ICoDaCo_Delete_Account

Items

• Times on post it’s, books and lipstick
  A montage of dancers notes to self, books and a lipstick in Ärlegården, Gothenburg.
• Collective contribution
  A dance score about the feeling of time
• MUTE SCREAM SCORE
  This is a document describing the Mute Scream Score. Over the timelapse of in total 11 minutes you will go during 5 minutes from a neutral face expression to a face of maximum mute scream, hold it for one minute and then during 5 minutes going back to your neutral face.
• SWEDEN collective contribution
  HOW TO SAVE TIME - An instruction manual. A score based on conversations we've had throughout the week as well as some experiments we did in our very first (social) residency.
• Dark Conversations
  Dark Conversations. A sharing and test of concept with the dance community in Gothenburg.
• Mute Scream Score
  This is a document describing the Mute Scream Score. Over the timelapse of in total 11 minutes you will go during 5 minutes from a neutral face expression to a face of maximum muted scream, hold it for one minute and then during 5 minutes going back to your neutral face.
• Track with sound cues for MUTE SCREAM score
  This is a simple audio track that gives sound cues for the score Mute Scream which is the collective contribution from Spain for the tier 11 on time.
• It's a knee!!!
  I am using a list of instructions made as part of one of the collective exercises to produce audio dance experience. I am refering to sports programmes where fast and excited speech is a tool to generate excitement. How the communication style impacts how we see the value of things? How this kind of audio material can be performed both internally and also physically?
• SCENIC TIME
  A reflection about different conceptions of time in Scenic Arts, and my particular vision about time in Movement Arts
• Curating conditions
  Deborah Light’s individual contribution week 10 - Movement - a manifesto for taking care of the ways in.
• 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…