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Items

• Portugal Tier 3 - (10-16.03.2025) Tier 3 - Portugal collective contribution - Individual Contributions
• Exercise proposals based on a specific Theme, topic, context.
• Portugal Tier 3 - (10-16.03.2025) Tier 3 - Portugal collective contribution
• Portugal
• Portugal
• Portugal
• Rhythm of movement and flow of images
  In this exploration I used the wall and my movement in its singular plane as a base. During the process I focused on ideas that would later be edited, joining my interest in video manipulation with the moving physical body
• before
  Life in spin before vortex.
• DanceVortex
  Spin: A Black Hole for the Dance Artist.
• WHY?
  This week, we talked about the meaning of dance. What it means to each of us. These are my thoughts in written form this week. As this process was something individual, I created these thoughts through the lens of a diary. It's like an inner dialogue with myself.
• Helpfulness of dance
  After the first residency week I took time to sum up my thoughts. It landed in my desire to dance as showing to people its helpfulness. Showing how irreplaceable dance and movement can be. How great solution it is when words are too short and when urgency to share is there.
• Why Dance? A mind map of Latvian collective.
  In the first days, we got to know each other. It felt natural, perhaps because part of our collective included animals—two dogs, Maroka and Mango, and one cat, Rizhiks. An exercise inspired by the practice of “bee shamanism" helped us open up and reflect on the question: Why dance? The answers emerged: because when you dance, there’s no time to shoot; because it unites the body, mind, and heart; because it teaches us to move together without stepping on each other’s feet. We shared thoughts on dance education, the influence of big names, and the fine line between stealing and sampling—borrowing small petals from others’ work. But why cling to names, authorship, or ownership? In the final days, we created and experienced dance performances in nature, questioning the role of the artist. And then, the oracle cards arrived (“These cards are not magic” by artist Bek Berger). Their message was simple yet profound: Communication isn’t just a concept—it’s a collective attitude, a lens through which we can move, create, and connect. Art needs time—time to create, to experience, and to perceive. Here is a link to a full Miro board, our mind map, to find out in detail of Latvian collective’s first residency week:
• Somatic advocacy
  A scribbled-on list of 3 themes that matter to me, while I realize there is only one theme - the body. Visiting the pre-verbal realms and seeing what appears. I find it a confusing place to be though, since my first form is language and poetry, and dance is my way to expand that, and yet, we need to return back to the abstract level in order to communicate.
• Sauna illustration
  sauna illustration
• An audio explanation of the “Five Pillars” file
  In this file, Aigars, an artist from the LV collective, gives a detailed explanation of the information contained in the “Five Pillars” file and describes how the LV collective identified the five pillars during their residency
• Dream performance collage
  This collage represents my dream scenario of a performance. The venue is located in space — a limitless, surreal environment that symbolizes freedom, and the absence of boundaries. In this world, money is no obstacle. The falling bills represent abundance and the idea that I can create whatever I want. At the center of the scene stands me, the performer, surrounded by my co-performers — dogs. Together we share the stage, while an enthusiastic audience watches and enjoys the show. The atmosphere captures a sense of joy, confidence, and fulfillment, as if this were truly the best job — one that not only pays well but also allows full creative expression. On one side of the composition, the phrase “Best Paying Jobs” appears, contrasting with “Find Your Purpose” on the other. Between them lies the balance I aspire to: doing meaningful work that sustains both creativity and life. The small plant symbolizes sustainability — a reminder that even in a dream of abundance, growth and care remain essential values.
• Useless/usefull
  I am digging. Exploring repetition as a choreographic tool, as polishing technique for digging, as getting the work done, as the basis for automatisation of work. Researching the levels of motivation and dedication depending on what type of task it is - something practical or artistically practical only.
• Dream performance in Skaņaiskalns, Latvia
  The idea of this dream performance was created during iCoDaCo residency week 3 during the community event in Mazsalaca library together with local community members. Skaņaiskalns is a special place in North of Latvia, that’s a cliff across the river of Salaca. In this place there is a very strong echo, so people go there to hear their voices coming back to them. Together with local community of Mazsalaca we imagined this durational performance where voice echo would be replaced with the movement.
• skeleton dance in the wild
  Here you can see possible dance variations after life
• We dream of the singing hill
  In this technical rider you see the requirements for a dream performance. It’s a durational piece inspired by QUARTO’s Durational Rope. We let our imaginations fly by bringing in elements from the previous weeks’ interactions with the local community. Basing this performance in the wish for community and the work cycles of rural Latvia. One major idea that has stuck with us from this process is to add a SPA day to international tours after the performances. This would allow the dancers and crew to recuperate after taxing their body and mind on stage.
• What is it what decides?
  A quick tryout to schematically depict how I make decisions, especially thinking how do I move towards my dream work. The outcome turned out to be quite miserable - other people’s dreams and other works and who knows whose decisions keep deciding for me while I am waiting for something. Maybe waiting for the iCoDaCo project to help bring out my “another me” to decide to do my dream work?
• Composition with children “The start”
  I recreated the composition task from our residency with the children I teach at a dance school. The group consists of young girls aged 8 to 10. We worked on the task for 30 minutes, using only a few objects available in the space. The instruction I gave was to change the location and position of certain objects, and, if they wished, to place themselves within the frame. During the process, I recorded videos of the activity, but since they are children, I prefer not to make their faces public.
• Composition with children “The End”
  At the beginning of the task, I placed all the selected objects in front of the group. The children were invited to enter the space one by one, in no particular order. They began slowly and carefully, but soon their playfulness took over, and the task grew increasingly dynamic. The pauses between participants became shorter and shorter until they no longer waited for one another—they simply entered the space whenever they felt like it. As I observed them, I noticed a gradual shift in focus. At first, about half of the girls seemed interested in building storylines through the objects, while the others were more drawn to movement itself—dancing, spinning, and doing cartwheels across the floor. Over time, their attention naturally moved away from the objects and toward the physical experience of being in motion. At one point, one of the girls broke the rule by bringing in an object that wasn’t originally in the studio. That small act opened a kind of “Pandora’s box,” releasing a wave of freedom in how they related to the materials and to each other. The task reached its culmination when all the girls joined together in a spontaneous collective dance, where the boundaries between object and movement dissolved completely.
• The space makes the decisions
  In this contribution I focused on how the available space and object (chair) influence my decision-making process. We became a collective working together in tandem with the plane of the camera lens. Wherever the space leads me, I go.
• Setting the stage for a collective decision-making choreography
  The video shows the perspective of the table / setting the table for a collective decision process: we are about to write a collective poem. I really prefer when there are structures to hold collective decision processes, choreographed with equality and horizontality in mind, so we can lie back and approach them with the ease of a play, with no need to fear the domination of the extroverts, or those better versed in language, or those not being afraid to take space.