pavleheidler (they/them) (adhd+autism)
“It all comes down to the stories we tell (ourselves).”
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The goal of the session is to support you, via the study of BMC® and its principles, in developing your inquiry in an embodied sense.
You may, for example, have a question that you don't know how to answer, or a feeling you don't know how to process, or stiffness or pain that you don't know how to soften; you could have come to a realisation that you don't know how to integrate or have grief that you don't know how to sit with.
Alternatively, you may (simply) want to know more about how your body works, where your liver lives, or what the difference is between thinking, feeling, and sensing.
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In the context of an individual session, you benefit from receiving undivided attention from a certified educator, and having your questions addressed in specific instead of generalised ways (as is often the case in a workshop or a class setting). Most significantly, in the context of an individual session, you are in charge of the time, the pace, the tone, and the atmosphere.
next:
- BMC® classes with pav in Stockholm through April, May, and June
- April Fields of Tender in Stockholm
- April Laughter in Process in Eskilstuna
- May improvisation class and practice sharing at 24 Hope Street in Liverpool, UK
- July LACE #2: Mediating Touch symposium at ImPulsTanz Dance Festival
- July I. Am. An. Artist, an embodied approach to studying abstracts, new workshop at ImPulsTanz Dance Festival
BMC® with pav
In the way I understand and practice it, Body-Mind Centering® defines an experimental principle-based approach to studying anatomy, where anatomy outlines and describes the conditions necessary for the emergence of movement, experience, and consciousness. The question is, how does it [anatomy] do that?
Springtime is often perceived as a time of upheaval. Many report on struggling through this transition—our bodies begin softening with the coming of the Sun, our sleeping patterns change, energy levels restructure, and regulating between thinking and feeling becomes slightly more challenging than usual.
This series is intended for anyone who would like to better understand their own experience of feeling and their own experience of thinking. What makes thinking? What makes feeling? How can I tell which one’s which? How can I become more conscious of their limits and capacities? And use that experience to orient myself in the world with a little more ease?
Drop-ins are welcome.
Children are welcome.
To sign up, please send me an email via pavleheidler@pavleheidler.com.
price:
100 SEK for students and the unemployed
200 SEK for employed
Classes at Folkungagatan 124 are organised in collaboration with Studiefrämjandet.
BMC® and Body-Mind Centering® are registered service marks of Bonnie Bainbridge Cohen, used with permission.
dates:
April 6, 9AM-11AM at Folkungagatan 124
April 13, 10AM—noon > Aspudden metro
May 4, 10AM—noon at Fokungagatan 124
May 25, 10AM—noon (place TBA)
June 1, 10AM—noon at Fokungagatan 124
June 8, 10AM—noon at Fokungagatan 124
June 16, 10AM—noon at Fokungagatan 124
June22, 10AM—noon at Fokungagatan 124
class description APRIL 13
The embodiment of the senses begins with movement and touch. How does the embodiment of movement and touch provide support for the embodiment of hearing, smelling, and seeing?
I'm thinking I'd start us of with a game that would take us from the metro station to Vinterviken. Once we're surrounded by trees, I'm thinking of guiding us through touch and smell. Seeing and hearing could take place at the top of the Örnsberg rock overlooking the lake. Depending on the time, we'd finish with a meditation that would take us all the way back to the beginning...
to prepare:
The standard class consists of the following steps;
- meditation,
- movement exploration,
- touch-based exchange.
This protocol will be adjusted each class to meet your expectations, interests, boundaries, and the themes or topics we will be discussing in that particular class.
Please dress comfortably.
If your practice includes an expressive medium such is drawing, please bring the materials you need to engage in that practice to our meeting.
Fields of Tender
Choreography and overall design: Dalija Aćin Thelander
In collaboration with and performed by: Noah Hellwig, Jimmie Larsson, Jilda Hallin, and me;
Music: Thomas Jeker;
Digital animation and interactive technologies: Filip Mikić
Supported by: Menų spaustuvė/Arts Printing House (Vilnius, Lithuania), Kulturhuset Dieselverkstaden (Stockholm, Sweden), Muzeum Susch / Art Stations Foundation CH (Susch, Switzerland), LaSala (Sabadell, Spain).
Laughter in Process
choreography: Jannine Rivel
dance: Elinor Tollertz Bratteby (stepping in for Amanda Bilberg), Stine Marcinkowski Pettersson, and me
musik: Hannah Tolf & Xenia Kriisin
light: Åsa Holtz
dramaturgy: Márcia Lança
producer: Mer Dans åt Folke
dates:
April 28, 2024, Lokomotivet Eskilstuna
“I laugh to discover I am uncomfortable, I laugh to discover something’s funny, I laugh to discover I am disoriented, that I have no idea what’s going on. This is the capacity of laughter as a physiological phenomenon, this is laughter as reflex as initiator of a complex, cognitive process. I laugh at the relief of hearing somebody else’s laughter to communicate recognition, alliance, empathy. This is the capacity of laughter as a physiological phenomenon playing into the capacity of laughter as a social phenomenon; this is laughter as reflex as initiator of a complex, cognitive process that itself initiates a social interaction.”
[for more subscribe to my substack]
a visit to 24 Hope Street
Improvisation Class
The Oxford Dictionary (still) defines improvisation as an act of creation that was enacted spontaneously or “without preparation”. The way I understand it, improvisation—or how i like to call it, improvisation proper—isn’t determined by one’s level of preparedness; improvisation proper is determined by one’s willingness to face and keep facing the unknown.
This class is intended for anyone who is tickled by the aforementioned statement.
In this class, I will be discussing two points: how does one determine what the unknown is (how do we face the unknown)? and, how does one engage in an act of creation whilst maintaining their relationship to the unknown (how do we keep facing the unknown)?
Please bring to class any instrument or tool you need to engage in the practice of improvisation.
Practice Sharing
I still don’t know why i woke up on a random day in February to decide that it’s choreography that has the capacity to recognise and take note of whatever parameters phenomena are made of. Up until that point, I was convinced that choreography was all about the external, superficial values and their preservation. And it could be that, in traditional terms, choreography remains oriented towards the external. But the way i saw it on this random day, choreography had a much more sophisticated capacity. For in recognising what they’re made of choreography makes phenomena observable that previously weren’t.
On this occasion, I would like to discuss the importance of observability [one’s ability to observe and/or make things observable] for the articulation of any experimental or creative practice; improvisation notwithstanding. to that end, i will share several examples of practices i’ve been developing over the past decade; performative and pedagogic. I imagine this session to be in which you can reflect on something you were told, something you had the opportunity to witness, and something you had the opportunity to try or test for yourself.
LACE #2: Mediating Touch
Hospitality, Integration, and the Interstitial
ImPulsTanz Symposium for Dance and Other Contemporary Practices
curated by Deirdre Morris, Sylvia Scheids, and pavleheidler
dates:
Symposium, July 26-28, 2024
Residency, July 29-August 2, 2024
Vienna, Austria
I. Am. An. Artist., an embodied approach to studying abstracts
In this week-long workshop, each day of the week is devoted to embodied study of a word / concept. I: Monday. AM: Tuesday. AN: Wednesday. ARTIST: Thursday. Friday is reserved for reflection, and integration. This work is as much about exploring one’s embodied experience contained by said words as it is about asking, What does it take to develop an embodied practice, when the focal point of the practice is an abstract (e.g., a concept, an idea, a socio-political standard).
In developing this workshop, I am relying heavily on my experience of studying and practicing BMC®. I am looking at what happens when I turn or apply those BMC® principles that were developed for the purpose of studying one’s experience of one’s anatomy to studying one’s experience of structures that are embodied, but not strictly anatomical? If I can study my experience of “liver” because I know it’s there—I can name it, I can see its image online or in a book, I can read and read about it—can I not study apply that same principle to studying my experience of other phenomena I can name, see an image of, or read about? Such are contained by the words “I”, or “ARTIST”, for example?
No previous experience with BMC® or other somatic standards is required to attend this workshop.
dates:
July 29 - August 2, 2024
at the ImPulsTanz Dance Festival
Vienna, Austria
booking possible from April 24, via impulstanz.com
This workshop could be interesting to those who have a desire to explore (somatically) the depth and the wealth of their experience framed by the words I, aman, and artist. This workshop could also be interesting to those who are looking for examples of intersectional, experimental work that draw its methodologies from multiple fields, e.g., the fields of somatics, pedagogy, and dance- and art-making. In either case, one should know that this is a dance workshop. Dancing will be the modus operandi, the primary mode of communication, and the main orientation device. Dancing here names an experience-based non-verbal form of communication, one that is critically aware of the context within which it is practiced. Namely, the context of the Western professional theatre-based dance and choreography.
2024 © pavleheidler