ICoDaCo_Delete_Account

Items

• New context for a new possibility
  Deborah Light’s individual contribution for week 9 - Set, props, costumes - written reflection.
• Musical response to content development strategy v
  A collaboration between Inta Balode and philosopher and artist Nicole des Bouvrie. In this one Nicole responds to Inta's video created as her individual contribution to TIER 6/Content development strategies. In upcoming TIERS Inta will respond to Nicole's song. The process is about translation possibilities without much context to see how different/similar intention from reading can be in different situations.
• Intuitive Feet
  A micro-improvisation together with children, to a song they chose themselves
• HORSE FISH_movement material / Helén T, Réka O
  As a collective, we worked on generating a specific movement vocabulary for 3 days. We spent 1 hour each day with continuous movement practice which did not include any verbal communication between the participants. I worked with Réka Oberfrank and I was the initiator of the common movement vocabulary. Although the direction that we took was initiated by me, the video captures the last (3rd) practice where we were already generating this specific movement material together. You can see a short snippet of this process.
• Generate movement material / no words
  This is a movement material created without words
• The humpless camel
  The photo shows a costume from a previous performance. I could have been a camel in it, but despite all the work that was put into it, it didn't end up being my costume for the performance. In the photo, it lies sadly in the corner. I try to wear it often during training sessions so that it will have a future. People have asked me for it several times. I won't give it away.
• PICTURE it.
  This PDF contains a movement creation method as the individual contribution of Mate Czako from the Hungarian collective for Tier10.
• Starter Tier 11 - Part 2
  Starter to Tier 11: How is time structured?
• Starter Tier 11 - Part 1
  Starter to Tier 11: How is time structured?
• GUIDELINES FOR MOVEMENT/ARTISTIC GENERATION
  Some guidelines, abstract and conceptual, for movement/scenic/artistic generation, used in my practice
• Movements of the making
  The making of an imaginary river crafted with cotton fabric, beeswax and the use of scissors, baking paper and iron. Live scenography as wearable for the site specific performance ‘and it rained for thousands of years’; to sense, invoke and remember bodies of water, sacred and vital to our existence. Exploring bodies in cycles, in gestation processes, in fluid processes, in metaphorical and metaphysical states of embodying, shedding, and expelling liquids, membranes, memories, gestures.
• Thread curtain supporting collective knitting acti
  An scenographic element is used to create an action around the philosophy of weaving versus choppin/cutting. We consider the option of having men holding this action while women develope a "biggest" one, handle a biggest space.
• Intuitive bodies at nature
  Five bodies dancing a nature space. Surrendering to its conditions: Sounds, breeze, temperture, texturas. Bodies taking the chance to conect with themselves, their breathing, gaze and skins.
• Landscape-based choreography SCORE
  Score on landscape-based choreography formulated as precisely as possible after after taking the workshop Bodies & Landscapes with Jakob Jautz, who shares his research as an artist and environmental activist
• Tradicional bottle
  This type of botle is a typical instrument for tradicitional dances. I used this prop in the dance piece “Outrora Nós”, we used the botle for make sound, but now I imagine how I could use this prop without sound…
• Intuitive dance for a new sound space
  The first three days of the week I couldn’t do the residency cause I was working, then my collective sent me a proposal for participate. I danced intuitively the sound space of Denmark.
• Langre
  Work day for the iCoDaCo Spain collective in open environments, in this case Langre Beach. Sensory practice of walking, running, moving, and listening to the space and others with eyes closed.
• Improvisation
  Improvisation on new music genre. I gave myself a task to think about the genre of the music I have never danced to. It turned out to be hard metal. I tried to move around it trying to find movements which could express the energy and emotions of the music played in the background.
• Tier10.Movement.Material.RékaOberfrank.Hungary
  Movement material created without words between Réka Oberfrank and Helén Tamáskó from Hungary. Tier10.
• Artistic statement - movement material creation
  Thoughts about Tier 10 starter and artistic statement about my own movement material creation parctice
• Intuitive dance practice
  Dance improvisation is always a step 0 when I start to collect movement material for a piece.  My interest often rooted into music, rhythm of a poem, a discussion which I love to use as an inspirational source, and I can use them to form my movements.  Music is the most often used source, I spend a lot of time in the studio to dance intuitively to a music, to figurate out how is my body, and what are my interests in movement, quality, dynamics, form, dramaturgy, in performing and in presence.  For me improvisation rules, or usage of the music can provide a safe place, a bridge between the subconscious, dreaming, associative and the observer, controller parts of the brain. They can be active at the same time.  In art, in dancing my artistic preference and my experience that I use my creativity in a way where I can express the unspeakable but I can also leave things in the shadow, hiding.  It is what makes the difference between for me therapy and artistic expressions, there is always a tension of something unspoken, while wishing to “speak” about it.
• Individual contribution_9
  Movement generation method: take a random object (in my case tape), follow your desire (intuition) and execute it as close as possible to your desire/ original thought. What moves me? What moves you? What moves us? Is the impulse coming from inside or outside? Is it the group the prop the music or it’s beat or emotion? Is it a brilliant idea or a muse? It doesn’t matter what it is exactly, it just need you to make you move, set on fire your interest that feel like you could forget yourself in it for at least 6 hours…
• Tier 10
  Tier 10
• Individual contribution_8
  I went to see a performance this week to theatre X10 and saw a theater piece ALL QUIET ON THE WESTERN FRONT and it was not QUIET at all!
• Individual contribution_9
  This is a picture of prop/costume I work with on the individual basis. I question where the desire to loose control while performing on a roller scates came from? Perhaps when you try to keep your shit together the whole life, that moment is inevitable…it is fun to dig into unknown. I wonder how to find the same intensity of interest in the collective creation. How to vibe with the compromises? How to groove with the compromises? How to take compromises as it is your own baby? Where is the collective interest? That is unrevealed yet but I believe we are glued together with good intentions and eager to question well-trodden paths and look for undiscovered playgrounds and landscapes.