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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.
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Moa’s angel in Ärlegården DCV In Sweden, City of Gothenburg Place Ärlegården Home of Danscentrum Väst. This Collective of six did a Dance. This is my angel
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individual contribution movement
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Solo duett My part of the collective contribution.
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Sound mashup A mashup of Sinnerman by Nina Simone, Breathe by the Prodigy and myself playing accordion + vocalising. It’s a soundtrack to accompany a performance with only fat dancers performing.
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Morphing berimbau
Drawing on the morphing structure which encourages tonotice something about a movement and morph it into that direction, I’ve explored the Afro-Brazilian instrument berimbau. Inspired by collaborative work with the Latvian ICoDaCo team
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Object of play Exploration of an object in space. How is it my partner in contact and apart from me? Inspired by the unrest of Sabīne Neilande.
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Feet on the floor
I’m working on a new project. I’m always working in silence.
When I showed it to others, they said there is something about the sound my feet on the ground make.
Should I make sound track for the performance out of it?