Safety and power relations
Sharing and collaborating. Rearrangement. Safety.
— I am testing my estimations. Rearrangement of the body and our bodies. Slowness is not the same thing as moving slow. It is more about an attentive practice, says Sindri.
The understanding of needs becomes the access to intimacy and brings safety between the artists.
— It is a shared understanding about what is needed and unspoken, says Claire.
Compare that to a group with both normative and disabled dancers were power relations could be present.
— Very often I feel that I need to adapt, or that other normative dancers adapt to me. That creates a certain tonus within the muscles. We are not spilling the energy on that. It is the same thing as with queerness, it also has an openness, says Sindri.
Dance as an art form is often seen, but rather than that it has a great potential of being experienced.
— Dance is obsessed with being a visual art form, instead of being embodied, says Claire.
Space, time and objects
Relating to space through objects. Relating to time.
— I am interested in letting things take the time it needs, to let the body move in crip time. If I speed it up to entertain you, it is not true to the body anymore, says Claire.
There is lots of examples when tools related to crip are used by normative bodies, to find choreographic material.
— I find it bizarre that normative people needs to disable themselves, like blindfolding or tie the limbs, to restrict their movements and find interesting material. Why not work with these people instead, were it comes natural, says Claire.
Different lived experiences brings extraordinary qualities into bodies. Qualities that could be used to bring a richness on stage. Like being present all the time. In control and alert. Never being switched off.
— I notice when I move in slowmotion in the studio with other dancers, I keep moving slow even outside the studio, when everyone else speed up, says Sindri.
Meeting without expectations
Two artists. No expectations. Sharing of ideas.
— We make it a method not knowing what will happen, says Sindri.
No expectations opens up the energy.
— We met in a conference in Berlin, interested in each others perspectives within the fields of art, queerness, crip and how that shapes the process. We have different techniques but a common interest in exploring space and spacial awareness, says Claire.
This week Claire and Sindri spend time together in the residency at Skånes Dansteater to exchange choreographic practices, to notice how their perspectives influences the artistic processes within their work of art.
Welcome Claire Cunningham and Sindri Runudde!
Text and photos: © Christine Brorsson
A Greek cover song. Lots of physical movements. Words sharing the process. Video projection from the collaboration with Natalia in Malmö, as well as from other residencies. The parts in this sharing are as structured as they are surprising.
Nadi melts together with the video projection, making it a part of the room. She goes from silent projection, full light talking and full out movement expression when she is sharing all about her working process from these weeks in Malmö.
Thank you so much Nadi! Hope to have you back soon.
Text and photos: © Christine Brorsson
Choreographic admin and creation
In the studio at Dansstationen. Last week to finish of the residency. Choreographic administration. Making a structure for the week. Watching video material from rehearsals with dancers in other places. Moving in the studio. Planing for public sharing this Friday.
— I like to use the audience on Friday as an inspiration, to see how they affect the process. See how we meet. I will share the process just as it is, make a structure to present it, but without being too affected in my work this week.
Nadi works with her ideas like a puzzle. She collects pieces, saves them, remembers and let them grow. At the same time new impressions affects her. She gets new pieces. When her collection is big enough she makes the structure, combines pieces and develop them into the choreographic creation.
Enjoy some more videos from Nadi:
A warm sharing at Danscentrum Syd with freelance dancers based in Malmö. Nadi tells us about the dance field in Greece, her background and her inspiration to choreograph.
— I like to play with the perspectives of what to put on stage and how it is looked at. Can we put dance on stage in the same way as an art work?
Nadi gets ideas from situations happening around her. One example is that the miscommunication between her colleagues in an earlier collaboration, became the spring board in her work Late Night Impro.
— I feel the challenge and interest to break the casual world and bring it into the stage. I like to play with the intimacy towards the audience. You would not pick your nose on stage for example. We have awareness in a performance, in everything we do.
The breakfast talk was followed by an open rehearsal in the studio.
Words, improvisation, ballet and a workshop!
In the studio. Nadi gives tasks to Natalia. Specific words in the music are connected to certain rules of how to move the body. The words from a song creates a structure for improvisation.
— One word means fall down. An other word means use your leg, says Nadi.
Nadi uses improvisation as a tool to create material. After many years of ballet training she finds it liberating.
— Sometimes we forget to just dance. I work with music, rhythms and to have fun. That is how I started to dance.
Today (Tuesday) 27/11 and tomorrow (Wednesday) 28/11, at 11am Nadi will give an open workshop for all dancers who are interested, at Danscentrum Syd.
— We will play games, have fun, get to know each other, break down the tension. Then we might do small, physical sequences, playful stuff!
Here they are, in the middle of the creation and process planing.
Coffee with Nadi Gogoulou and Natalia Baka
Arriving in Sweden. We meet and talk about coffee, winter coats and instincts.
— With my instincts I choreograph and do video editing, says Nadi.
The video editing Nadi started to do as a dancer. It became her tool to capture her body’s inside impulses from an outside perspective. The video below shows one of the projects where Nadi and Natalia connected as artists:
For the first time this week, Nadi is getting into the studio together with Natalia, as a supporting partner. Now they will explore more playful thoughts and ideas at Dansstationen in Malmö.
Looking forward to share more of their process!
Welcome Nadi Gogoulou and Natalia Baka!
Text and photos of Nadi: © Christine Brorsson
Reducing a person to an object…
Glimpses of the Studio Showing with Maura Morales and Michio Woirgard for KID 2018.
After merely 3 weeks of research a baby is born in Malmö…
Words about the work
Normally when we create, we create on the dancers for the next production, he explains.
With this residency we took the opportunity to work intimate, her and me. We work on the subject: How does the dancing body sound?
It is very difficult for me as a musician. Usually I take my instruments to create the mood she needs for the piece. With this she is giving me sounds that I have to process into the mood she want – and do it on the fly. This what’s distinguishing this project.
She is very clear on exactly what she wants and now I can only use the sounds she gives me – and still I need to create exactly the music or mood she needs.
I’m just there to satisfy the need of (in this case) sound, he adds. With no personal expression or ego. Technically I record the sounds as a sample and transform and process into the music we need.
Cool – it works!
Every hit should be recognizable. So we need to very specific in the structure. Every room sounds different.
Usually in my roll as a composer I normally put my ego aside to be able to make the dancer shine. Now I have to insist on what I do to be able to make it reproducible. This is a big challenge on many levels. For both of us, he smiles.
At 8 in the morning…
Usually we take the music first and then create the movement to the music, she says. This time the dance is creating the music. It’s a reversed process – and an eternal loop. I make a sound – he changes it. I hear the new sound, which gives me the impulse to create the next.
Content is that she really is saying something:
The woman is always a subject – a thing. She has a lot of cables attached. Always connected. Never really being herself. The movement is very restricted in this since I have cables everywhere.
We are very concrete. A movement is not good enough just because it looks or feels good. We look at the purpose – the WHY and WHAT is important not the HOW.
The woman in this piece is important, she is telling me how to move. And that in my body creates different layers.
Right now the woman body is making revolution. My body is being loud.
We are very curious on where this will take us. We are trying to have a dialogue at the same time we listen to our selves. In the end hopefully him and me stop to exist in the piece and then we just have the music. It’s very very complicated… Every night when we finish we both have a headache.
Haha, and still not happy. They laugh.
Photos, text and editing © Marie Sol
Workshop with Maura Morales and Michio Woirgardt
The luxury of live music….
Interpret the energy of the music, he says. Interesting is often not the most obvious.
Maura Morales and Michio Woirgardt are in town for the first KID residency of 2018.
And it all starts with…. Food.
What do you want to research during this residency? – I ask.
We are going to investigate the sound of Mauras body, Michio explains, while looking sceptical at his just served, very traditional swedish laxpudding.
Hopefully my body will make good music, she adds and laughs a little.
Text and photos ©Marie Sol
Silvia puts a Lucia crown on my head and I am dancing together with her and Matteo. Doing movements that feels good to do, the moment before the audience enter. In an unofficial way everyone gets a seat and the sharing starts. Or has it all ready started? The roles of spectator, performer, artistic photographer, sharing and togetherness mixes and shifts. Some of the words that the audience afterwards use to describe their experience is “Disarming.” “Liberating.” “Natural.” “So much fun.” “Brilliant.” “Feel good.” Thank you so much Silvia and Matteo!
Preparing for sharing
Energy is on top when I enter the studio from the elevator at Dansstationen. Silvia and Matteo is having a party with movements, expressions and words. Costumes. Laughter. Energy increases even more. I become one of the performers behind the camera and we explore a new meeting. Preparing for sharing at Dansstationens studio on Friday afternoon.
Text and photos: © Christine Brorsson
Scheduled in December
Silvia Gribaudi, choreographer and performer, has been invited to the international residency of Konstnärsnämnden. She has a project called Graces. The name refers to 3 sculptures by Antonio Canova. Graces will be performed with 3 dancers on stage. In Malmö, Silvia experiences with Matteo Marchesi, one of the dancers, the ability to translate on other timings and humor, and on the concept of showing and beauty.
Photos: © Christine Brorsson
In the middle of a process
Silvia and Matteo meets freelance dancers at Danscentrum Syd, finds an Italian friend and breaks into laughter. Together we search for good a angle for pictures. We improvise with light, movement and staging. So much laugh, warmth, self distance and humor when the residence duo finds their way through their process. In the storage room we experiment with a new picture idea.
The Door is Still Open to take part of the residency at Danscentrum Syd. On Friday the work continues with Silvia and Matteo but the whole week there will be something waiting in the studio for the visitors.
Text and photo: © Christine Brorsson
The moment somebody enters…
Take the chance to see a bit of the residency process that explores the collaboration between Silvia Gribaudi and Matteo Marchesi. This week and until 5 pm today, they work with the task “The Door is Open”. At the same time they offer the space to other artists in need.
— This is a welcoming tool and a strategy to break expectations within the creative process, says Silvia.
The tool is a strategy towards the preparation to go in front of an audience.
— It is interesting what happens in the body when you know someone can enter any time. It creates presence and brings dynamic into the day, says Matteo.
Welcome Silvia Gribaudi!
Silvia has arrived in Malmö, working in Danscentrum Syd on a process tied to her new performance GRACES, about the concept of beauty, stereotype and look.
Her choreographic language crosses performing art, dance, and theatre. Her artistic language could be summarised as the encounter of dance with a raw, empathetic humour.
Want to know more about Silvia?
Visit Skånes Dansteater tomorrow!
‘Take My Generous Gifts’ 2017.01.19 at Dansstationen, Palladium
Collaboration between Aoife McAtamney & AdeY.
Image by AdeY.
‘Let me borrow some soft white thing, for an anchor while I swim’ 2017.01.18 in Danscentrum Studio
Week 2 with Aoife McAtamney.
Välkomna Aoife McAtamney! 2017.01.12 at Grand Öl & Mat, Malmö
And so it begins… with a lunch meeting…
“M O V I N G ” 2016.12.12 in Danstationens studio
Collaborators JOHANNA (Dramaturgy) & PETRA (enterpreter) joining the residency
“REFLECTIONS ON SPACES WITHIN SPACES” – Emma Murray (NZ/CH)
20.12.09 Emma showing Emma meeting points for “Motherfuckers” in Malmö 🙂
“MAKING FRIENDS WITH THE CRAP” – Emma Murray (NZ/CH)
2016.12.07 Testing methods at Danscentrum Syd for new creation
“Mother*Fuckers” premier in Bern Oct 2017
Showing at Dansstationen
The KID residency by Marta Navaridas and Alex Deutinger finished of by a work-in-progress showing at Dansstationen yesterday. The choreographers talked about their process, showed parts from their earlier finished work on video and had a live showing of elements for their new piece. The premiere will take place during April and the piece will tour in Vienna and different cities in Austria.
Text and photo: © Christine Brorsson
Rehearsals in process – Showing on Wednesday 27/1
Marta Navaridas and Alexander Deutinger continue their residency, putting different elements together. They explore different movement qualities and how they go together with the characters expressions and costumes. In the rehearsal they use the rhythm from a recorded voice as well as the rhythm from a metronome when exploring the connection between words and movements. In the performance the talk will be live, as monologues and dialogues between the characters.
The official showing is this Wednesday 27/1 at 7 pm at Dansstationen.
Text and photo: © Christine Brorsson
Brainstorming about monarchy and Lady Diana
Ingredients for the process are there.
Putting together disconnected things.
Lady Diana. Everybody loves her. Why is she so special?
Metronome. Constant rhythm. Movements.
The essence about Lady Diana. Relating to society of today.
Voice. Fragile. Learned. Words. Expression. Structure. Score. Drums.
We need a wig.
Choreographic duo with elements in text and dance
Today is the first day of residency for Marta Navaridas and Alexander Deutinger,
based in Austria. Both of the choreographers studied translation and are using
text and dance for their work. They also have a background within physical theatre
Marta Navaridas and Alexander Deutinger worked together since 2007 in the constellation Navaridas/Deutinger, frequently creating and choreographing in
In 2014 they toured the piece Your Majesties in the south of Sweden and in 2013
they performed the piece The Old Testament with the constellation The Loose Collective
in Dansens Hus, Stockholm.
Credit: © Kati Göttfried
Full showing at Dansstationen and extract on Platform
This wednesday Laura and Jos showed their two solos, all together a full evening performance in two individual parts. Tonight they will show parts of their solos at Platform, Dansstationen 7.30 pm.
Photo shoot at Malört – Tatuering och underjordisk kultur. With Laura Aris and Jos Baker. Photo: © Christine Brorsson
Rehearsals at Danscentrum Syd
Laura and Jos are rehearsing their individual solos, both an expressive combination of dance, theatrical elements, voice, music and sound. The official showing is at Wednesday 9 December, 5 pm at Dansstationen.
Photos: Christine Brorsson
Starting point for residency within dance theatre
Laura Aris and Jos Baker have now started their residency at Danscentrum Syd in Malmö. In different explorations for solo work, they are both combining contemporary movements and theatrical elements.
As starting point Jos is using character work, a musical idea with a radio, set specific movements and improvisation within specific ideas.
Laura is using a microphone and her voice, together with humorous influences and contemporary movements. Laura is now exploring her third solo within the theme bleeding.
Text and Photo: Christine Brorsson
Public presentations of Seydou Boro In Malmö between 12/1-31/1 2015
Visit in Dansstationens studio 26 jan…
Tonight 16/1 Seydou presents a unique presentation of his upcoming project at Platform, Dansstationen
Seydou Boro Frankrike/Burkina Faso
In Malmö between 12/1-31/1 2015
The Seydou Boro Company
Dancer for Mathilde Monnier from 1993 to 2004 he created with Salia Sanou the company Salia ni Seydou in 1995. After 15 years of artistic adventures with Salia Sanou within the company Salia ni Seydou, Seydou Boro set up his own company in 2010. He wanted to use it to develop his choreographic research work while exploring in greater depth a more cross-disciplinary approach to cinematographic and musical creations. He created “Le tango du cheval” in 2010 and brought out his album “Kanou” in the same year, then adapted a traditional story for young audiences in 2013: “Why do hyenas have shorter back lacks than front legs and why do monkeys have bare bottoms?” and made a collective film, “Corpus” with Leslie Gremberg/Les Films Pénélope. He also continued to tour with the pieces “C’est-à-dire” (2004) and “Concert d’un homme décousu” (2009). He has regularly been invited to pass on his teachings and repertoire in workshops and masterclasses.
His artistic work is inspired by links that have been established over a number of years with the CDC la Termitière in Ouagadougou (Burkina Faso) of which he is co-director. He has also embarked on other collaborations in France and abroad which offer him space for research and experimentation. He has worked with the likes of Les récréatrales in Ouagadougou, Tof theatre (puppets, Brussels) and Mark Tompkins (I.D.A) and is planning to adapt a text he wrote in 2002, “L’exil dans l’asile”, with Bakary Sangaré from the Comédie Française.
In 2014 the Seydou Boro Company recreated the 2013 choreographic story “Why do hyenas have shorter back lacks than front legs and why do monkeys have bare bottoms?” on stage with “Surukou” and four musicians from Burkino Faso. In 2015 he will be creating “Le Cri de la Chair”, a piece for six dancers and five musicians
Final showing with Claire Cunningham
Claire talks about her work and ideas from the residency at Skånes DansTeater. For three weeks she was a part of the International Dance Program with residency through Skånes Dankollegium.
Minimalism and simplicity with Jan Martens
Claire Cunningham works together with the Belgian choreographer Jan Martens during her second week of residency. Claire is the performer and Jan is the choreographer. In an exploration they use minimalism and simplicity to create movement scores for a story telling expression. On saturday at 1 pm they will have a showing of their exploration.
Talking about Elvis
Not so many artists can be recognized by specific movements together with a personal and specific voice. Elvis is one of them and Claire Cunningham is fascinated by him.
“There is something in his movements that has a similarity to movements from disabled people.”
Even though Elvis is not disabled the similarity of his movements are thrilling. This is one of the things that Claire Cunningham is exploring during her residency.
“Elvis movements was scary and provocative to young people. The movements from disabled people are also often considered as scary. As a disabled person you are being watched, starred at and in a way often performing for others. I find this similarity very interesting”
A minefield of discarded shoes
A multi-disciplinary artist from Glasgow
Claire Cunningham is a performer and choreographer of multi-disciplinary performance based in Glasgow. Cunningham is one of the UK’s most acclaimed and internationally renowned self-identifying disabled artists. Her work is often rooted in the study and use/misuse of her crutches, and the exploration of the potential of her own specific physicality with a conscious rejection of traditional dance techniques (developed for non-disabled bodies). Her body of works range from the intimate solo Evolution to the large ensemble work ’12’ for Candoco Dance Company. Her most recent work ‘Guide Gods’ looked at the perspectives of different Faiths towards the subject of disability.
Welcome Claire Cunningham!
Claire Cunningham has arrived in Malmö and started of her first day of residency at Skånes DansTeater.
“Today is Monday. I am in Malmo. In Sweden. I have arrived here. now. I stand on a black dancefloor in a studio in Skanes Dans. My studio…..for the next 3 weeks anyway. I feel the floor solid under my feet. A warm floor with cold feet. But I can really feel it.
On Wednesday I was in Salvador. In Bahia. In Brazil. Standing in a warm sea. with warm feet. with the waves crashing into me, trying to tear my legs from under me. and I jumped. I jumped over them like a child, a 37 year old child. lifting myself up and over the waves, suspended on my crutches. feeling the crutches sink deeper with every undertow as the sea sucked the sand out from beneath them.
Today is Monday. I stand on a black dance floor in a studio in Skanes Dans. In Malmo. In Sweden. and I feel a crunching, a grittiness within my crutches. I take them apart and let fall from deep inside onto the dark, black, warm dancefloor in Sweden, the sand of Salvador, Bahia, Brazil. I see the lines, the tidemark of South Atlantic sea salt crusted around the lower shaft of the crutches, and I taste it, and dust it off onto the floor to join the tiny pile of sand in front of me.
I shape this sand and sea, here in another city, at the edge of another land. This hard, cynical soul gives it form. A heart. that misses the huge, bright souls of Salvador. the sun. the noise. my friends. A heart that lands here. and will be blown into every corner, to find bright new souls and new friends, and that will leave its own traces behind.” Claire Cunningham
Blogging: Christine Brorsson
Video from showing at Dansstationen
See parts of the showing at Dansstationen by Peter Jasko and Pierre Michaud.
Final showing at Dansstationen by Peter Jasko and Pierre Michaud
Showing, mingel and food at Dansstationen. The two artists started their residency from zero, without even a direction. Today they did a showing of their different ideas put together.
Second part of residency with Peter Jasko and Pierre Michaud
The residency continues at Dansstationen with a playful exploration between the composer Pierre Michaud and Peter Jasko. The two artists has their base in a long friendship. This is their first collaboration for an own creation.
First part of residency with Peter Jasko and Florencia Demestri
The two choreographers Peter Jasko and Florencia Demestri is currently working in the studio at Danscentum Syd. They explore individual expressions and interactions.
The inspiration comes from the music composed by Simon Thierreé. Four musicians will later play the classic violin music live on stage.
Peter Jasko – Arrived in Malmö
Peter Jasko has arrived in Malmö for international residency. Together with the choreographer Florencia Demestri he started his first part of the residency, research for the work Spring Quartet. The work is inspired by the composed music from composer Simon Thierreé.
Peter Jasko studied at the Conservatory of Banska-Bistrica in Slovakia and P.A.R.T.S. in Brussels. He has worked with David Zambrano, Roberto Olivian and Sidi Larbi Cherkaoui among others. Peter is the co-founder of the company Les SlovaKs Dance Collective. Together with an extremely expressive and physical body language, Peter involves humor and voice in his direct contact with the audience.
Text and photos: Christine Brorsson
November – December 2013 Sun-a Lee
On the 11th of December there was a studio showing and residency presentation at Dansstationen. Here Sun-a Lee and Pierre Yves Diacon talked about their collaboration and performed some of what they had worker on.
They also presented a solo each at the Plattform at Dansstationen the 13th of December. To watch video with excerpts from the two showings click HERE.
During the last week of her residency Sun-a worked together with Pierre Yves Diacon from Switzerland. This is the first time for Sun-a to create a piece together with another performer. They used this first meeting to learn to know each other better artistically and movement wise. Exploring their way of moving separately and together and in relation to music. They set short sequences of choreography or frames for improvisation and repeated these over and over again. They reviewed their recordings and constantly applying or changing things.
During Sun-a Lee‘s stay in Malmö she met photographer Charlotta Hartman. They realized they had some common artistic thoughts and decided to used one day exploring this which resulted in some amazingly beautiful photos. These photos were exhibited during Sun-as showings on the 11th of December at Dansstationen.
Photo by Charlotta Hartman
Sun-a Lee – International residency in November – December 2013
Sun-a Lee is a South Korean choreographer and performer educated at Han-Sun University and Korean National University of Arts in Seoul. In 2007 Sun-a won the French Embassy Prize at the Yokohama Dance Collection in Japan. This brought her to France for six months and since she has toured throughout Europe and gained recognition.
The first time Sun-a performed in Malmö was in 2011 when she was invited by Memory Wax for the dance festival City Hoppers. This year Sun-a was chosen by the touring network Dansnät Sverige to perform her solo “Waves” in five swedish cities.
While touring in Sweden, and more precisely in Piteå, Sun-a found the inspiration for her new piece, which she is working on during her residency in Malmö.
Experiencing the forest and snow through the windows of the rehearsal studio she was inspired and recorded a short video.
Watching the video two things was brought to her mind, the troll, a mythological creature in the scandinavian folklore, and a person living in Hikikomori.
Hikikomori is japanese and refers to a person who withdraws from social life and isolates themselves in a room, apartment or house for months or years. This phenomenon is more and more spread in Japan, China, Singapore and South Korea. The reason for this seems to be that the education system in these countries with high emphasis on competition, memorization of facts and figures for the purpose of passing entrance exams create hight demands and very high level of stress on students.
Thinking of the powerful troll in the beautiful forest in contrast of a weak person living as hikikomori Sun-a wrote a short story which became the starting point for her work.
Sun-a’s work plays with abstraction and has a strong emphasis on the body in motion. Her own way of moving is something very unique for her work. When listening to the music her movements starts from deep within and are expressed as detailed and articulated movements all the way out through the toes and fingertips. Always in detailed connection with the music.
Although Sun-a use a story as a source of inspiration for the piece this is something the viewer might not see. She believes that the audience while watching the dance will experience what the story or the characters in it feel.
August 2013 Wendy Houstoun
WENDY HOUSTOUN is a London based artist who has worked with experimental movement and theatre forms since 1980. Her solo works Haunted Daunted and Flaunted, Happy Hour , The 48 Almost Love Lyrics , Desert Island Dances and Keep Dancing have all toured in Europe , Australia and the US and were all made with composer John Avery. Her new solo 50 ACTS is currently on tour.
Collaborative work with companies and individual artists include: Lloyd Newson and DV8 Physical Theatre , Tim Etchells and Forced Entertainment , Gary Stevens, Charlotte Vincent and Vincent Dance Company, film-maker David Hinton, dancer Jonathan Burrows, performer Nigel Charnock, dancer Rachel Krische, performance artist Rose English, Gloria Theatre, Lumiere & Son Theatre, Ludus Dance Comapany in theatre and site specific pieces , films and installations.
Wendy has recently made pieces for Candoco Dance Company, Yorke Dance Project, VCAM in Melbourne and Antonia Grove and Probe Company.
Nov – Dec 2012 Rodrigo Sobarzo
For november and december 2012 Rodrigo Sobarzo is invited to Malmö as a part of the international residency program by Konstnärsnämnden, through Danskollegiet. Rodrigo comes from Chile and studied choreography in SNDO (School for New Dance Development) in Amsterdam and has a BA in actor technique from Universidad de Chile in Santiago.
In September this year, his work Mining was showed in Malmö, Gothenburg, Stockholm and Jönköping. Rodrigo seeks to envelop the audience into visual introspection. Besides his own creations he has participated as a performer/collaborator in pieces by Ivana Muller, Jefta van Dinther, Martin Nachbar, Jeremy Wade and An Kaler.
For my work, there is nothing to understand or any context to be put into. Everything is created in the moment when the audience meet the performance. And everything in the performance, even the sound, is visible on stage.
First day in the studio. Rodrigo explores sound scapes.
Rodrigo Sobarzo final showing
Pictures from the new created work APNEA during residency of Rodrigo Sobarzo.
APNEA showing at Danscentrum Syd
Rodrigo Sobarzo has a few days left of his residency in Malmö. The new created work from this period, APNEA, is showing at Danscentrum Syd, thursday 6 December at 7 pm.
Rodrigo explores what will happen inside the body when it is exposed for certain temperature, light, sound and humidity. An enviroment for this observation in stillness was created for the two days workshop at Danscentrum Syd.
The mind is the field of study for this chemical experience and how the reactions and processes that happens inside the body transits and exchange from one organ to another.
Pictures for inspiration
Rodrigo inspires by different pictures from nature. This one from under water is taken by Daan Verhoeven and represents Rodrigo’s new work, APNEA.
Workshop with Rodrigo
28, 29 november at Danscentrum Syd.
How could we start collective movements that has the potential to be communicable, transmittable, transferable, spreadable, contagious and ultimately epidemic all at once? We will treat the studio space as an incubation site for viral cultivation, rigorously take care and provide all conditions in order to trigger cellular growth.
Photos and documentation: Christine Brorsson
Januari 2012 Hela Fattoumi & Eric Lamoureux
Between the 9-27 of January 2012 Danskollegiet is hosting the two French choreographers Hela Fattoumi & Eric Lamoureux who are based in Basse Normandie, FR. In Malmö they have been doing researches for their new creation in studios both at Skånes Dansteater, Dansstationen and Danscentrum Syd were they future more worked with 8 local dancers. The result of a four day workshop was shown in Dansstationens event Platform 19/1.
Public showing at Platform 19/1 after 4 days reaserch with local dancers
Workshop in Danscentrum Syd 16-20/1
Artist talk in Malmö Moderna Museet 15/1
(photos & documentation Emma Ribbing)
Oct – Nov 2011 Kaori Ito
During her residency she worked on her solo “SOLOS”; “I question what is my own feminity and sensuality besides all the things I have experienced with talented directors who were all men!”
At her public showing she shared her work with local artist and others; see Video Documentation for a short video of the happening.
5th of November
4th of November
2nd of November
Today Thomas Bentin is invited to work with Kaori on the piece “Islands of no Memories” that they will perform in the spring in France and Belgium. In this scene they are shouting Japanese and English tasks to each other as Thomas is performing them.
1st of November:
Kaori is working together with Elie Tass that gives feedback on her work. They worked together for Alain Platel for two years and the issues they are discussing here concerns what is communicated through the different parts of the piece she is working on.
24-31 of October
This week Danscentrum Syds studios in Malmö also hosted Chiharu Mamiya (JA) for a workshop about improvisation and presence in performance. We gathered for a viewing in the studio and future at night for an informal showing of each others videowork. It was a very generous exchange between local and international choreographers and performers.
January 2010 TalDans
TalDans Company has been established in Istabul by Mustafa Kaplan and Filiz Sizanli in 2003. Kaplan and Sizanli have created many independent and collaborative projects. Some of the projects they have created together are SEK Sek (2003), Solum (2004), Graf (2006) and Dokuman (2009)
TalDans was named after the Theatre Research Laboratory (TAL) of Istanbul Metropolitan Municipality Theatre in which a movement-dance research unit was established by Mustafa Kaplan. A number of individuals who used these studios by the support of Ayla Algan and Beklan Algan have founded CATI (Contemporary Dance Artists) Association after leaving Istanbul Metropolitan Municipality Theatre.
In this residency TalDans has decided to open the old boxes and is look back into their early works. They do this to find the memory in their body and exmine how much old body memory and material can be stretched, pushed and addapt it in their present work. A curiosity of the past that can help the companys development of future works.
For more info: http://www.taldans.com
video/dokumentation by: Kirstine ilum photos by: TalDans
Nov -Dec 2010 Busy Rocks
Franziska Aigner and invited colaborators Mathias Windelberg & Sirah Foighel Brutman
Video, photos & documentation by Emma Ribbing
Busy rocks was founded collectively by five students graduating from the school PARTS in Brussels in 2008. Since than they tour extensively across Europe. All members also collaborate with external artists from various art disciplines.
Brussels has for a long time been a strong centre for successful and innovative contemporary art and dance. This is the second residence in Malmö where the chosen artist is based in Brussels.
Interviews from International residency Malmö (SE) dec 2010 by Emma Ribbing
In this years residency I have made a concious choice not only to picture the artistic process and public showings of the invited choreographer. In intervews with Franziska A. And Gabriel S. I have tried to give a picture of the artistic support in Brussels and how the people behind the collective Busy Rocks work. In Malmö and generally in Sweden it is more common that independent choreographers also do all applications, booking and tour management themselves, I asked Franziska Aigner and Gabriel Schenker how artistic support works in Brussels, how they collaborate with their management and if this has any effect on their artistic work.
Photos from run through in studios of Rörelsen Koreografer i Skåne and Danscentrum Syd 10 & 11 december. Gabriel visited for the weekend
Jan-Feb 2010 Michael Jahoda
Nov-Dec 2009 Erna Ómarsdóttir & Valdimar Jóhannsson