ICoDaCo_Delete_Account

Items

• 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.
• 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).
• Sound/music
  300 words on sound / music from hearing and d/Deaf perspectives
• 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. ____ 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.
• Tier 10
  Tier 10 - Georgia Collective contribution movement/material generation
• 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.
• 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)
• 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.
• 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.
• 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.