WITHIN PRACTICE - Trio A / Jaamil Olawale Kosoko & Ima Iduozee / Alice Chauchat
WITHIN PRACTICE - Trio A / Jaamil Olawale Kosoko & Ima Iduozee / Alice Chauchat
Lördag 13 Oktober
Längd: 3 tim och 15 min inkl. paus
Plats: Eric Ericssonhallen, Skeppsholmen (Kyrkslingan 2, 111 49 Stockholm)
Dansas av: Sebastian Lingserius, Stina Nyberg och Björn Säfsten
Jaamil Olawale Kosoko & Ima Iduozee
Approximations (temporary title)
WITHIN PRACTICE är en sju dagars mötesplats mellan professionella dansare och studenter från DOCH och en intresserad publik. Symposiet fokuserar på praktik och praktiker utifrån utövarens perspektiv genom bl.a. workshoppar och publika presentationer.
Begreppet praktik(er) är vanligt förekommande inom dans och koreografi idag, en del skulle t o m säga att det är övermättat. Begreppet praktik kan ge möjlighet att gå bortom projektifieringen av konsten och istället insistera på andra långsiktiga sätt att arbeta på. Praktik kan erbjuda sätt att generera koreografi och rörelser, att träna/repetera (to practice).
I Within practice vill vi lyfta det inneboende experimenterandet och insisterandet som praktiker har, och erbjuda en plats för praktiserande, samtal och konstnärspresentationer och fortsätta bygga gemenskaper mellan utövare.
Workshoppar, presentationer, open source, dans och samtal
I inbjudningarna till konstnärerna Caroline Byström, Alice Chauchat, Jaamil Olawale Kosoko, Chrysa Parkinson, Salvador Sanchis och Arkadi Zaideshar samtalet om deras praktiker stått i centrum. Varje konstnär i Within Practice kommer att göra sex workshoppar under fyra dagar för att sedan göra en publik presentation. Dessa presenteras nu i Eric Ericsonhallen för deltagarna och allmän publik kvällarna 11, 12, 13 Oktober.
Within Practice är ett samarbete mellan Säfsten Production och Institutionen för dans på DOCH/Stockholms konstnärliga högskola.
Genomförs med stöd av Kulturrådet, Stockholm Stad och Konstnärsnämnden.
Trio A, an iconic dance choreographed by Yvonne Rainer in 1965, consists of a 5-minute sequence of movement that was initially presented as The Mind Is a Muscle, Part I at Judson Church, New York City, on January 10, 1966. There it was performed by Rainer, David Gordon, and Steve Paxton, simultaneously but not in unison. Since then the dance has taken on myriad forms, including execution by a large group in the nude with American flags (Trio A With Flags), a retrograde version by Pat Catterson, and a recent solo version (Geriatric with Talking) by Rainer herself.
Choreography: Yvonne Rainer. Dancers: Sebastian Lingserius, Stina Nyberg and Björn Säfsten. Choreographer, dancer, authorized transmitter of Yvonne Rainer’s dances: Emmanuèle Phuon.
Yvonne Rainer, one of the founders of the Judson Dance Theater (1962), made a transition to filmmaking following a fifteen-year career as a choreographer/dancer (1960–1975). After making seven experimental feature-length films, “Lives of Performers” (1972), “Privilege” (1990), and “MURDER and murder” (1996), among others, she returned to dance in 2000 via a commission from the Baryshnikov Dance Foundation (“After Many a Summer Dies the Swan”). Since then she has made six dances, including “AG Indexical, with a little help from H.M.,” “Assisted Living: Do you have any money?” and “The Concept of Dust: Continuous Project—Altered Annually.” Her dances and films have been seen throughout the U.S. and Europe. Museum retrospectives of her work, including drawings, photos, films, notebooks, and memorabilia, have been presented at Kunsthaus Bregenz and Museum Ludwig, Cologne (2012); the Getty Research Institute, Los Angeles; Jeu de Paume, École des Beaux Artes, La Ferme du Buisson, Paris, and Raven Row, London (2014). A memoir—“Feelings Are Facts: a Life”—was published by MIT Press in 2006. A selection of her poetry was published in 2011 by Paul Chan’s Badlands Unlimited. Other writings have been collected in ”Work: 1961–73” (1974); ”The Films of Y.R.” (1989); ”A Woman Who…: Essays, Interviews, Scripts” (1999); and “Moving and Being Moved” (2017). She is a recipient of two Guggenheim Fellowships, a MacArthur Fellowship, and a U.S.A Fellowship.
Emmanuèle Phuon is French-Cambodian and lives in Brussels, Belgium. She started her training in Phnom Penh at the Royal Ballet of Cambodia and graduated from Avignon’s Conservatoire National de Danse (France) in 1986. In New York, she has performed with the Elisa Monte Dance Company from 1989 to 1994, Baryshnikov’s White Oak Dance Project from 1995 to 2002 and had the privilege to work with acclaimed directors Martha Clarke and Joachim Schloemer, and choreographer Meg Stuart among others. Ms. Phuon joined Yvonne Rainer’s informal company, the “Raindears”, in 2010. Most recently she has helped re-stage Trio A, The Mind is a Muscle and Chair/Pillow for “Yvonne Rainer’s Performative Exhibition” at Shunju-za Theater in Kyoto. Ms Phuon is a 2009 and 2015 Asian Cultural Council grantee for her choreographic work with Amrita Performing Arts in Phnom Penh, Cambodia. Her work has been presented at the Baryshnikov Arts Centre and the New Haven’s Festival of Arts and Ideas (2010), the Spoleto Dance Festival in Charleston (2011), the Guggenheim Works and Process (2013), Singapore Da:ns festival (2016) and has toured Hong Kong, Amsterdam, New Delhi. Bits & Pieces (Choreographic Donations), her latest project, will premiere at Danspace (New York) this fall.
Jaamil Olawale Kosoko & Ima Iduozee
“Indeed, Blackness provided the occasion for self reflection as well as for an exploration of terror, desire, fear, loathing, and longing.”
—Saidiya V. Hartman, Scenes of Subjection
Chameleon is a performance project by Jaamil Olawale Kosoko that examines the shapeshifting, illegible, and fugitive realities of Black diasporan people. During the Within Practice Symposium, Kosoko in collaboration with dance artist Ima Iduozee will explore live feed technology, augmented reality, and complexity theory (the study of adaptive survivalist strategies inside complex networks or environments) as a choreographic device. They will explore and share their research through collaborative actions that archive the process and development of the work.
Creative Statement: ”My work grapples with what queer and oblique readings of society and modernity can reveal about the narratives, political realities, and aesthetics of Black life, indigeneity, and decoloniality. I explore connections between my own autobiography and larger political issues. My works address the policing of Black bodies, fear of the Black male body, Blackness and colonial power, madness and mental health, and the ritual and spiritual practices taken up or passed down by Black diaspora communities.
Although often interwoven with theoretical texts, as performance, my work is an immediate, layered, analytical, and visceral embodiment of certain ideas beyond dialogue. This means that I am constantly exploring juxtapositions between certain ways of knowing, decoding, and recognizing the body and its behaviors.
My work examines the survival tactics used by Black and queer people and holds them up not only as strategies for art making, but also as necessary tools for creating new ways of living and building community. This is where I have difficulty drawing a hard line between, for instance, my performance work and other ‘engagement’ elements of my practice. For me, they are co-extensive. It is through teaching and workshopping through a community and healing oriented creative process (just as through archival research and choreography) that the “work” evolves.
This concern is captured in the idea of the transgressive body and brings up questions such as: how does concept operate inside choreographic formation? What are the constraints, patterns, and avenues for future experimentation that influence how bodies might radically present themselves? What frames (classroom, community, performance or gathering) make deep intimacy, appearance, and engagement possible? In Chameleon, the ground shifts and the skin changes; through lighting, live feeds and interplay between identities and roles, observer and observed I aim to capture and comment on certain aspects of the the Black experience, the queer experience, the experience of the immigrant and the colonialized subject.”
—Jaamil Olawale Kosoko
Jaamil Olawale Kosoko is a Nigerian American poet, curator, and performance artist originally from Detroit, MI. He is a 2017–2019 Princeton Arts Fellow and a 2017 Cave Canem Poetry Fellow. He lectures, speaks, and performs internationally. His work in performance and spoken word has toured throughout Europe having appeared in major festivals including Moving in November (Finland), TakeMeSomewhere (UK), SICK! (UK), Tanz im August (Berlin), Oslo Internasjonale Teaterfestival (Norway), Zurich MOVES! (Switzerland), Beursschouwburg (Belgium) and Spielart Festival (Munich). Publications include: The American Poetry Review, The Dunes Review, The Interlochen Review, The Broad Street Review, Silo Literary and Visual Arts Magazine, among others. In 2009, Kosoko published the chapbook, Animal in Cyberspace and in 2011, he published Notes on An Urban Kill-Floor. He is currently working on a memoir. Visit jaamil.com to learn more.
Of Nigerian and Finnish descent, Ima Iduozee is a choreographer and performer working in the fields of dance, theatre and performance. His debut, This is the Title, premiered in 2012, and went on to garner acclaim world wide, touring in 15 countries across Europe, North America and Asia. The solo was selected for Aerowaves Twenty in 2016. Iduozee´s works are often characterised by a poetic and physically rigorous approach. This fundamental starting point meet with the notions of identity, representation, memory and the edges of the human experience. Using afrofuturism as a platform, Iduozee´s latest creation The Garden of Eden (2017) re-constructs the narrative of Adam & Eve and re-imagines the past, present and future. Earlier commissions include works for the Finnish National Theatre, Helsinki City Theatre, Stockholm City Theatre and French fashion house Aalto International. In 2015 the annual honorary prize of the Finnish Critics Association, Critics Spurs', was given to Iduozee, as an acknowledgement for the best artistic breakthrough of the year. Iduozee graduated from the Theatre Academy (Arts University of Helsinki).
PRESENTATION: Approximations (temporary title)
Over the past few years my choreographic work has lived its public life mostly in dance studios, across the bodies of people who found themselves practising my scores together. Every now and then it makes a stage appearance and addresses audiences in a frontal manner. In those cases I use language and movement, so that it tends to look like a lecture demonstration. For the symposium I would like to open up the notion of approximation. Related to the image of an always receding horizon, approximation refers both to coming closer and to inexactitude. The etymology of the word translates as “towards very near”; this never arriving closeness might be a chance to keep a relational space alive, of which distance and intimacy function as coordinates. I hope for the context of this performance to be the site of our coming closer—to this notion, to dancing, to attending, to each other.
Alice Chauchat lives in Berlin and works as a choreographer, performer, teacher, writer, editor and other activities related to choreography. She has created performances in collaboration with a.o. Anne Juren, Frédéric Gies, Alix Eynaudi and performed with a.o. Jennifer Lacey, Xavier le Roy, Marten Spangberg and Juan Dominguez. She has been working mostly in collaborative set-ups, developing with her colleagues numerous choreographic projects and platforms for knowledge production and exchange in the performing arts such as the open source internet platform everybodystoolbox.net, the collective Praticable or the structure for practice sharing nobody’s business. 2010-12 she co-directed “Les Laboratoires d’Aubervilliers”, a centre for artistic research in the outskirts of Paris. 2013-17, together with Jennifer Lacey she hosted “Teachback”, a program for research in dance and pedagogy in ImPulsTanz Vienna. Alice is currently a guest professor in HZT Berlin (2017–19), and is starting a doctoral research on relational subjectivities in dance.