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Reflecting on the Festival and Next Choreography

And so the end of Next Choreography 2016 -17 has come, and what a year it has been !

The Festival was a vibrant, welcoming and slightly hectic day of dance, creativity and ummm cake … lots of cake. I was taken aback about how open minded and willing to participate the audience were, especially throughout the ‘welcome dance’ and the interesting lift experience.

I am overwhelmed by what I have learnt and achieved on the NC course at Siobhan Davies Dance, and so grateful to have this enriching opportunity. If you are interested in creating, meeting new people and up for a challenge I would highly recommend the NC course for next year. It is so much more than dance and choreography, so don’t let a lack of experience put you off – we had people from a whole host of different backgrounds from drama to art, which only made our experience more valuable. My perception of dance and choreography will never be the same again and I am so glad for this !

Thank you SDD so much and I can’t wait to join YAAG next year.

 

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The Traces Commissions – Webb Ellis tell us about their experience so far…

Check out the latest blog from Traces Commissions artists Webb-Ellis about the first explorations into working with us here at Siobhan Davies Studios. Web-Ellis are British/Canadian artist filmmakers working in film, installation, and performance. They are currently resident artists at Crescent Arts in Scarborough. Over the coming year they will be working to create new artworks in response to the work of Siobhan Davies Dance and the communities connected to our studios.

 

Our work has long involved a fascination with the body and it is a pleasure and a privilege to be invited to journey further along this path in the company of Siobhan Davies Dance.

The Traces Commission invitation is fabulously open, and we have been able to just allow ourselves to be drawn into the conversations and goings-on at the studios.

Physical action has been our primary research method since the start of our collaboration. Usually this takes the form of an act of endurance and has included long distance running, swimming, walking, cycling and ecstatic dance. Moving the body offers a direct way to stir up the silt of the mind – unpredictable and intuitive.

Webb-Ellis, hmmmmm, still from 5 hour endurance performance, 2015

Webb-Ellis, hmmmmm, still from 5 hour endurance performance, 2015

Three, week-long, dance classes at Siobhan Davies Studios (run by Independent Dance) helped to turn our attention toward the unmapped landscape of our own bodies. Somatic Dance is dance which focusses on internal sensation – “the body as perceived from within”*. Skinner Releasing Technique with Gaby Agis was a powerful introduction to somatic dance, followed by Experiential Anatomy with Susanna Recchia, and an exploration of breath, gravity and patterns with Lauren Potter in the third week.

Each class has brought something different and special to our process, and we both noticed how much better we felt for spending some time within that dark and sensory space. Ideas are catching alight.

We have been granted access to a whole array of wonderful books about the body and movement in Siobhan Davies’ little office space. In one of them we were reminded of the sheer magic of early human paintings which depicted movement. People 13,000 years ago must have been really interested in how creatures move, or must have seen beauty in the simple acts of running and walking.

The Horse Panel, Chauvet Cave, southern France

The Horse Panel, Chauvet Cave, southern France

 

We wonder if the paintings say something about how these ancient humans sensed time? Much of the more recent art attempts to freeze a thing or a person in the present moment rather than depicting them forever moving forward in a constant state of transformation.

In the classes, moving with eyes closed among other warm bodies, attentive to the minute sensations of the body, felt like a significant shift in consciousness. The shift from the fight or flight city brain, eyes and ears ON, senses focussed outwards – purposeful, to an experience of ourselves from within, as porous beings, ageing and changing in each moment.

In Experiential Anatomy class with Susanna Recchia, we held a model skull and pulled its plates apart. We learned that whilst we were all developing in the womb our face started out touching our heart before our spine unfurled. We moved with these images as our guides, and with a feeling of the human body as something unfixed, evolving.

Human embryo at 7 weeks

Human embryo at 7 weeks

We have been warmly welcomed at the studios, and invited to bring our home on wheels with us, staying in the courtyard during the residency periods beneath a beautiful Mimosa tree. Being at home at Siobhan Davies Studios in the centre of London is a huge gift. Staying there for a week at a time gives us a strong sense of the character of the building; the way the light moves throughout the day, the little routines. During schooldays, the sound of children’s laughter infuses the whole space.

These observations are interesting as we consider how the work will be installed, and how visitors might enter the space of our installation – their state of mind and expectations. We find ourselves noticing movement of all kinds around the studios, as if the building itself has cast a spell to make even the most everyday movements uncannily visible.

The sense of dance as a language beyond words, is something that hit us right away. When two bodies meet in space it seems that there is an exchange of some kind taking place. All this engagement with Siobhan Davies Dance is peeling back a coating on our senses, allowing us to experience human movement afresh. The whole process is quite mysterious.

During the Skinner Releasing Technique class, one of the dance artists commented, “I’ve gone so deep inside my body that words just become inadequate to express where I’ve been.”

We try to translate our experiences into words, but soon realise that it is just this futile attempt at translation which interests us, the grasping and the sifting – the yearning to communicate, and to connect.

Notes taken during Skinner Releasing Technique with Gaby Agis

Notes taken during Skinner Releasing Technique with Gaby Agis

 

* Hanna, Thomas (1986). “What is Somatics?”. Somatics: Magazine-Journal of the Bodily Arts and Sciences.

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What to see at Dance International Glasgow

This month Siobhan Davies Dance have relocated temporarily to Glasgow to present material / rearranged / to / be as part of Dance International Glasgow (DIG). The biennial festival gathers together artists, performers and collectives from across Scotland and the world in celebration of movement and dance. Presenting our work at DIG has allowed us to explore our most ambitious work to date in a new context and discover new dimensions to the work.

You are invited to join us at Tramway in Glasgow to explore the work and consider how the mind and body work together to communicate through action and gesture. There is also so much more to explore over the coming week and if you are planning a trip here our top tips for what to see at DIG 2017.

Scottish Ballet: Digital Season Pop-up Exhibition

Digital

Experience dance differently with Scottish Ballet. As part of their inaugural digital season Scottish Ballet are pushing the boundaries of ballet to explore digital realms. Through an ambitious season the company have explored ways in which digital tools can enhance or challenge a viewers experience. Explore their pop-up exhibition at Tramway during DIG.

Click here for more info

Rosalind

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Venture deeper into the modern metropolis, where conservative days turn into wonderous nights. Follow the curious and courageous Rosalind as she embarks on a pursuit of enlightenment, fuelled by love and oppression. Shakespeare finds a place in modern Britain via rising stars of dance from Korea and the UK.

Click here for more info

Listen Deep and Dance Free

Listen Deep

Friend of Siobhan Davies Dance Lucy Suggate bring her latest collaborative work with James Holden to DIG 2017. Lucy and James want to deepen the understanding of music and dance, each other as individuals and as a group, and to share that with an audience.

Click here for more info

Bizzoca/Chivas/Reid: Decline

Decline

How do our bodies communicate? What draws our bodies together? And what pushes them apart? These question will be explored by Bizzoca, Chivas and Reid in a continuously changing and transforming performance. Questions will be asked and though answers may not be found, this fluid performance will offer a chance to delve into an inner world.

Click here for more info

Brocade

Brocade

Brocade celebrates energetic alliances between female dancers and musicians. Dissecting the points where craft, physical work, history and femininity meet through sound and movement. With an ensemble of female musicians and dancers Brocade explores themes through bold performance.

Click here for more info

 

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When I dance I learn…

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After ten weeks in two different primary schools for The Thinking Body programme, I’m enjoying reading about the students’ reflections on what they have learnt. It was incredible following two classes over a prolonged period and seeing their individual and class journeys unfold during the weeks. Their class assemblies were a great way to share the process they had been through with teachers, peers and families, and to celebrate all they have done. Thank you for your commitment, inspiration, willingness, co-operation and creativity! Here are some more reflections from the students…

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Young Artists Feedback Forum: interview with choreographer Charis Taplin

Our Young Artists Feedback Forum is coming up soon! In the run up to the event on Sunday 5th, I wanted to talk some more to the choreographers who will be showing works in progress, about the ideas in the works and the process of working on them.

The first in the series of interviews is with choreographer Charis Taplin, on her work in progress Pointy Shoes Make Me Cry.

In your application for the Young Artists Feedback Forum (YAFF), you mentioned three choreographers which you reference in this work – Pina Bausch, Yvonne Rainer, and Anne Teresa de Keersmaeker. How do you negotiate their influence on your work, has it been easy or difficult to find your own way of moving? And is it important to you that people get the references?

I’d say the choreographers who I’ve been inspired by have definitely influenced my own way of moving. However I’ve tried to reflect the concepts behind their choreography rather than the actual choreography itself- for example I’m using pedestrian movement and elements of dance theatre. These are three choreographers I admire so much in general, so it is really hard not to imitate, and to come up with my own ideas rather than just translating theirs’. As for whether it’s necessary for the audience to understand the influences, again it’s a balance- I want them to see the concepts and styles but hopefully they won’t they feel they’ve watched the choreography before.

How do you feel about these practitioners’ representations of gender?

I think gender performance is key to Bausch’s work, both the process behind it and the exhaustion produced by it (I also feel this sense of exhaustion from the constant facade and contouring of behaviour is at the heart of Rosas danst Rosas.) The exploration of gender and gender performance in Rainer’s work really fascinates me. It would be easy to say that because Rainer is opting for neutrality in her performance she’s opting for gender neutrality, but this is part of the huge debate over whether gender neutrality is really achievable, or whether it’s just another performance subverting a pre-existing binary.

Was there a specific personal experience that led you to want to make this piece?

A lot of the piece isn’t influenced by specific experiences, but by patterns I’ve spotted in my life to do with being a dancer, being gay, watching my body and my ways of taking up space changing alongside my training in contemporary and classical technique.  More specific experiences would be when I read about a trans guy who said he felt most validated in his gender not when he passes successfully or wears men’s clothes, but when he’s shopping in the supermarket-  just existing. That was a real breakthrough moment in my thinking. Seeing my first live drag act was also very inspiring. I think drag performance has a sense of total embodiment and transformation that all performers- especially dancers- aspire to.

Thank you to Charis for sharing her thoughts! <3  Questions by Katharina Joy Book.

Join us this Sunday at Siobhan Davies Dance London to see and feedback on exciting new works by selected young choreographers. From 5-730PM, 3 pounds cash on the door, and the bar will be open.

 

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Thinking Body, Dancing Mind

The latest project with Siobhan Davies Dance, based on M/R/T/B, has made me recall the title of a book I read years ago ‘Thinking Body, Dancing Mind’. We are using dance to allow and extend thinking and learning. I have witnessed students displaying this ‘thinking body’ and ‘dancing mind’.

In Reays Primary School we began in week 1 by exploring the brain and body and their complexities. In week 2 we were looking at gravity and tipping points. The class were looking at Forces in Science so we applied Newton’s Laws of Motion into our movement and creative processes. We observed how paper falls differently in three ways, how a ground reaction force works when a ball drops and how we can balance with a partner using equal and opposite forces.

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From here, the class teacher and I have used Philosophy for Children approach in allowing students’ interest to guide the process. After week two looking at gravity, they had many questions they wanted to know answers to – what is mass? If gravity pulls us down why doesn’t it do it straight away? What is friction, why is it harder to balance with your eyes closed? Why do we wobble when we balance? The teacher reflected on how she’d visibly seen students become aware of their centres and the control and strength of their core.

The subsequent week, we tried to answer these questions by looking at sensory pathways through the body and how our eyes, ears and proprioception help us to balance.  It also led us onto the theme of friction – why it is useful for our bodies when we dance and how it is used in design to aid everyday activities. Children answers included grips on shoes, car tyres, lubricants in car engines. We had a discussion about clothing for cyclists and swimmers etc. In week 4 we explored materials and how they fall differently within water and with air resistance. Students designed parachutes for eggs to test out their theories and designs. We explored language used to describe the parachute journeys – hover, float, drop, collapse, glide, twist, suspend.

Week 5 was Shakespeare week with the class looking at MacBeth. We took language features such as personification, onomatopoeia, metaphors, alliteration to choose words that depicted movement – rattle, launch, stutter, crack, stalk etc. Were we able to communicate our solos better through observation with the eyes, or through listening to instruction and language? Not only have we been communicating with eyes and ears but also ‘listening’ through touch –  using sensitivity to others, building trust, self-awareness and group co-operation.

What have we learnt so far – students reflected using drawings. They drew around a body in groups and mapped things they had learnt in dance and about their body. Then they added post it notes to show things they have learnt outside of dance.

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The class teacher also reflected her observations of their learning back to the class:

I have seen the class learn concepts from GCSE Science and articulate the meaning of these concepts (x3 laws of motion) in an articulate manner. They understand the meanings of these laws and it is because they have explored this physically that they fully understand the concepts.

I have seen them grow in strength and balance

I have seen them become aware of their body and how they react to things

They have learnt what it feels like to be tired and how that manifests physically.

I’ve seen them practice and practice again – showing me resilience

Better teamwork

Become aware of others and not just themselves

In another school, St. Saviours, we looked at observing sounds in our environments with Year 4.

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We talked about how we hear sounds, the workings of the inner ear and why some animals have better sense of hearing than humans. Students categorised sounds into natural, human, mechanical, indicator sounds (e.g. alarm, whistle), and societal sounds. They considered pitch, duration, tone and dynamic of the sounds and chose their favourite sounds from spatial zones to draw using a spiral sound score. Immediate sounds recorded at the centre of the spiral and sounds far away at the outside of the spiral.

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Students used their scores to translate these sounds into movement, in both literal and abstract ways. Student responses were great and many were able to identify sounds that other groups had chosen by articulating movement choices they had made.

We look forward to another five weeks ahead, allowing the interest and enquiry of the students to grow into a sharing of the work.

 

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‘Primal Matter’ –Dimitris Papaioannou October 2016

In October 2016, Next Choreography attended ‘Primal Matter’, a dance piece performed by Dimitris Papaioannou and Michalis Theophanous as part of London’s ‘Dance Umbrella.’ What unfolded over the next eighty minutes on a starkly furnished stage in the (freezing cold) Old Truman Brewery could be compared to a book of optical illusions.
Through a sequence of surreal images Papaioannou and Theophanous morphed into a series of identities. As these individual identities changed, so did the relationships between the two performers: they became pet and owner, creator and creation, performer and ringmaster. Each illusion created in the piece produced associations for the audience. Through simple props and the tool of the human body, we were reminded of Frankenstein, Jesus, ancient Greek statues, conjuring acts, embalming. I later read that Papaioannou’s intention had been to choreograph in response to political issues in today’s Europe. This hadn’t even occurred to me while watching ‘Primal Matter’, but I don’t see this as a failing of the piece. Each image sparked a domino-run of associations in the audience’s mind, leading to any number of different readings. This made for interesting conversations on the Tube home.
The power dynamics between the performers shifted constantly and compellingly, the way they related to each other was at times tender and caring, at others  disturbing and even violent. Usually, one of the two was clearly in control but sometimes they seemed to be the same being, exploring themes of duality. In one of my favourite sections, Papaioannou rolled up his trouser leg halfway, rotated his knee joint and placed his lower leg on a clinical-looking table, before hopping on one foot with his other leg in his hand as though it was no longer attached to his body. Meanwhile Theophanous (creating the illusion of a statue) appeared to be missing a leg. Papaioannou’s leg then appeared to be attached to him, becoming part of his body through a sort of weirdly sophisticated party trick.
This raised questions in me around themes of disassociation from the body. I think these themes are particularly relevant in our era, when our relationships to our bodies are being viewed in a new light, as well as relevant to the dance art form- the body becoming a tool of performance is bound to lead to a level of disassociation.
The use of nudity emphasised the idea of the body as a tool, and as something vulnerable, linking with concepts of power and control. Some might criticise the nudity as crude humour, and it could be argued that the piece used shock-tactics (at one point the naked performer was doused with cold water, inducing a shudder from the audience wrapped up in scarves and coats.) However I saw this as purposeful, none of the shock or crudeness in the piece seemed to be just for the sake of it.
We left full of questions, and ideas about how to integrate illusion, duality, power dynamics and unusual props into our own dance-making.

primal matter arts award

 

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Gravity adds weight to Reay’s Year 5 dance!

Year 5 at Reay Primary School have been thoroughly enjoying our sessions with Jo Rhodes of Siobhan Davies Dance.

We have combined dance with our topic on Forces and then used it to help us to fully understand about Newton’s Three Laws, resistance, gravity and aerodynamics and that’s just the science!

Here is how we have got on…

'This picture represents Isaac Newton's first law, the law of inertia. Inertia is a lack of force meaning that the only thing stop and object moving at a constant to speed is an unbalanced force. It also means that if it's still, it won't move without some sort of force.' Year 5 pupil

‘This picture represents Isaac Newton’s first law, the law of inertia. Inertia is a lack of force meaning that the only thing stop and object moving at a constant to speed is an unbalanced force. It also means that if it’s still, it won’t move without some sort of force.’ Year 5 pupil

'This picture represents Newton's law of acceleration. In this picture, if she had let go of his leg, he would have fallen over faster.' Year 5 pupil

‘This picture represents Newton’s law of acceleration. In this picture, if she had let go of his leg, he would have fallen over faster.’ Year 5 pupil

'This picture represents the law of action and reaction. It means that every action has an equal and opposite reaction. They are pulling inwards to stay there in a counter-balance so if they let go, they'd fall backwards with the same amount of force as pulling in.' Year 5 pupil

‘This picture represents the law of action and reaction. It means that every action has an equal and opposite reaction. They are pulling inwards to stay there in a counter-balance so if they let go, they’d fall backwards with the same amount of force as pulling in.’ Year 5 pupil

In our first dance lesson, we also learned a bit about air resistance and we were inspired and had to find out more so we designed our own paper aeroplanes and tested them to see which one was the most aerodynamic (we agreed this was an awesome word and should be used to describe dance moves as well as cars, runners and.. well… aeroplanes).

'We applied our knowledge of angles in maths to our moves in throwing the paper aeroplanes. In order to get the best trajectory, we decided that we would place our arms at a 45 degree angle.' Class Teacher

‘We applied our knowledge of angles in maths to our moves in throwing the paper aeroplanes. In order to get the best trajectory, we decided that we would place our arms at a 45 degree angle.’ Class Teacher

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‘I learned that air resistance is a force which works against gravity as it pushes objects up from below (keeping them in the air) and from the front (slowing them down).’ Year 5 pupil.

We were given an egg to take responsibility for. This linked to the dance lessons as in these, we have been working in partners and having to take responsibility for our friends’ safety as we move around the space and try out lifts and things. We all managed to take our eggs home for the night and bring them back safely the next day.

'We had to be eggstra careful with this eggsperiment.'

‘We had to be eggstra careful with this eggsperiment.’

'We all had an eggstemely good time coming up with some cracking egg yokes!' Year 5 pupil

‘We all had an eggstemely good time coming up with some cracking egg yokes!’ Year 5 pupil

We then designed and made parachutes for our eggs as we dropped them out of the window on the second floor to see if they would survive. If we’re honest, some did, many didn’t but we learned a lot about air resistance as a result and adapted our parachute designs for next time. We then incorporated the imagery of the eggs falling to their deaths into our dance routines. Some of them were so beautiful and realistic that everyone knew eggsactly (sorry) what the dances were about.

Before...

Before…

During...

During…

After... :-(

After… :-(

'We found interesting ways of making the parachute shapes with our bodies.' Year 5 pupil

‘We found interesting ways of making the parachute shapes with our bodies.’ Year 5 pupil

'We changed our dynamics to show the egg dropping or floating down. Mine dropped.' Year 5 pupil

‘We changed our dynamics to show the egg dropping or floating down. Mine dropped.’ Year 5 pupil

The science has been just one small aspect of what we learned about during our dance lessons and our classroom activities after them. We have also obviously been learning all about dance and how it can help us physically, mentally and with our relationships with our friends, families and teachers. We have learned to be able to apply the knowledge we learn in dance across the curriculum.

Here are some of the things we have discovered, either about dance or about something else, so far.

‘I learned that I work better in a pair than by myself.’

‘I learned that when I jump up, I come back down because of gravity.’

‘Our centre of gravity helps us to balance and goes through our bodies.’

‘I learned that I can trust Myles and that he is my real friend.’

‘I learned that air resistance makes us fall slower and if I bend my knees when I land, that absorbs the impact.’

‘I learned that air resistance is all around us.’

‘The three laws of motion are: Inertia; Acceleration and Action-Reaction.’

‘I’ve learned that I work better in a 5 than in a 2 because we can share more ideas and get more work done.’

‘I learned that learning isn’t about feeling safe – you can feel unsafe or unbalanced or maybe both! I find it a little bit hard sometimes.’

‘I learned that you can balance on more than just your feet.’

‘I learned that if your vision is gone, it is harder to balance and to know where you are.’

‘I learned that my head weighs 9 pounds!’

 Year 5 at Reay Primary School would like to say a big, ‘THANK YOU!’ to Jo for all her help and inspiration so far on this wonderful project. We are really enjoying it and learning ever such a lot more as a result of your help and expertise.

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gratification

Working with Lucy Suggate for two sessions has conjured an interest in the manipulation of space and the relationship between dance and arguably unlikely performative spaces such as galleries and museums.

After reading about the new collaboration between these two art genres for ‘Dancing Museums’ I was motivated to question the relationship between audiences and those contrasting forms.

I see a still painting or sculpture for example in its stillness and at face value the art will always represent itself in the same way (although may provide new meanings or concepts at each glance). I do not need much more than what the artist has created on that blank canvas or with those materials in order to create that captured moment. Additionally when we watch dance works we are seeing the development of decisions in the space for time frames that vary between minutes and hours.

As an audience member I feel dance provides itself with a longevity from the moment you arrive. The beginning to the end. A work unravels to become itself throughout its existence. There is not much you can claim at face value without taking into account the substance, that when compared to a painting would be the strokes on the canvas. This then encourages me to consider the idea of maintenance with choreography.

Do we attempt to create a time frame of produce that will grip the audience from start to finish? Can we envisage that our tools are not far from the paint and the paint brush? Therefore can audiences arrive in our work like looking at a still form? With or without stillness?

The art forms are arguably very different therefor incomparable in this audience/artist exchange and there are many elements to consider that I have quickly skimmed over, although I feel at this starting point the relationship between the two particularly in ‘Dancing Museums’ fuels an interest.

Within both forms of art I enjoy committing to works and unravelling the hidden messages that surface to my individual eye. I am aware that I may explore possibilities  deeper inside the simplest of creations, when my mind is left to roam with just enough but by all means not masses of information. These similarities and contrasts spark an invitation to consider the different ways one digests the two Art forms/as well as how as an artist we can channel these thoughts into our creating.

Suggesting that your offering of work is your exhibition, gallery or museum to me encourages a shift in focus. I hope to catch some of the works performed in such locations this summer and explore these concepts in the studio.

 

 

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FAILURE – a performative installation

by Tatiana Delaunay and Katharina Joy Book

A set up /environment combining various elements to be activated by the performers’ presence.

A piece about –
Failure of communication, translation and interpretation.
Failure to be present, presence.
Falling, fragility, and chance.
Choices; the things we keep and those that we discard.
Documentation and memory.
Moving material between mediums.

Using –
Performative instructions. SMS-based dialogue. Skype. Translation processes. Sound and stories. Receipts, saved for your records. Sacred objects. A toilet seat. Phones. Two men.

Words → objects. text → movement. Sound → words. Movement → story.

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Tatiana – ‘receipts saved for your records’ and ‘to a screen’.

Activating the installation by our presence means that we perform movement and create moments in the environment we have set up.

We tell stories through objects – things that fell out of his pockets, the button he might have lost; objects lost and found. We recall memories in the shadows of an overhead projector, translating and interpreting them via these kept objects. We interrupt ourselves frequently, with trivial (but maybe not so trivial) text messages spoken aloud.

 

objects kept and catalogued.

objects kept and catalogued.

textbooks in the toilet

me installing the installation

me installing the installation

We perform a script of Facebook messages while ripping off calendar pages and slamming the toilet seat – attempting to make those words our own.

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Another episode begins with us trying to embody other people’s gestures, and continues to show a series of movements we relate to falling and failing.

There are elements in the installation that the audience/ the visitors interact with directly – in one instance, ‘instructions for webcam‘ on a laptop are to be read (and, if interpreted in that way, acted out); in another instance, visitors can search a document of archived SMS conversation for key words – and find out how often “work” or “sex” was talked about. Generally, audience members are encouraged to enter the installation to engage with the different elements.

instructions for webcam - excerpt

instructions for webcam – excerpt. Katharina Joy Book

All in all, the performance includes four movement based episodes within the installation set up. The chronology of the episodes is flexible, they can be performed in intervals or all in one go.

Tatiana and I first performed this on 26th April 2016, at Hoxton Basement, London, as part of the exhibition You Are Not A Failure, curated by UAL Curation Society. The exhibition mostly consisted of fashion objects – garments, drawings, photographs. We had envisioned the performance episodes as ‘interventions’, to happen intermittently, not as ‘shows’ to be watched at a set time in front of an ‘audience’. This didn’t work quite like that, people did gather as soon as they noticed we were performing, and it remained unclear in some cases when we wanted to be heard and seen and when it wasn’t the point to have everyone’s undivided attention.

It was wonderful for me to see visitors attempting to follow the instructions for webcam! Someone even said they hadn’t spent so much time with a piece of art in a gallery before.

The episode where we perform Facebook messages and slam the toilet seat resonated with many people and we heard interesting thoughts from them about that. We are now working on refining and expanding the movement and choreography sequences and learning more text messages by heart.

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