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summer residence (tower) of Queen Tamar i Ushguli is a highland village in Svaneti, Georgia, where the summer residence (tower) of Queen Tamar is located.
Queen Tamar reigned in the 12th–13th centuries (specifically from 1184 to 1213). Ushguli is considered one of the highest continuously inhabited villages in Europe — and is often described as the highest permanent settlement in Europe.
It lies at an elevation of about 2,200 meters (7,200 feet) above sea level, in the Svaneti region of Georgia, at the foot of Mount Shkhara (one of the highest peaks in the Caucasus).
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Sound/music 300 words on sound / music from hearing and d/Deaf perspectives
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I got scared in a sunny day I went outside. I found a weird house in an industrial middle of nowhere in Riga. It was near the railway, but nature was also very present. This place was very strange. I saw a few men that seemed scary and strange to me. I got scared, although it was middle of the day. I also heard scary sounds behind the big metal gate. I was scared that suddenly train will go on these rails that are clearly overgrown with grass and have not been used for many years. The wind was blowing. The sun was shining. All this place around me was moving. I knew all these scary things are just in my head. But then some man in a hood went past me behind the grass.
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This material is made using a practice that has been important to me as an artist for my last and current creations. I go outside and get inspired by the environments outdoors and then bring the created movement and ideas back to studio. Or sometimes other way around. I love to work that way, because I feel it helps to create art that’s not stuck inside a specific bubble and that’s more connected to the world outside of me. At the same time, it’s a great tool to use when you feel stuck.
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Tier 10 Tier 10 - Georgia
Collective contribution
movement/material generation
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Como? Two phrases of choreographic material generated by an intuitive tennis match dynamic (throwing material and returning material directly without judgment and in continuity) Recording in the rural environment that we love.
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The dance exists before it happens A written response by Jo Fong
SERAFINE1369:
[my body / running wild / this animal] glorious
(Work in progress sharing at Chapter Arts Centre. 9th Oct 2025)
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I lost my keys and found spiders Morphing is an improvisational movement generation approach that invites the noticing of change. The dancer starts from a place of physical motion and notices a point of interest which they then follow, leaving the previous idea behind.
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Directed morphing This is a short exploration of the morphing practice combined with an outer direction. Morphing practice starts with an intuitive move, where you leen into the movement, but when you notice something new you leen into the change and always say yes. In this example the change is directed by another person that see an opportunity for something else.
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Morphing with the wind Our movement practice was in part based on intuitive creation methods. We coupled that with an observation practice where we lingered in an outdoor environment and then brought the generated material into a studio space. To this baseline we added a physical creation score that defined a body part, direction, and action. We also explored a morphing movement practice which invites the participants to start from an intuitive motion and then notice something interesting about it. Then the dancer moves only in the direction of the change leaving the previous state behind.
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Joints in Giggle Group improvisation coming from our task to have giggle in our joints (most of inspiration we draw from audio of Whales collective).
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Co-habiting and curating condition A game / a system where selected or random prompts create the conditions for moving
In this case four prompts
Deb - Dry your tears and non-stopping
Jo - Unravelling the structures and moving through stillnesses
Anchors/how to enter
Being ready / not daunted
Trusting / not knowing
Commit
Exploring the idea all this information/knowledge exists within our bodies,dance and life experience .Taking the current with us.
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92831 ZsOfIA The methodology we used for this video contribution was proposed by Zsófia. It is a couple exercise that we practiced each day of the week for approx. 1 hour. The key to it is to exclude words and to co-generate movement material using only bodily communication. One person (initiator) prepares with a movement vocabulary that is proposed for the common dance. The other person (follower) is first observing the proposition and after incorporating the movement material while trying to explore its limits. This then becomes a common negotiation of the particular movement vocabulary that the couple is constantly co-generating. The roles of initiator and follower hence transform during the course of the practice.
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A list of reasons A list of reasons of the method we worked with during the week.
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LONG SKIRT Reflection about a costume that i've underused in one of my works.
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Mouth piece Mouth piece inspired by the intuitive dance we created while listening the Danish sound (Tier 8) and Alexander McQueen jewelry pieces
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Mouth piece Mouth piece inspired by the intuitive dance we created while listening the Danish sound (Tier 8) and Alexander McQueen jewelry pieces
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Sharp Flamenco #1 Choreographic composition exercise throught improvisation having as a starting point: breathing and sharp movement.
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Sharp Flamenco #2 Choreographic composition exercise throught improvisation having as a starting point: breathing and sharp movement.
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Intuitive improvisation / Netherlands Group improvisation using the music from the Netherlands collective
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Intuitive dance Intuitive dance and choreographic composition using the audio from the Spanish collective.
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SWEDEN collective contribution - addition The seventh perspective.
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SWEDEN collective contribution This is how all our perspectives exist in one place at the same time.
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How Can All Our Perspectives Exist in One Place At How Can All Our Perspectives Exist in One Place At The Same Time
AdeY. Tier 10.
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Nea’s Angle SCORE: ”How can all our perspectives exist in one place at the same time?” / my angle
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Khamlane’s angle The score was: How can all our perspectives exist in one place at the same time? We set up each of our phones to film our perspective and recorded simultaneously, then played back the footage simultaneously and recorded this, so all the movement could exist and be experienced at the same time.