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.

Alice Chauchat lives in Berlin and works as a choreographer, performer, teacher, writer, editor and other activities related to choreography. She has created performances in collaboration with a.o. Anne Juren, Frédéric Gies, Alix Eynaudi and performed with a.o. Jennifer Lacey, Xavier le Roy, Marten Spangberg and Juan Dominguez. She has been working mostly in collaborative set-ups, developing with her colleagues numerous choreographic projects and platforms for knowledge production and exchange in the performing arts such as the open source internet platform everybodystoolbox.net, the collective Praticable or the structure for practice sharing nobody’s business. 2010-12 she co-directed “Les Laboratoires d’Aubervilliers”, a centre for artistic research in the outskirts of Paris. 2013-17, together with Jennifer Lacey she hosted “Teachback”, a program for research in dance and pedagogy in ImPulsTanz Vienna. Alice is currently a guest professor in HZT Berlin (2017–19), and is starting a doctoral research on relational subjectivities in dance.

Caroline Byström

Workshop

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).

Caroline Byström was born in Taegu, South Korea. She grew up in Örnsköldsvik (SE) and works as a choreographer and dancer in Stockholm since graduating from the master programme in choreography at DOCH, Stockholm University of the Arts (2014). Her workings take on their expression in indeterminable certainties that move in between sound, text and body. She works from a place of relating to that which already exists, perhaps as a background. Rather than developing a coherent artistry Byström explores and formulates a new approach in each work. Autumn wise since 2014 Byström has danced with Weld company.

Antje Velsinger works as a freelance performer, choreographer and researcher in Hamburg and Cologne. In her choreographic work, she investigates various interfaces between dance, sound installation and visual art, in which our sensory perception of spaces and temporality plays a vital role. Antje holds an MA degree in Choreography and Performance from the Institute of Applied Theatre studies at Gießen University. From 2015–2017, she was a scholar of the artistic/scientific PhD programme “Performing Citizenship”, where she did research on a contemporary approach to utopian bodies. Her recent work “Let’s face it!” was nominated for the Cologne Dance Prize 2017.

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.

Chrysa Parkinson is a dancer living in Stockholm. She has been performing and teaching internationally since 1985. Her artistic research is focused on the performer’s experiential authorship. Chrysa’s writing, films and interviews have been published and distributed internationally. She is a Professor of Dance and the Director of the New Performative Practices MFA program at DOCH/Uniarts in Stockholm.

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

Jaamil Olawale Kosoko is a Nigerian American poet, curator, and performance artist originally from Detroit, MI. He is a 2017–2019 Princeton Arts Fellow and a 2017 Cave Canem Poetry Fellow. He lectures, speaks, and performs internationally. His work in performance and spoken word has toured throughout Europe having appeared in major festivals including Moving in November (Finland), TakeMeSomewhere (UK), SICK! (UK), Tanz im August (Berlin), Oslo Internasjonale Teaterfestival (Norway), Zurich MOVES! (Switzerland), Beursschouwburg (Belgium) and Spielart Festival (Munich). Publications include: The American Poetry Review, The Dunes Review, The Interlochen Review, The Broad Street Review, Silo Literary and Visual Arts Magazine, among others. In 2009, Kosoko published the chapbook, Animal in Cyberspace and in 2011, he published Notes on An Urban Kill-Floor. He is currently working on a memoir. Visit jaamil.com to learn more.

Of Nigerian and Finnish descent, Ima Iduozee is a choreographer and performer working in the fields of dance, theatre and performance. His debut, This is the Title, premiered in 2012, and went on to garner acclaim world wide, touring in 15 countries across Europe, North America and Asia. The solo was selected for Aerowaves Twenty in 2016. Iduozee´s works are often characterised by a poetic and physically rigorous approach. This fundamental starting point meet with the notions of identity, representation, memory and the edges of the human experience. Using afrofuturism as a platform, Iduozee´s latest creation The Garden of Eden (2017) re-constructs the narrative of Adam & Eve and re-imagines the past, present and future. Earlier commissions include works for the Finnish National Theatre, Helsinki City Theatre, Stockholm City Theatre and French fashion house Aalto International. In 2015 the annual honorary prize of the Finnish Critics Association, Critics Spurs', was given to Iduozee, as an acknowledgement for the best artistic breakthrough of the year. Iduozee graduated from the Theatre Academy (Arts University of Helsinki).

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.

Zoë Poluch is a dancer, choreographer and teacher based in Stockholm with masters degree in choreography from DOCH in 2012. Her practice spans from instigating practice based collaborations to dancing poems about dance, in a detour across stage performances, sound choreographies and movements of the social life. Her deeply critical eye for the contemporary dance scene is based on a long term and practice-based interest in the moving body. As she teaches, dances, talks, writes and thinks, she does it with a precise gymnastics of the senses.

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.

Salva Sanchis is a dancer, choreographer and dance teacher living near Barcelona. In 1998 he graduated with the first generation of P.A.R.T.S., and he has been both teaching and producing dance performances since then. He has collaborated with choreographers Marc Vanrunxt and Anne Teresa de Keersmaeker on several occasions. Currently, the two last performances of Salva Sanchis are on tour: “Radical Light” (2016), and “A Love Supreme” (2005/2017), made in collaboration with Anne Teresa de Keersmaeker. As of 2017, Salva has indefinitely stopped his choreographing activity and is focusing on studying and teaching.

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.

Yvonne Rainer, one of the founders of the Judson Dance Theater (1962), made a transition to filmmaking following a fifteen-year career as a choreographer/dancer (1960–1975). After making seven experimental feature-length films, “Lives of Performers” (1972), “Privilege” (1990), and “MURDER and murder” (1996), among others, she returned to dance in 2000 via a commission from the Baryshnikov Dance Foundation (“After Many a Summer Dies the Swan”). Since then she has made six dances, including “AG Indexical, with a little help from H.M.,” “Assisted Living: Do you have any money?” and “The Concept of Dust: Continuous Project—Altered Annually.” Her dances and films have been seen throughout the U.S. and Europe. Museum retrospectives of her work, including drawings, photos, films, notebooks, and memorabilia, have been presented at Kunsthaus Bregenz and Museum Ludwig, Cologne (2012); the Getty Research Institute, Los Angeles; Jeu de Paume, École des Beaux Artes, La Ferme du Buisson, Paris, and Raven Row, London (2014). A memoir—“Feelings Are Facts: a Life”—was published by MIT Press in 2006. A selection of her poetry was published in 2011 by Paul Chan’s Badlands Unlimited. Other writings have been collected in ”Work: 1961–73” (1974); ”The Films of Y.R.” (1989); ”A Woman Who…: Essays, Interviews, Scripts” (1999); and “Moving and Being Moved” (2017). She is a recipient of two Guggenheim Fellowships, a MacArthur Fellowship, and a U.S.A Fellowship.

Emmanuèle Phuon is French-Cambodian and lives in Brussels, Belgium. She started her training in Phnom Penh at the Royal Ballet of Cambodia and graduated from Avignon’s Conservatoire National de Danse (France) in 1986. In New York, she has performed with the Elisa Monte Dance Company from 1989 to 1994, Baryshnikov’s White Oak Dance Project from 1995 to 2002 and had the privilege to work with acclaimed directors Martha Clarke and Joachim Schloemer, and choreographer Meg Stuart among others. Ms. Phuon joined Yvonne Rainer’s informal company, the “Raindears”, in 2010. Most recently she has helped re-stage Trio A, The Mind is a Muscle and Chair/Pillow for “Yvonne Rainer’s Performative Exhibition” at Shunju-za Theater in Kyoto. Ms Phuon is a 2009 and 2015 Asian Cultural Council grantee for her choreographic work with Amrita Performing Arts in Phnom Penh, Cambodia. Her work has been presented at the Baryshnikov Arts Centre and the New Haven’s Festival of Arts and Ideas (2010), the Spoleto Dance Festival in Charleston (2011), the Guggenheim Works and Process (2013), Singapore Da:ns festival (2016) and has toured Hong Kong, Amsterdam, New Delhi. Bits & Pieces (Choreographic Donations), her latest project, will premiere at Danspace (New York) this fall.

Within Practice 2018

8–14 oktober 2018

Kalender

Registrering & Biljetter

Directions

DOCH

SITE

ERIC ERICSONHALLEN