RESEARCH / WORKSHOPS

Research on Body and Event at MA SoDA at HZT Berlin

Which Problem am I bringing and how do we dance it together? Composing a SCORE OF EXERCISES. 

TASKS BASED STUDIES.

Day 1: what does your current research exercise? The purpose is, instead of showing material for an audience you are going to translate your material (what you are researching at the moment) into an exercise that the others can do: . Intro 15 + 30 min to prepare.

  • how do you involve the role of participation of the other people in your presentation?
  • HOW do you formulate your exercise using verbal or nonverbal, instructions, imperatives, commands, directives…?
  • Is every single person in the room a maker of what is happening?
  • Which comes first, the chicken or the egg?

IMG_7050Day 2: intro: TBS is a temporary collective environment for twisting and getting new approaches and insights to every of our 8 individual processes. So we generate a platform from where we return to our individual works and at the same time each of the TBS is a collective piece.

RELATION BETWEEN LANGUAGE AND ACTION/MOVEMENT: to explore in which different ways LANGUAGE triggers movement

GUESSING: the purpose is to promote promiscuity between the 7 people: the material traverses them all and gets blurry: other people are going to visit your material and discover what’s there as potentiality

PART 1:

  • Bring something in from your process: bring a body exercising in the space.We are going to work today exclusively with BODY PRACTICE: material and exercises done with the body as only tool.
  • Guess from watching (spectator): guess what the body is exercising
  • Guess from doing and listening to the material (stepping out of the chair)
  • We all formulate your guess as a new exercise: the person chooses 1 to do.
  • REPEAT
  • new question: which world of values does your exercise proposes.

QUESTIONS:

  • how explicit or not is the action in relation to the idea?
  • Guess what is actually happening/ what is the intention
  • Guess what is already there
  • What motivates your existence on the space?

PART 2:

USING LANGUAGE to trigger an action but not being explicit:

  • Imperatives
  • RIDDLE: A riddle is a statement or question or phrase having a double or veiled meaning, put forth as a puzzle to be solved.TRABSLATE YOUR EXERXISE INTO A RIDDLE AND PASS IT ON TO SOMEBODY
  • Irony: tell the contrary of what you want to propose

PART 3:

USING OTHER STRATEGIES:

  • CUEING: A hint or suggestion.  either you sent cues or you find cues.
  • hosting
  • Space

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Day 3:

HOW to play within a world? Use your imagination and intuition to understand the world: to enter into the world that the practice creates FINDING ENTRY POINTS: cue. THE poetics of a world or the poetical:  How to make that everything that happens always POINTS OUT to something else than what it is?

If we say “something happens” it cannot refer to what is actually happening

THE mystery cannot be performed. It can only be drafted and constantly evoked. And it has to seduce you to believe that there is much more to be explored. Making people believe that there is an exciting world to be explored. Try not to perform but rather to suggest a form: the body is like a finger pointing out at something that is off the frame : we don’t see it : mystery: it sets in motion an investigation. It is not necessary to comprehend it is enough that exits the illusion to comprehend

EXERCISE: display a world thought your body practice (use as many tools as you need) and provide ENTRY POINTS for other people to access your world. This time is not about asking oneself what is this body exercising but rather what kind of works does it create and how can be accessible for others: SYMPOIESIS.

QUESTIONING:

  • how can you allow magic to happen?
  • DOES the amount of bodies in space change the level of inclusion and the environment you are suggesting (and how well people know each other – intimacy)
  • How fragil/permeable are the boundaries of the world you create?
  • HOW do you introduce others to a world without establishing explicit rules or descriptions?
  • What are the condition for others to enter your world?

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DAY 4: Embodiment Dance and Danger/ Triggering the movement

  • They bring their physicality into the exercise for the sake of distorting it / challenge it / blurring it

DAY 5: Identity Politics: to reflect how identities play or don´t play a role in their work. 

  • Make a list with a partner and read it loud and slow ping pong style with an audience
  • Which ideologies exist behind the categories

QUESTIONS:

  • what what are the politics of the invisible?
  • In which extend is improvisation political?
  • HOW to avoid that categories produce stagnation of the identity?
  • What are the lenses that your body is viewed whit or without your consent ?
  • Which of those categories do you embody consciously in the work?
  • What if you embody/perform or borrow somebody’s else categories of identity?
  • What idea if political does your work bring that is not using categories of identity?

DAY 6: laboratory for experimenting in the art of living (institute where people come  to us to turn into meaningful their actions). The experience of ANEW: meaning making. Everyday life ( Way of living) : actions / routines / practices and EVENT, PROMISCUITY, anomaly

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  • What is your daily life routine/choreography? Make a list and choose one
  • WORLD MAKING: what kind of world do our everyday life actions shape? Ideologies legitimized? What are you legitimizing by your practices and actions.
  • We have 30 minutes to explore each others actions and to reformulate it anomaously: for  the sake of rendering meaningful an action that did not have any meaning because it was mechanical.  injecting the anomaly on each others actions (we all have a piece of paper with our action description and the rest of the people write down on that paper their reformulations)
  • Then we all practice our new actions
  • We use language to tell somebody else what to do. Compose a score of actions for the other person: inject anomaly in the already given action: to reformulate everyday life actions Into anomalous
  • Promiscuous actions: inject promiscuity into your everyday life : ENCOUNTERING OTHERNESS
  • Let’s practice in the studio: choose one action and do it and afterwards do it anomalously

QUESTIONS:

  • Can you apply in the everyday the tools you use to create work in the studio?
  • How to make possible a bridge/portal between the stage and the everyday life?
  • HOW do you frame every single action as a performance?
  • What are the levels of “presence” that’s define how artistic your life?

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The MA in Solo/Dance/Authorship (MA SODA) is a two year, full-time, performance-oriented Master of Arts degree. It provides a practice-led postgraduate education for practitioners and recent graduates who wish to challenge, extend and transform their practice and their understanding of arts practice through practical, theoretical and critical enquiry.. MA SODA focuses on individual solo and collaborative dance and body-based performance making within the wider field of contemporary arts practice. It concerns itself with making through thinking and thinking through making in relation to issues of composition, authorship, collaboration and process. In the plural and cross-disciplinary contexts of contemporary arts practice, MA SODA enables the development of a student’s own individual performance work as a collaborative and interrogative practice in dialogue with other artists, thinkers and practitioners, responding to the contexts in which it takes place.IMG_7051

MA SODA is designed for students to undertake a sustained and structured development of their methodologies for practice, reflection and study. It enables students to widen their choice and capacity for professional practice, other employment or higher-level studies; to engage with and contribute to contemporary arts and cultural practices; to develop strategies as practitioners in a time of continuing technological, social and cultural change; and to build a valuable ensemble of adaptable and transferable skills at a postgraduate level. 

Module 101: Questions of Practice 1: Diagnostics/ Writing & Research for Artists/ Making New Work (20 credits) takes three key approaches to making and thinking practice: diagnostics – the ability to share processes of making work; writing & research for artists – the ability to place practice in relation to language and identify and utilize  appropriate research methods with which to develop practice; making new work – the ability to identify and develop new approaches to making and thinking practice. The module takes the student’s own practice-led and analytical account of engagement with choreographic/ performance processes and associated discourses as its starting point.IMG_7047IMG_5782
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