Within Practice


WITHIN PRACTICE – 18.06.2022

trompoppies:blackmilk: tiran willemse

“Black male melancholia”
– tiran willemse

It is dark. Four spotlights beat the ground and form a pulse, a rhythm, a beat. Spotlights searching. In the dark.
A shadow appears. At the corner of the room. It moves softly. Hides, is constantly on the go, and still very still.
This is how I read the opening of Tiran Willemse’s trompoppies:blackmilk.

A smaller stage is placed in the back of the larger stage room where the performance takes place. In front of it there are a lot of microphones. A line of spotlights creates a hallway from the audience to the smaller scene. Smoke, darkness and lightshows creates an intense and enchanting atmosphere in the room.

Willemse moves in relation to the light, the room and the atmosphere. With, and without rap music. Sometimes he disappears (due to smoke, darkness or placing). In one part of the performance, he repeats “Now you see me. Now you don’t”.

He gives the movements connected to black masculinity a new context, and places them in relation to femininity, performativity, wanting to be see, running, hiding, and a want for being invisible.

There is a part of the show where he just keeps running, holding up the tempo, the strength, the image. I do not know for how long he ran, I do not know if he was running from or towards something, or if he just ran and ran without getting anywhere.

Willemse’s trompoppies:blackmilk captures black masculinity in a number of ways, out of levels of interpretation, of forms. He creates a space for the melancholy, the pride, the strength and the will to keep running. The show keeps reinventing itself, keeps creating perspectives and depth. It never gets too long, or too slow. It keeps giving.

Vår Maria Granados-Langeland

Photos by Carla Schleiffer

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WITHIN PRACTICE – 17.06.2022

Practice presentations: Andros Zins-Browne & Alma Söderberg

Andros Zins-Browne presented the results from his four days of workshops at the festival. Five bodies, who had all been at Andros’ workshops, showed their investigation in and interpretation of memes and gifs. The choreography was improvised and embodied how the memes and gifs operate, spreading quickly in a huge crowd, but resonates differently from reader to reader, or from context to context. They are repetitive, but still their meaning evolves. What happens with the meaning of a movement if it never stops evolving, and if the interpretation of it is different from body to body?

Alma Söderberg sat on a chair.
Through talking/singing/noising while dancing
(still sitting on a chair)
she presented her current practice in a raw and honest way
after giving birth the pelvis floor might be somewhat uncontrollable
which is the reason of a dancer’s attachment to a chair
The practice presentation showed how a dancer can adapt, how the dance evolves due to its circumstances, and how these circumstances can in fact lead to a new artistic expression

Vår Maria Granados-Langeland

Photos by Nemo Stocklassa Hinders

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WITHIN PRACTICE – 16.06.2022

Practice presentations + contemplative concert: BamBam Frost, Liz Kinoshita + Eli Keszler

The evening started off with two practice presentations, 40 minutes each, followed by a 30 minute break before Eli Keszler finished the evening with a drum-concert.

First out was Kinoshita. She never stopped moving, talked and moved at the same time. She accentuated the importance of being safe. For Kinoshita, this means doing a practice in long lasting (professional) relations with her teams, choreographers, dancing partners and companies. She gave us a glimpse of her wide range of material: from the more common musical tap dancing to an avant-garde feeling of an audio-performance and to the more classical expression of dancing too, while following the audio of an instrumental orchestra. Her practice shows not only a wide range of dance expressions, but also how dance suddenly touches other art forms, that the art forms are not separated, but melts into one another. Kinoshita sang in various ways; the names of Islandic volcanos, a mash up of beatboxing and singing. Being all the instruments needed, she sang lyrics in a classical way, and made sound of emotions in a more abstract way. She told us about her practice while still moving, and the telling, the moving, the singing and the dancing melted in to one.

Frost, just as Kinoshita, gives her friends and teams importance, and agency, as a part of her practice. In fact, they were highly present in the room, and in Frost’s line of thoughts during her practice. They exist through fiction, and imaginary skills, which is essential in her practice. Frost explained the practice of rocking – a practice of change, where a movement gradually changes through repetition. The new movements appearing through change was given meaning through associations and fiction. In this way a fictional fantasy world was highly present during the performance presentation. Through American pop cultural references, a show girl kept appearing on stage. Frost kept seeking and embracing pleasure, and let her be, giving the audience the pleasure of entertainment.

The concert with Eli Keszler was a solo-drum-concert, that lasted for approximately 1 hour. There were no words exchanged, and the music played non-stop. The drum set was placed in the middle of the much larger stage room of MDT, and the lightning made a clear shadow of Keszler playing on the walls. Behind him: projections of short videos and photos from everyday life. The music gave life and an atmosphere to reading these pictures: depending on the music the same photos could be melancholic, humoristic or appreciative; almost as a tribute to life. Sitting in silence, surrounded by the ongoing drums, the concert gave space for imagination, relaxation and reflection.

Vår Maria Granados-Langeland

Photos by Nemo Stocklassa Hinders

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WITHIN PRACTICE – 13.06.2022

THE WATER – Sharing session and Panel by Samlingen

A huge, dark blue and glittery fabric is hanging from the ceiling and down under our feet. It simulates water, a waterfall. In the pool of water made by this fabric, there is another, real, inflatable baby-pool, filled with drinks for everyone in the room.

We do a brief 1-minute meditation on the theme “Water and Practice”. Then we share the memories in and to the circle, to Samlingen. The shared memories are written down on a timeline. Quickly “time” became another theme of the event. The atmosphere is pretty relaxed, (personal note/read in: we have gin in our system) we are happy to share and listen, to reflect on water, in both concrete and abstract ways.

The practices shared reflected on moving like water, moving with a feeling of floating, and letting the water in us have agency. Referring to a practice being something you do more than once, the repetition. And reflecting on water as something that gives the feeling of safety, that water is in us, that all water is connected, it connects us, and it connects the world, holding the world together. We come from water, we are in water, and we do always relate to water, water is the one thing that all humans need no matter what. As a matter of fact, water is almost never just water, it is always kind of infected, or in relation to something else. This gives room for a peaceful and ecological point of view when surrounding oneself with the thought of water.

Vår Maria Granados-Langeland

Photos by Nemo Stocklassa Hinders

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Note från Michikazu Matsune

Under hösten 2019 blev jag kontaktad av Björn Säfsten som undrade om jag skulle kunna vara intresserad av att komma till Stockholm och dela min praktik inom ramen för ”Within Practice”. Mitt omedelbara svar var: ”Självklart!”. Tänk om vi hade vetat vad som väntade våren 2020 …

Reserestriktioner till följd av coronaviruspandemin och tanken på att inte kunna resa till Stockholm fick mig att byta fokus. Jag arbetade i stället fram ett format som workshopdeltagarna skulle kunna utföra på egen hand, vilket resulterade i ett koncept byggt på distansbaserade uppgifter – med olika uppgiftskort.

Projektet kallat For Instance, och dess uppgifter, kan nämligen utföras omedelbart. Detta möjliggör för spontan tolkning, och ett mer eller mindre obegränsat antal potentiella resultat. Målet med verket är inte att lära sig bemästra eller slutföra det. Det förblir flexibelt, justerbart och öppet.

Under hösten 2020 kunde jag äntligen resa till Stockholm. Jag fick då, med stor glädje, möjlighet att arbeta med studenter på STDH och workshop-deltagarna på plats. For Instance, och uppgiftskorten, kommer dock att även fortsättningsvis finnas tillgängligt som ett delat gör-det-själv-verktyg.

Michikazu Matsune

Juni 2021

For Instance – Scores är en arbetsmetod, skapad som ett spel, med både performativa och koreografiska uppgifter. Verket kan utföras individuellt eller i grupp. For Instance består av cirka 50 kort. Idéerna är genomförbara såsom de föreslås, men det finns även möjligheter att skapa och utforska egna spontana kombinationer samt variationer. Processenär en lek med den dynamik som uppkommer i mötet mellan idéer och tolkningar, mellan förväntningar och utföranden. Poetiskt, absurt, enkelt, roligt, realistiskt, omöjligt!

Skriv ut korten.
(A5-format rekommenderas)

Alternativ 1:
Blanda korten, välj ett kort slumpmässigt.
Utför uppgiften.

Alternativ 2:
Läs alla uppgifterna.
Skapa en komposition genom att arrangera ihop korten.
Utför kompositionen.
Gör variationer.

Du kan även addera dina egna uppgifter. 

För nedladdning av korten: www.michikazumatsune.info/images/forinstancecards.pdf
Webblänk: www.michikazumatsune.info/works/forinstancecards.htm

Michikazu Matsune använder sig av olika metoder i sitt konstnärliga arbete. Detta kan exempelvis vara skapande av föreställningar, interventioner på offentliga platser och framtagning av artefakter för performativa aktioner. Matsunes verk, ofta med inslag av en poetisk absurditet och subtil humor, reflekterar kring prevalenta teman i vårt globaliserade samhälle – på ett lekfullt men på samma gång kritiskt sätt. Hans senare scenverk, inklusive All Together (2018), framförs på scen av en trio tillsammans med Elizabeth Ward och Frans Poelstra. Föreställningen baseras på berättelser om personer som inte har möjlighet att se den verkliga föreställningen. Michikazu Matsune har även initierat ett projekt kallat Performance Homework (2020, vilket är en reaktion på coronakrisen. Performance Homework innehåller verk från över 25st scenkonstnärer och idéerna kan utföras självständigt. Ett flertal av Matsunes soloverk har turnerat och visats på internationella festivaler och institutioner. Bland annat Goodbye (2016) som bygger på avskedsbrev skrivna av olika människor, och av olika anledningar. Dance, if you want to enter my country! (2015) är utgår från en bisarr, dock sann, historia om en afroamerikansk dansare som tvingades att dansa vid en passkontroll på en flygplats för att bevisa att han faktiskt var en professionell dansare. Detta för att eliminera misstankar som riktats mot honom på grund av hans muslimska förnamn.

Matsune har sedan 2012 undervisat i performativa praktiker och har även varit gästlärare vid Iceland University of the Arts (Master in Performing Arts), University of Agdar in Norway, Hochschulübergreifendes Zentrum Tanz (HZT)/Universität der Künste Berlin, samt Salzburg Experimental Academy of Dance. Michikazu Matsune är från kuststaden Kobe i Japan. Han är sedan 1990-talet baserad i Wien.


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