February 6, 2020
PRAXIS Artist: Ilse Ghekiere and pavleheidler
a new series of practice-sharing events called PRAXIS Artist is being organised in Oslo. Ilse and I have been invited to host a session on the 6th of February, when we'll probably talk about dancing-writing, as dancing-writing is really what brings Ilse and I together as collaborators.
we might end up reading some of the Writing Bubbles, which we've been writing-collecting since the fall of 2013. we might end up reading some of the other work we've written since.
we might end up dancing. we might engage in an analysis of the transformation of sensation to language and comparing it to the transformation of sensation to movement (language). who knows? maybe we'll mention TOGETHER ALONE. maybe we won't.
we could end up talking about duration, longevity, and long-term commitment. we will probably end up talking about transformation, and possibly the role of observation in the context of a durational practice. maybe observation, as a strategy, in relation to anticipation, as a strategy?
neoliberal capitalism might come up. sexism might come up. misogyny might come up. queerness might come up. feminism might come up. movement for social justice might come up. all the good stuff, wouldn't you agree?
most likely, we'll be sensitive to the interests of our audience and make decisions in real time, because how else do you create meaningful experience than in collaboration with everyone present-ly caring?
march + april 2020
back at CCAP, working on a text based publication written in response to the recent choreographic works created by Cristina Caprioli and Co.
march 23 <> april 3
in residence at Konstnärsnämnden with Alys Longley. picking the work up from where Skye Reynolds and I left it.
Alys and I will look at the activity that is transforming the virtual into the material. here's an excerpt from my application to Konstnärsnämnden:
What decides green from blue? is a metaphor with which I am trying to target a hypothesis: that a stereotype–e.g. “Dancing expresses things that cannot be expressed in language.”–has been preventing dance artists from developing deep & critical understandings of the practice of dancing, and the language with which to communicate how knowledge developed within the framework of dance studies is relevant in always contemporary (and especially: today’s) socio-economic climate; particularly informative to organising movements towards social justice and change.
My aim is to start with the premise that language can, in fact, express what dancing can express, albeit in different ways. The question is: how do these ways differ? Methodologically, for example. What is similar between the experience of deciding “to arabesque” (in dancing) and the experience of deciding “green from blue” (in writing or drawing)? There is also the question of aesthetic value and legibility (culturally speaking) which I’d like to examine: who can recognise an arabesque from a leg raised behind one’s back, and how does that (awareness? sensitivity?) influence the dancer’s choice-making?
during the second week, we're planning to host a public event, look at social media for updates