DanceOutsideDance – Détails, épisodes et analyse

Part of the special curated series enDurANCE, curated and guest hosted by Daniela Perazzo, and supported by the Ivor Guest Research Grant and the Race and Gender Matters Research Group at Kingston University, we discuss notions of endurance, perseverance, repetition and what they really require in art and life. Discussing their new work KARRASEKARE (the Sardinian word for Carnival) the conversation probes ideas of what collectivity can offer to duration and asks how cultural traditions can speak to our contemporary world and art.

Keywords:
Endurance, contemporary dance, dance research, perseverance, tradition, carnival

As of publication in September 2023, Igor x Moreno are preparing for new tour dates in 2023/24 across the UK and Europe. All information can be found here:
http://igorandmoreno.com/calendar/

Igor x Moreno is the name under which the works created by choreographers Igor Urzelai and Moreno Solinas – in collaboration with an extended group of artists – are presented. Igor x Moreno’s works stem from a fascination for people and what makes us such special animals. They use choreography and mostly non-verbal languages to create experiences which can surprise, energise and unsettle. Their works – highly constructed whilst deeply concerned with liveness – visit and escape different genres and styles.Igor x Moreno’s creative processes favour questions over answers, action over narration, communication over expression, alterity over diversity, patience over productivity. They don’t see entertainment as their duty, but as a useful communication tool. They work with rigour and playfulness. They value pointlessness. The team – based across Europe – gathers in Sardinia and London, from where Igor x Moreno’s works have toured extensively in Europe and also in North and South America, Africa and Asia. Awards and recognitions include the Rudolf Laban Award and National Dance Awards and Total Theatre Awards nominations; their works have been selected for Aerowaves (2011, 2013 and 2015), NID Platform, British Council Showcase and British Dance Edition. Moreno Solinas and Igor Urzelai are affiliate artists of The Place (London), co-directors of Sardinian production company S’ALA (www.s-ala.com) and members of the Cultural Advisory Board of British Council Italy.

Daniela Perazzo is a dance and performance scholar with a specialist interest in the intersections of the aesthetic and the political in interdisciplinary movement practices and experimental dramaturgical processes. She is a Senior Lecturer in Dance and Postgraduate Research Coordinator for the Department of Performing Arts and the School of Arts. She received a PhD in Dance Studies from the University of Surrey, funded by a university scholarship (2004-2007). Her first monograph, Jonathan Burrows: Towards a Minor Dance, was published by Palgrave Macmillan in 2019 in the "New World Choreographies" series. Other recent publications include articles in Dance Research Journal, Performance Philosophy, Performance Research, Choreographic Practices and Contemporary Theatre Review.

Introduced by Michaela Gerussi, this episode follows a conversation between Daniela Perazzo and invited guest Lenio Kaklea. It is one episode in a three-part series, enDurANCE, co-curated with Daniela. The series has been produced with the support of an Ivor Guest Research Grant awarded by the Society of Dance Research and the Race/Gender Matter research group of Kingston School of Art.

works by Lenio discussed in the conversation:

Practical encyclopedia - http://www.abd-contents.com/choreography/encyclopedie_pratique.php
detours - http://www.abd-contents.com/choreography/detours.php
balade - http://www.abd-contents.com/choreography/ballad.php
Αγρίμι (Fauve) - http://www.abd-contents.com/choreography/fauve.php

Αγρίμι (Fauve) will be presented in London at Serpentine in early winter 2024


Lenio mentions a quote on 'the institution' from American artist Andrea Fraser


Bios:

Lenio Kaklea is a dancer, choreographer, director and writer who was born in Athens and is based in Paris. She studied at the national conservatory of contemporary dance in Athens where she trained in classical ballet and American modern techniques. In 2005 she was awared a scholarship and moved to France. Lenio's artistic practice uses a wide range of media including choreography, text and video, and is influenced by feminisim and post-colonial critique. In her work she explores the production of subjectivity through the organized transmission of movements and reveals the intimite spaces in which we construct our identity. In 2009 Lenio founded abd with Lou Forster. The company develops choreographic and curatorial projects that explore the intersections of dance, research and critical theory.

Daniela Perazzo is a dance and performance scholar with a specialist interest in the intersections of the aesthetic and the political in interdisciplinary movement practices and experimental dramaturgical processes. She joined Kingston University London in 2014, having previously taught at the University of Surrey. She is a Senior Lecturer in Dance and Postgraduate Research Coordinator for the Department of Performing Arts and the School of Arts. Her first monograph, Jonathan Burrows: Towards a Minor Dance, was published by Palgrave Macmillan in 2019.

The conversation happened in June 2021. Exploring themes of vocality and embodiment, through cells and ancient tacit knowledges residing in each body. We started with his journey from Jamaica to UK, carrying with him the prehistoric and healing power of voice to reveal stories, places of displacement, loss of connections, political and social implications arose from a critical mind embedding a highly skilled body which dances, sings, creates, questions, provokes and produces work as an act of devotion.

Bios:
Akeim Touissant Buck has been involved in multiple cross disciplinary programmes with a wide range of artists and communities from around the world. Founder of Toussaint To Move in 2015, with the intention to create moving, thought provoking, accessible and free spirited projects. His aesthetics combines expressive skills such as: dance, creative writing, film, poetry, beat-box, singing and acting. Fused to create performances that tell stories capable of bridging the gaps between a variety of audiences.

Laura Colomban

Read More:
https://www.toussainttomove.com
Current project: Sib Y Osis Fundraiser 202
https://www.youtube.com/watch?v=rROpi6MN3aM&feature=emb_rel_end
Body Mind Centering- https://www.bodymindcentering.com/
Windows of Displacement (trailer)- https://www.youtube.com/watch?v=qt91e2s32zU
Emmanuel Road performed by Miss Lou- https://www.youtube.com/watch?v=Yzg4-Ajf8Kc
Malidoma Patrice Some- The Healing Wisdom of Africa/Of Water and Spirit
Tim Marshall- Prisoners of Geography: Ten Maps That Tell You Everything You Need to Know
Singing/Vocal Impro Teacher: https://brionygreenhill.com
Leonard, G. (2006). The silent pulse: A search for the perfect rhythm that exists in each of us (1st ed). Gibbs Smith.



Key words: voice, somatics, bodymindcentering, cells, rhythm, healing, politics of institutions, connection, social engeneering, devotion, courage, creativepractice

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In this 'double interview' Michaela Gerussi and Alice Gale-Feeny (both initiators of the podcast) ask questions about each others' artistic practices, trace some of the ideas which inform them, and unpack different perspectives between their (respective) backgrounds in fine art and contemporary dance. The conversation departs from a place of friendship and familiarity, whereas Alice and Michaela have been working closely since 2019 as peers on the 'MFA Creative Practice: Dance Professional Practice' course with Trinity Laban and Independent Dance.

They discuss:
-Dialogue; facilitated or 'choreographed' conversations as frames (i.e. Quaker meetings; 'fishbowl conversations', Bohmian Dialogue)
-Authorship and collaboration
-Notions of ‘material’ in both dance and fine art/performance contexts
-Fine art training (the changing idea of the art history canon)
-States of attention in artistic practice (i.e. distractions as generative)
-Objects and written/spoken voice/language as material in physical practice; as extensions of the body; [“The post- in the human suggests not that we come afterways as prosthetic newcomers, but that we were always already embodied in excess of our organs.” (Erin Manning, Politics of touch : sense, movement, sovereignty. University of Minnesota Press, 2007. P. 157)]
-Karen Barad, feminist science
-Fascia studies
-Choreographer and dance researcher Kevin O'Connor
-Practice as Research; a perspective which values the tacit knowledge which is present in practice
-Performance practice(s) vs dance-making practice(s)
-Manchester-based dance-artist and researcher Amy Voris
-Making a work vs its performance; witnessing. Where do we locate and emphasize the work?
-The Solo performance; implications/optics of that as starting point, where attention is placed, possibilities of subtlety, detail, etc.

Bios: Michaela Gerrusi is a dance artist researching the complexities of how we sense ourselves. Informed by her studies in Craniosacral Biodynamics, her practice is concerned with the intersection of the nervous system, self-regulation, affect and dance-making. michaelagerussi.com

Alice Gale-Feeny is currently developing a performance practice that investigates the emergent potentials of speaking aloud and being with objects as a way to occupy a middle ground between self/selves and other(s). alicegale-feeny.com 


Read more (links):

Bohm, D., & Nichol, L. (2004). On dialogue (Routledge classics). London ; New York: Routledge. (https://www.routledge.com/On-Dialogue/Bohm/p/book/9780415336413)
The Cadbury's Bourneville model village (https://www.bvt.org.uk/our-business/the-bournville-story/)
Alice Gale-Feeny, Fishbowl Conversations (https://alicegale-feeny.com/incirclesaroundtables)
Karen Barad, (2007). Meeting the universe halfway : Quantum physics and the entanglement of matter and meaning. Durham and London: Duke University Press. https://www.dukeupress.edu/meeting-the-universe-halfway
Rasmus Olme on magnets, from a SKH Dance Podcast conversation with Eleanor Bauer (https://www.spreaker.com/user/10974845/episode-4-rasmus-o-lme?utm_medium=widget&utm_source=user%3A10974845&utm_term=episode_title)
Kevin O'Connor (https://www.ecologicalbodying.com/)
Artist Placement Group: (http://flattimeho.org.uk/apg/)
Amy Voris (https://www.amyvoris.com)
Authentic Movement (https://www.authenticmovementinstitute.com/authenticmovement)


The term double interview, and the approach taken for this podcast episode is inspired by a double interview between Mette Edvarsen and Mette Ingvarsten published in February 2016: http://www.metteingvartsen.net/wp-content/uploads/2016/12/2016--double-interview--mette-edvardsen-and-mette-ingvartsen.pdf

Keywords:
Dance Making; Performance Making; Practice as Research; Contemporary Art Practice; The Nervous System; Language; Writing; Fishbowl Conversation; Dialogue; Somatic Practice; Embodied Knowledge/Research; Post Humanism; Feminist Science.

Is suspending our participation in a broken system still a way to resist when our suspension from society became involuntary in COVID? Can the voice be a way to connect us corporeally across distance and could we ever find ways of meeting digitally that rival meeting in person? Julia, Agata and Ania also talk about their ‘Hanging Out and Hanging In’ event, part of the 3 Ecologies institute’s Minor Movements.

Bios:
Irruptive Chora is a curatorial duo, experimental curatorial platform
proposing embodiment as a way of knowing, privileging the sensory and the rhizomatic. composed of artists Agata Kik and Ania Mokrzycka.

Read More:
Irruptive Chora Instagram: https://www.instagram.com/irruptive_chora
Radio recording from the Hanging in and Hanging Out event: http://radia.fm/2019/09/show-756-passage-pending-various-artists-resonance/
Baraitser, L. (2017). Enduring Time. London, UK and New York, NY: Bloomsbury Academic.
Harrison, P. (2011). On Being Still. In Bissell, D. and Fuller, G. (Ed.), Stillness in a Mobile World (pp.209-233)

Recorded in July 2020, in the midst of the first wave of pandemic lockdown, between Italy and California, Laura and Dohee talk about the power of intention and vibrating materials in relationship with community work, equality and immigration. They talk about the capitalistic sense of time and matriarchal rhythm, and voice as a medium and doorway to purge, land, call and response to past and present times. They discuss how facilitators have now the responsibility to enhance the participants responsiveness and responsibility to become active, and how to create healthy collaborative leadership programs. Real collaboration requires time for listening.

Bios:
Dohee Lee weaves her multiple virtuosities in drumming, dancing, and singing into immersive ritualized theatrical creations. Born on Jeju Island, Korea, she trained at the master-level in music and dance styles rooted in Korean shamanism. In 1998, Dohee moved to Oakland, Calif., to create a new art form. Since then, she has become an award-winning traditional and contemporary arts performer, collaborating with Kronos Quartet, Anna Halprin, inkBoat, Degenerate Art Ensemble and many others.

Dohee's work ranges from solo performances to full-scale theater productions. Dohee utilizes cutting-edge wearable wireless controller technology to seamlessly integrate acoustic and electronic sounds, video projections, dance, vocals and rhythm. She emphasises the mythical, experimental, ritualistic, historical and healing aspects of performance and installation, catalysing new relationships between identity, nature, spirituality, and the political.

Laura Colomban is developing through performance-making a bespoke cyclical creative process which integrates circular methodologies through expanded choreography and auditory investigation, specifically creating sites within sites through voice, movement, and sound groundwork.

Read more:
- Dohee Lee projects and mission: https://www.doheelee.com/
- Rosa, H. (2019). Resonance: A sociology of the relationship to the world. Polity Press.
- Radović, S., & Glissant, E. (2007). The Birthplace of Relation: Edouard Glissant’s ‘Poétique de la relation: For Ranko’. Callaloo, 30(2), 475–481. https://www.jstor.org/stable/30129755
- Halprin, L. (1970). The RSVP cycles: Creative processes in the human environment. G. Braziller.

Keywords:
listening, Anna Halprin, performance, voice, vibration, ancestors, nature, community, leadership, oppression, purging, breathing, immigration, youth, motherland, equality, power of intention, positive dependency, interActions, understanding the process, listening to noise and silence.

How might attention be considered as a connecting point between contemporary dance practice and Craniosacral Biodynamics? With this question in mind, Michaela invites guest Laressa Dickey to speak about the points of overlap she has found between working with language, movement and in therapeutic settings. Together they discuss some of the basic and more complex principles fundamental to Craniosacral Biodynamics, beginning to explore more broadly the ways that this work can inform our sense of ourselves both in life and as applied to movement-based artistic practice.

They discuss:

- interdisciplinary artistic practice: tensions/mysteries between forms as generative gaps
- compositional resonance between dance and creative writing
- rethinking the traditional client-practitioner relationship
- improvisation

Bios:
Laressa Dickey's artistic work lands in the fields of writing, movement/performance, and bodywork. She has published four books of poems as well as several chapbooks. Together with sound artist Andrea Steves, Dickey published RADIO GRAVEYARD ORBIT (Sming Sming), a speculative artist's book about space junk. Her collaborative installation with Ali Gharavi, How to Pass Time with No Reference, was included in the Bergen Assembly 2019. Along with Magdalena Freudenschuss, she was commissioned by Bergen Assembly to create a series of feminist essays on the politics of care, entitled: Re:assembling Emotional Labor: On the Politics of Care. Since 2005, she’s been using movement improvisation and performance to inform her writing practice, and vice versa. Her bodywork is influenced by Biodynamic Craniosacral Therapy, Body Mind Centering studies, Amerta Movement and an attuned, empathetic imagination.

Michaela Gerussi is a Canadian dance artist based between Tkaronto (Toronto, Canada) and London, UK. Michaela’s dance practice is nourished by her inquiry into the nervous system, interoception and attunement, in relation to her studies in Biodynamic Craniosacral therapy. Her work considers shifting relationships between people, places and materials, layering subtle perceptual detail with a functional, dynamic approach to movement. Her collaborative performances, intermedia and site-specific works have been presented in Montreal (QC), Toronto (ON), Sherbrooke (QC), Buffalo (NY) and Berlin (DE). She is currently completing an MFA in Creative Practice, based in London at Trinity Laban and Independent dance.

Read more:
- Suprapto Suryodarmo and Amerta Movement (https://www.amertamovement.co.uk/)
- Bettina Mainz (http://www.bettinamainz.de/)
- Body Mind Centering (https://www.bodymindcentering.com/)
- Deep Listening, founded by composer Pauline Oliveros (https://deeplistening.org/)
- Biodynamic Craniosacral Therapy in the UK http://www.cranio.co.uk/

Keywords:
Paula Mann, Bebe Miller, Joe Goode, Patricia Brown, Myung-Mi Kim, Fanny Howe, Biodynamic Craniosacral therapy, contemporary dance practice, somatic practice, Body Mind Centering, Laressa Dickey, writing

Around the beginning of the first Lockdown, Alice and Natasha began exchanging emails about their respective artistic and curatorial practices. This interview continues conversations already started, where they find commonalities in their research and making practices; connecting anatomy to sculpture; domestic settings to processes of making and showing. The conversation over time became a methodology for working and discussing possibilities for future collaboration. It is treated as a live space for both Natasha and Alice to circle around, to be in dialogue, to pull out threads that may otherwise become entangled without the presence of an-other.

They discuss:
-Conversation as a methodology
-Collaboration
-Contemporary art
-Curatorial practice
-Objects
-Anatomy
-Motherhood
-Physical injury

Bios:
Natasha MacVoy is an artist, curator and collaborator who makes work about the activity of looking and alternative – non-visual – ways with which our bodies perceive. Drawing on personal experiences and observations her work explores the limits of sight and site through a range of approaches including sculpture, installation and performance. Her work seeks to challenge boundaries and definitions, building communities and support in the process. For Your phone is my gallery (2020-2021), she called her audience to individually read them a live artwork creating a unique and intimate experience.

In 2018 she established HER MIT Projects, curating an ongoing series of pop-up exhibitions, events and conversations using readily available materials, locations and resources. Experimental projects include reconstructing a cigarette packet as a gallery for solo shows and Death Club, a monthly art and reading group, discussing death in order to learn how to live. Natasha lives in Dursley, a small rural town in Gloucestershire and has a studio at Spike Island in Bristol.

Alice is an artist working across performance, dance, facilitation, video and writing. She is interested in the emergent potentials of speaking aloud and being with objects as a way to occupy a ‘middle ground’ between self/selves and other(s). She is currently developing a performance practice in solo and in group, that builds and ‘intra-acts’ in a recursive process. She is a Lecturer in Ba Fine Art at Kingston School of Art and a 2019 Leverhulme Arts Scholar.

Read more:

Natasha’s artist website: https://www.natashamacvoy.com
HER MIT Projects: https://www.hermitprojects.com
Stuck Not Broken, (a podcast on aspects of polyvagal theory): https://www.justinlmft.com/podcast
Skinner Release Technique: https://skinnerreleasingnetwork.org

Keywords:
HER MIT Projects; Third Space; Polyvagal Theory; Dr Stephen Porges; Skinner Release Technique; the pelvis; rural settings; the voice; sculpture; tennis coaching; co-learning; embodied knowledge.

Laura Colomban invites Samita Sinha to talk about voice and vibrating materials. Their conversation travels through movement and vocal practice, creative practice, community work, the feminine lineage and resonances, she explain her relationship with the Indian tradition, with the act of tearing apart, and how to stand in the break. The talk brings to a journey through colonialism, relationship with traumas, community work, the act of tuning and the sincere act of listening, lingering in a questioning attitude of opening towards the uncertainties with grace.

Bios:
Artist and composer Samita Sinha creates multidisciplinary performance works that investigate origins of voice: the quantum entanglement of listening and sounding, how voice emerges from the body and consciousness, and how voice can be claimed and rescued from voicelessness. She synthesizes Indian vocal traditions (Hindustani classical and Bengali Baul folk) and embodied energetic practices to create a decolonized, bodily, multivalent language of vibration and transformation.
In addition to private lessons and workshops, she has in recent years taught at Princeton University, Swarthmore College, Movement Research, Centro Nacional de las Artes in Mexico City, and New York Asian Women's Center. Currently she is curating a series of workshop for Danspaceproject called The Breathing Room.

Laura Colomban is developing through performance-making a bespoke cyclical creative process which integrates circular methodologies through expanded choreography and auditory investigation, specifically creating sites within sites through voice, movement, and sound groundwork.

Read More (links):
http://samitasinha.com
https://danspaceproject.org/calendar/breathing-room-8/
http://www.dariafain.net/prosodic-body
https://realworldrecords.com/artists/nusratfatehalikhan/
https://www.india-instruments.com/encyclopedia-tanpura.html

Eidsheim, Nina Sun, and Katherine Meizel. “Introduction: Voice Studies Now.” The Oxford Handbook of Voice Studies, by Nina Sun Eidsheim and Katherine Meizel, edited by Nina Sun Eidsheim and Katherine Meizel, Oxford University Press, 2019, pp. xii–xli, doi:10.1093/oxfordhb/9780199982295.013.36.

Nancy, J.-L., & Mandell, C. (2007). Listening (1st ed). Fordham University Press.

Voegelin, S. (2010). Listening to noise and silence: towards a philosophy of sound art. Continuum.

Bissell, D. (2010). Vibrating materialities: mobility-body-technology relations: Vibrating materialities. Area, 42(4), 479–486. https://doi.org/10.1111/j.1475-4762.2010.00942.x



Keywords: #soundstudies #movement #voice #tears #tearingapart #community #ritual #standinthebreak #sharespace #vibratingmaterial #vibration #intimacy #nusratfatehalikhan #creativepractice #resonance #relation #feminine #ligneage #indiantradition #tanpura #geometries #listening #communication #heartbrokenopen #notknowing #voicethegrief #blossomings

How do silence, repetition and the invisible impact artistic practice? Julia asks Suiko about her experiences with non-productivity and nothingness as a basis for creative practice, the value and pitfalls of repetition, and they speak about the power of the invisible (with a nod to the anemone).


Bios:
Suiko McCall is a painter and social sculpture artist, co-founder and Abbess of the Art Monastery. Investigating the relationships among contemplative practice, studio practice, and other kinds of practice (such as swim practice), her work explores breath, repetition, and pattern. Her visual work has been exhibited from San Francisco and New York to Amsterdam and London.
In 2007, she co-founded the Art Monastery Project, an international non-profit arts organization dedicated to applying the collaborative and intentional “social sculpture” of monastic life to art-making and creativity. In July 2013, she published a book, Hosting Transformation: Stories from the Edge of Changemaking, followed by a workbook, In March 2017: Live Your Dream: Start Here. Start Now. My writing and visual art have been featured in publications such as Buffalo Magazine, Readymade, Lucky, Bust, MacWorld, San Francisco Chronicle, Houston Gazette, Knitty, as well as repeated television appearances. She is a founding member of the International Partnership for Transformative Learning. In August 2019, after a transcendent experience in a buddhist ceremony, she changed my name from Betsy to Suiko, which means light on water.

Julia Pond is a dance artist and researcher investigating embodied practices and modes of being-in-time as pathways to undermining and usurping capitalist structures. Her work also concerns eco-somatics, informed by experience as a direct lineage Duncan practitioner. Julia has presented her choreography in the UK, US and Italy.

Read More (links):
https://www.suiko.art/about
http://www.artmonastery.org/