is welcome.

The evening is facilitated by Zoë Poluch.

Yvonne Rainer: Trio A

Trio A, an iconic dance choreographed by Yvonne Rainer in 1965, consists of a 5-minute sequence of movement that was initially presented as The Mind Is a Muscle, Part I at Judson Church, New York City, on January 10, 1966. There it was performed by Rainer, David Gordon, and Steve Paxton, simultaneously but not in unison. Since then the dance has taken on myriad forms, including execution by a large group in the nude with American flags (Trio A With Flags), a retrograde version by Pat Catterson, and a recent solo version (Geriatric with Talking) by Rainer herself.

Choreography: Yvonne Rainer. Dancers: Sebastian Lingserius, Stina Nyberg and Björn Säfsten. Choreographer, dancer, authorized transmitter of Yvonne Rainer’s dances: Emmanuèle Phuon.

Salva Sanchis

Workshop: Movement does function

What to choose… from all the possible things I can teach… when I only have two hours to convey something… If I was only allowed to teach one thing, I know what that would be, but it would take longer than two hours. So I choose something else, something crucial as well, I hope, but which I think can give people a chance, given the time limitation, to experience a bit of a process. A learning process. Being confronted with something, approaching it by using that we already know, accepting that what we already know can only help us if it accommodates what is new in a flexible and welcoming way, like when you make space for someone to squeeze next to you on a small sofa. And then getting adventurous, playing with this new transformed knowledge that is the sum of the new information and the repositioning of the old one… Can we do this in two hours? Yes.
Ok then, let’s work on integration.

Presentation: In and Out, Through and Through

When preparing for work (rehearsal, class, performance…), there is an initial amount of time I dedicate to strict physical preparation (stretching, relaxing). Then there is a second phase that would still fall in the category of “warm-up”, where movement is already present, but in which the specific contents of the work session are not yet addressed. This is the phase in which conscious cognitive work and movement come together, in which I attempt to make both my intentions and my physical capabilities become in-tuned. I have realized over the years that this is the most generative moment of the work session. All new thoughts, ideas, realizations, appear at this moment. After that, the focus switches to deepening, practicing, shaping… In the recent past, I have purposefully started to look more attentively at this second phase of the warm up, I have been trying to understand it and value it for itself, and not only as a means to prepare the work that follows after it. What I am presenting here has to do with extending the qualities that appear in this moment: I have gone to the studio, started warming up, kept on warming up, and tried to capture what happened. The form of what I show is not a rearrangement of what happened, it is one example of a form I use to warm up. Its result is its own generation.

Arkadi Zaides


In his recent works Arkadi Zaides has been focusing on bringing to light politically charged content by investigating existing documents. Whether it is a video footage extracted from archives of a human rights organization operating in the West Bank, or the official reports of an EU funded project in the field of securitization, the usage of documentary materials within the performance field raises a number of moral and ethical questions need to be further discussed. In this workshop Zaides question these and related questions based on his personal experience and choreographic practice.

Presentation: Border Choreographies

In this talk Choreographer Arkadi Zaides will discuss two of his recent works. Both focus on borders as spaces that generate movement and provoke ethics. With the use of documentary materials, a specific choreography is identified in the proximity of borders. As a performer Arkadi embodies the ones who are in power. In Archive (2014) he embodies the gestures of Israeli settlers in the West Bank and in TALOS (2017) he becomes a spokesman of an EU funded project that aims to replace human border guards with robots. Questions of participation and responsibility arise as the stage mirrors the practices and the power relations which constitute the border.