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The Machine A content development strategy, what Helén brought in, and we worked on it to be our own. I really found it fruitful, to approach a topic (or create one) from different ways. You can read about it in more details.
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Reverso This is an audioguide to explore the building of SÍN Arts Centre. Helén Tamaskó wrote the text, I did the music montage from the album “Summvs” by Ryuichi Sakamoto and Alva Noto.
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What’s the point? The fourth chapter of my experiences in the program. I wasn’t happy in one hand, but my eyes opened for another sight.
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A lake, a forest, a mountain - ready to explore Three different things what interest me. One movement based, one state oriented and one theoretical. All of them need to be researched.
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Is it real? Everything was still quite new. The people, the program, horizontality, the boundaries. I followed the vibe of my previous individual contribution, writing down some key thoughts from the week. Worth to mention, that for a day we worked with a group of elderly.
One important question about horizontal working and an answer rooted in belief. Also, debating the stake of the outcome of these research weeks. Which is represented with the whole document.
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Why dance (?) in a nutshell This was during our first week as a newly formed collective of seven individuals. What you can read among the lines, are mostly keywords/thoughts about my connections to dance as a movement (in 2024. end of November). Also one important question, a song and a little secret message.
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Choreography of the world inspired by BARAKA In this video, I have collected various choreographies: the movement of birds and the movement inspired by it, a dance inspired by the movement of the Danube, a dance of joy, a seesaw dance, movements created by various media and technologies, which for me constitute fascinating choreography. For example, the projection at Laurie Anderson's concert.
I also included a solo piece where people sat around me outdoors and I attempted a 'time lapse' dance, like when we see a plant come to life or slowly wither away. The movement and emotions of the crowd after a match on the street, or the street performance in which I participated, occupy a special place in my heart as choreography. I can see all the time the world dancing, and I always recognize some choreography. I submitted my contribution in the form of a video because in films a lot of times I was able to experience flow or catharsis, as the movements are choreographed in the scenes.
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StoryoftheBody Thoughts about the voice of a body, my body, a dancers body and a picture reacting back to the past where a story happened.
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UrgenciesInPersonalPrectices Written about three physical directions from that period of time as a personal perspective, urgency.
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WorkshopFlowDecisions The file containes personal emotions about our second week together. We even had the oppoortunity to lead a two hour workshop for the program of Fanni Lakos, a hungarian actress who worked together with women over 60 what I was amazed by.
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Body Politics Gwyn’s perspective Gwyn’s perspective on Body Politics - written contribution with some images of me on a rugby field
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Inuitivetiming This is a video made for tier 11. It shows a glimps of how I imagine intuitive timing.
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Body politics (space, media, sexualization) The spatial arrangement of bodies, how they interact with each other, the influence of the media, science, and semi-science on bodies. What are the things that can undermine our trust in our own bodily intuitions? I also thought about my own security in asexuality.
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List of interests This week, we got to know each other's areas of interest and research. In this document, I have written down my own list, which I have narrowed down to three areas that I would currently like to work on, even within the collective.
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Time as an influence on our art This document contains a brief summary of my thoughts and the materials I have collected on the subject of time. For example: different time conceptions, time as an influence on art, external and internal time, intuitive and systematic mind and time as a dramaturgy.
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Mocking Time - The documentum film This is a Mockumentary film about how we related to time this week, and in the background you can see what ideas and practices we had. I also developed the dramaturgy of the film with a focus on time.
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Dimensions of time and movement This video captured during a lunch break what we held together with our collective.
This accidentally image shared by multiple layers of movement and time.
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Movement of fat This is a prop I am using to research movement of fat in the dancing body - for an ongoing work in progress that researches wobbling and jiggling of flesh - as undesirable movements- both literally (considered to be a vulnerable and intimate for the stage) but also addressing our movement and standing on the world - that prefers our boney qualities. From researching many materials and substances, filling a condom with water is the closest I got to my desired movement. This prop though is only used “backstage”, for inspiration of dancers for movement of a fat cell (adipose tissue).
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We only move to indicate the wind direction What is even “movement”? Do we ever invent anything, or can all movement be summarised as - indicating the direction of the wind, be it a literal wind, as in this video, or a proverbial wind- of our circumstances, geopolitics, century?
The words at the end of this video say: “all is testifying of the wind”
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Counting time A movement inspired by our week’s research on time and a poem by Estonian poet Contra - approx.translation:
I have a clock on my wall
Where a door opens every hour and a hand appears, showing time with the fingers
Afterwards it shows the middle finger
The time is going away
The movement reflection lingers in the tension between time that is “counted” and can “pass” and perceived as many separate units, and the time in the body that is more experienced as a process, that is eternal, an uneven flow. Can a river “pass” or go away? My week’s reflection is also on how dimension of time is experienced differently in different bodyparts. On the last day of our residency I offered an exploration- inspired by BMC (c) - on different perceptions of time in different parts of the body.
Those differences of time in a single body is currently also very present in the nature- with trees remembering the summer only in some parts of their branches.
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Gerald’s Dance | Dawns Gerald - 3 A modern interpretation of documentation of dancing in the 12th century in a church yard in Wales. Written in the style of a Welsh folk dance.
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Dawns Gerald | Gerald’s Dance - 2 A modern interpretation of documentation of dancing in the 12th century in a church yard in Wales. Written in the style of a Welsh folk dance. Part 2
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Dawns Gerald | Gerald’s Dance A modern interpretation of documentation of dancing in the 12th century in a church yard in Wales. Written in the style of a Welsh folk dance
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On Conditions A study in finding the conditions for the dance.
Angharad dances thinking about finding a rhythm and unraveling the structures.
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Time # Circle In this score I invite the participants to focus in turning in circle movements and the sensation in evoked in our body and mind. How does it change time? Feel free to reverse the tasks in order or try movements in a reversed way