Presentation of artistic projects- 26th July 2013

4^th International Kinitiras Choreography Lab Summer 2013

Final Sharing of Projects

Friday 26^th July 2013, 9.00pm

The 4^th International Kinitiras Choreography Lab 2013 draws to an end with the sharing of the event on Friday 26th July 2013 (9.00pm) at Kinitiras Studio.  As begun last year, the session welcomed international participants who worked together with Greek artists in a creative dialogue that has resulted in a variety of approaches and concerns embedded within the 'exposed practice'.  This fact reminded us that there isn't a single aesthetic that defines what contemporary choreography is, on the contrary, what makes contemporary choreography relevant in our changing times is its ability to redefine existing knowledge, open new territories, find new rationales for being an important contributor to the fabric of our contemporary life.

The event is presented to you as an open platform.  These are not finished pieces, on the contrary, what you are witnessing tonight are ‘beginnings’ of ideas shaped, tested, moulded and remoulded during the month and now given concrete form so that they can enter in dialogue with you the audience.  They are open investigations, and therefore will not be presented in a proscenium format but in a dynamic open space of interaction.  We encourage you to move around the space, position and reposition yourself in different and proximal relationships with the artists and their proposals, engage with, not just receive the work.

 

The presentations making up the event follow this order:

 

Of being and of being seen

Choreographer/Performer: Xica Lisboa

Sound Composition and Visual Media: Kiriakos Spirou

Soundtrack: excerpts and new material inspired by “Science” and “Theory of Knowledge and Art” by Jorge Albuquerque Vieira and “In Name of The Body” by Nízia Villaça and Fred Góes.

“(...)who can carry the complexity of the emotive, the emotional and affective, which is the greater complexity, which is one that will allow effectively, if that happens, connectivity between humans and enabling connectivity between human beings can come to allow a true society , not the proto-society, the primitivism? If the question is in this direction, it is art that can facilitate this.” Jorge Albuquerque Vieira at the Theory of Knowledge and Art

This is not a show. This is an invitation to share and maybe to connect. It's an exercise of being and of being seen. I seek to be at the exact present of my body experience and I invite you to share the journey through the fullness of its success and the recognition of its failures. How much open are you to embark on this journey? How much am I able to open my perception to the surrounding without losing the presence in my body experience?

 

Choosing between fear and strength

Choreographer/Performer:  Marilena Papaioannou

Music: Max Richter, Kerry Muzzey

Remixed by Kiriakos Spirou

I’m not sure if and to what extent one is born fearful or courageous; more and more, I believe that every creature is a mixture of both fear and strength. What we learn and what we experience, gradually defines who we are. And usually, there comes a time in life when we decide whether one of these two traits will dominate over the other. We chose. We chose to live a life in fear or we chose to live a life in strength. My research is based on two people I once met: a fearful and a fearless one. Two fictional characters of a book. The striking opposition of their idiosyncrasies has long intrigued me because of one reason: in spite of it, they fell deeply for each other and managed to establish a loving companionship in life.

So, what you will see today is my first attempt to use the human body and its entire expressive means, to play out these two feelings: fear and inner strength. But also, the constant struggle between the two…

 

 

[hjärtslag]

Choreorgapher/performer:  Maria Sermpou

Sound composition:  Kiriakos Spirou

Stand still for a moment…

Close your eyes and relax…

Clear your head and focus on your breathing…

Suddenly you notice your right hand index vibrating. You notice the pulse that goes through your entire body in just this little index finger of yours. The heartbeat is there and you are finally listening loudly and clearly; you are feeling alive and awakened. You are listening, feeling, touching… You are finally present in the moment.

“Heartbeat is defined as the pulse of your heart, or a single short moment, or something that acts as a unifying force" .                                                                                                                                           
                                                                                                                                                    

Into a Phase Shifter                                                                                     

Choreographer/performer: Ismini Makaratzi

Music composition and sound design for Media:  Dimitris Palaiogiannis ( http://dimitris palaiogiannis.blogspot.gr

Our sense of our identity limits and control us. Does not allow us to fulfil many of our desires, but also settles our anxiety by giving us feelings of safety and some consistency and continuity in our lives. The safety of the familiar, often leads us to insist on stereotypes in a limited range of choice.  We refuse behaviours and desires that are deemed incompatible with ourselves.

What if we choose to change that limited range of choice ?

What if we allow desire to be the guide when making  a radical choice?

The research has been about on-going feedback of the sense data between thought (here: thoughts inspired by the theme) and acting (moving) searching proof to the proposal that every action is an after effect of a conscious intention.. It's about a meditation process, which starts from stillness and leads to movement with the intention to highlight the wholeness of body/mind.

 

 

Untitled solo

Maria Tsichli

0711990715126 /water/paper/me

Director/performer: Maja Maetkovic (with Ismini, Maria S, Marilena, Xica)

This piece was developed as an exploration of the two natures (of many that exist and make us ‘us’) that we all as humans have-  water and  paper . The water as a substance that we are all literally made of, that builds our bodies, our cells, that we drink and need to survive.  And, opposed to this, the paper as ,,what we are on paper”- our birth certificate, our passports, our id cards, our diplomas, our bills etc.  It is an experiment one could say-  enlarging what builds us and making it an obstacle - water, which exposed to the look of others becomes WET ; and paper as a system of bureaucratic restraints that are juxtaposed to our physicality and prohibit it from moving.What you will see is the process of trying to merge these two dual natures of our existence with the hopeful thought that, after all, water deconstructs paper.

 

FOR THE LAB:

Ana Sánchez-Colberg:  Artistic Director

Kiriakos Spirou:  Production Manager and sound engineering for the event (except Shape Shifter)

Pavlos Mavridis:  Lighting

Angeliki Pavlou :  Administration and Communications Manager

 

With our thanks to Flora and Vicky at Kinitiras Studio and all the visiting artists Androniki (and Georgos and Christos), Andreas, John Paul, and Dimitris in absentia, for their input in the planning and delivery of this instalment of the lab.  See you next year for our 5^th anniversary celebration!

thoughts on the go-John Paul Zaccarini Day 1

Failure, a register through which to see our performance, failure and its impact as a clarification, not to be rid of, but to be embedded in the process.  After various exercises John Paul asks the group to invests in the material witnessed and performed.  Neutral face, not to disregard emotion but to invest more on whole body performance - investing fully on the movement.

Invest, flesh out.  Terms used.  The material is put through scales of intensity keeping internal motivation but finding different ways in which it becomes manifested.  Scaling down of movement without a lessening of intention. I guess the issue of presence is embedded in this. John Paul asks them to begin to draw from the material of the individual projects...We are faced with difficulties and impossibility.  Fear of risk is mentioned.  Losing security.  Still have instinct to control the movement although we are being asked to 'break it'...  instinct for beauty/safety is hard to let go...  Two options offered, extending, overdoing.... Makes you lose the point.  trying to hard...  too much energy, speaking of exhaustion, skin burns, aches, pains.... What is too much?  What is a mistake?  What is a failure? 


John Paul begins to work more directly with the material, finding situations/conditions to make the material 'present' once again, as its familiarity may lessen investigation.  It brings to surface issues of 'micro' details, how the clarity of those is related to achieving a 'macro' structure, a dramaturgy... to link decisions at the micro level to the idea of the work as a whole (the macro structure).  How dies this position ourselves in a different place to de-fin(e)(d) material 'a-new'?

We wrap the day with some mental homework for tomorrow...think of what is the mood of the work?  how does it act upon the audience (a transitive verb), how does it act upon you?  (allows/frees)...what does it do?  effect and affect...  as considerations to expand, to bring to life the word 'action' not just 'movement'...

thoughts on the go- lab time 19.7.13

Individual work continues.  materials begin to be brought in, musicians, computers, tape, paper, water, sounds that make the environment shake...

thoughts on the go - lab time 18.7.13

half way through the lab, we shift focus away from the visiting artists to full-on development of individual research projects - striking a balance between individual work and maintaining a group identity through the sharing and discussion of the work.  Today  we saw and 'feedbacked' on Xica's and Ismini's work... both are dealing with interactive and responsive environments...a new development for the lab...more to come.
 

thoughts on the go-Kiriakos Spirou Day 2

Strikes strike.  Everyone a bit late as new routes to the studio need to be found.  The city centre is closed.  Still, we are almost all here...We re-engage with scores, looking deeper into the options available when address a score.  We focus on the graphic score, discuss possible definitions to the graphic symbols  in order to create the rule that will lead to making the score work. What parameters are imposed upon the score to make it a springboard to an event?


Food for thought: from http://radicalart.info/anything/OpenForm/Music.html

- Graphic scores whose interpretation is partially or completely unspecified. The most radical proponent of this genre is Anastesis Logothetis. The anthology Notations, edited by John Cage, provides examples from many composers.

  - "Meta-scores" with an infinite variety of structurally different realisations, from which the performer may choose at his own discretion. A very complex example is Plus-Minus by Karlheinz Stockhausen.

  -  "Word pieces": generic verbal descriptions of musical events. This genre was practiced by George Brecht, La Monte Young, Henry Flynt, Dick Higgins, George Maciunas, and other composers associated with the International Fluxus Movement.  Some of these pieces do not specify any constraints. And some are impossible to perform; that is when music becomes concept art.

Sometimes, the transfer of the composer's authority to the performer's autonomy symbolizes a political stance. John Cage, one of the most enthusiastic advocates of indeterminacy, was a card-carrying anarchist.

---

 

Feedback from the floor:
 

Unique in the act of open 'reading', disappearance of the composer, if you use  pre-existing element 
for your score, is the original author of the element also part of the composition?  Transitions are a challenge, hard to think of overall rhythm if you are instantly composing?  What if every single element was the same but in different circumstances, as  a performer, interpret this as a rigid form of guidelines as a performer, we would need the choreographer to translate it?  (hummm),  as a dancer I prefer the visual image of the score, as a choreographer I can see how a score gives you a basis to start from, space seems obvious, time and duration harder.  As a choreographer I would ideally have a composer to create the score.... an original score.  Difficulty.  It seems we cant escape knowing something  before we try to address the score... stepping stones needed.... Funny they seem to want less freedom.... ? For me it is more clear now how we use it how we make it... it is really important now for me what a score is, how it can help interdisciplinary practice... Choreographer/dancer case is perhaps more specific...how to leave it open so that there are still open spaces in the performance... new decisions available... thinking afterwards, as performer, depends on the nature of the scores. As a choreographer, as a score, not a notation, interesting for me, it organised my wishes, my intention,  organise the material...  how to use to create, perhaps not so, I normally have material, start with the body and the score comes in as a second stage... useful as a strategy...interesting strategy for dialogue with dancers, not just as improvisation...   the score as a mediator, not a generator

___________________________________________________________________

More on Choreographers and scores:

Jonatahn Burrows Stop Quartet
Thomas Lehmen Schreibstueck (see the score html)
Forsythe, Eco, Davies, Mc Gregor as part of the Beyond Text Project UK
Deborah Hay as part of Motion Bank

 

thoughts on the go-Kiriakos Spirou Day 1

Kiriakos Spirou takes over the workshops.  He exposes the focus of his work, day one will be present exploring listening, from that move on to notions of scoring, as core both as a trace but also an a rule setter, also as a way to externalise choice making to be able to set out the next level...

Today listening as a kind of touch, exploring how the touch stimulus is embedded in the act of listening (actually, physically - check Jean Luc Nancy 'On Listening')... how to receive a quantity of touch stimulus and listen to it, and then letting affect us into moving.  This is not a 'puppet' improve - I touch you move that bit - analogy A:A... He is asking for a deeper exploration....Next task takes us from being touch (by another) to transferring the sense of touch to listening to sound (which is playing through the stereo system).  Listening as an active 'hunting for', listening for something (searching), not just listening to something (receiving).  He suggests it is a constant dovetailing... We begin to exchange experiences...Xica brings into the discussion notions of synaesthesia... There is still curiosity about scores, it is hard to figure something other than musical scores.... 

We examine different levels of scores, from very open scores (just two lines) to others that propose more elaborate boundaries (we connect to notions of 'frame-making' proposed by M. Klien in previous labs).  Graphic scores different to literary ones, to physical scores, to three dimensional scores... (for more on choreographic scores- see Jonathan Burrows' Time, motion, symbol. line, or his own score for Speaking Dance 2006). 



Duets and solos, today working from a score, tomorrow, making a score... Scores in performance, scores for performance, scoring [a] performance... As a score not to be 're-presented' but as an exploration...  We encountered similar issues in the research of Androniki's rules, a rule to be explored, not to be 'demonstrated'...  research...  Marilena and Ismini  try Stockhausen's text for 'Meeting Point' (1968),  "every one plays the same tone, lead the same tone wherever your thoughts lead you, do not leave it, stay with it, always return to the same place..." 

Xica tests a graphic score... We discuss the comparative nature of the two scores selected, Stockhausen comes out as quite prescriptive, the graphic score more 'free' but requiring making a number of new rules (a language) to apply to the reading of the graphic symbols.

 

thoughts on the go- Androniki Marathaki Day 2

Giorgos and Xristos, musicians join us in the studio today.  They will begin by observing, then join in. Warming up. from here to there.  On the floor, touching the floor all the way, trying not to leave any space between 'cells' and floor.  Simply.  Effortless. 


Concentration on skin, weight, the amount of weight that is placed into each body part.  An image:  if there was paint on the floor, the effort is to transfer the paint on the floor to the whole of the body.  What touches the floor?   Later, moving from the cluster of cells that have touched the floor, touching space as well.  The work is then transferred to working with the objects, finding one thing and evolving it through accumulation of experiential rules as the 'bit' is repeated.   Attention is given to the soundscape created by the movement through the objects.   We finish a cycle of three full rounds, we take notes and then exchange feedback.


Musicians begin to join in, at first providing rhythmical materialization of the movement thro
ugh sound.  Then they begin to add pitch - high/low as they 'follow' the movement of each.
Androniki introduces her recent collaboration with Dimitris Karalis 'Moving Sounds' that aims to establish a more complex understanding of how music and dance structures can enter into dialogue in performance.  For more on this click on these various links:  Moving Sound Part 1, Moving Sound part 2,  Moving Sound Performance March 22, 2013.  




Dialogues between the sound and movement open, musicians follow the dancers, dancers follow movement.  Sound coonected to body, sound/body connected to space...

thoughts on the go - Androniki Marathaki Day 1

Introductions through movement. 
Androniki draws attention to seeing the space, tracing the space with eyes and then whole body movement, cutting across the traces that each movement leave behind.  She speaks of 'love' and pleasure of movement, away from the heavier  Greek 'eros', she speaks of letting the play of desire surprise us.  Deborah Hay comes in ' what if every cell of our body is where it needs to be...' we move to the 'what if', paying attention to speed, so it does not become a closed in exploration.  There is nothing meditative, on the contrary, high energy, speed, daring to move across the space...what if every 53 trillion of cells in our bodies were in the place they need to be...in relation to the space, in relation to other (people)...  Waking up the whole body to space, to movement, to others...

We then move to explore rules through which to 'filter' the movement en route to choreography.  Androniki puts us through one of hers, then we will see how to establish others (individually).  The first rule is 'being pull down to ground', trying to work on control and anatomical precision, what/which part of the body (cell) is being drawn down, how to return to 'up' (a neutral beginning to then find another intention to be 'pulled).  She emphasises if there is no intention to move don't worry, observe.  She invites us to consider the visceral and emotional responses to the process set by the rule.

Further development:  now working through creating movement considering attention to space, speed, visceral response to the movement.... what is your game she asks, what makes the process interesting for you... Verbal images, 'love at first sight', an echo gram, butterflies, primal instinct,  what did it bring to mind? What would someone seeing this from outside say/think/experience through the witnessing? In defining 'the game', find the purpose...  We stop to share processes...  A statement is made that needs capturing...experiencing a singularity...dwelling on that.


14:21PM
Androniki is all about two words: loooooooooooooooooooove and studying.
I think that what she wants us to take home with the use of these two beautiful words is (a) to just loooove the feeling of our body moving and thus not to think too much about creating a specific sequence of motion that means something specific and  (b) to really experiment with your body, explore all possibilities of it.
Looooooooove is great. Studying too.
Marilena


After a short break, we explore different type of movement - locomotive, reflective, instrumental, expressive - what do each require anatomically, how do they engage 'the body' in their realisation...there is discussion of Ghallager's body schema.....  now a throwing game (we all throw like girls....).... how many kinds of throws can be done?  what does it take to some catch them....

Andronki expounds that she is interested in these kinds of movement as a first stage- the movement that does not require 'monitor'... focus on attention is outside of the movement... to explore movement we get to work with props!  (a first in the lab so far!)..... branches...'Try the impossible with the objet, emphasise the difficulty, pay attention to the soundscape that may be produced...".  Towards the end a landscape of the things was created, and we played... searching for 'something', what instructions guided us through the landscape?

thoughts on the go- Andreas Dyrdal Workshop 2

Three more areas to consider:

ATTITUDES TOWARDS CHOOSING MEDIA FOR THE IDEAS OF THE WORK

ATTITUDES TOWARDS WORKING A PIECE

ATTITUDES TOWARDS BODY & MIND  IN THE PIECE

Maja Maletkovic:
Realising you always have a choices , but sometimes you do not know how to execute them. Choices can and will be made once you have a goal or a string of what you are heading towards.


The workshop culminates in the creation and sharing of individual statements.


 

thoughts on the go- Andreas Dyrdal Workshop 1

FROZEN YOUGURT
We are joined today by Eleni Pantazatou (Lab 2011, 2012, great when past labbers re-engage with the lab) and Nasia. 

Andreas starts with brief introductions, then there is an invitation to go down Drakou St., to the yogurt place, and have a yogurt.  That is how we start. 


TIME & SPACE
Back in the studio, there is the question of time?  Was going to have yogurt a waste of time?  How do we relate to time, to the rules we give ourselves (of time/in time)... What is the time of the work, and the time outside of work?

We begin by considering (in written form) our individual rules with regards to time...From time we move to space, not the site of the/a performance, but perhaps a more poetic/open space 'of work'(ing), even if it is one's living room.... Maja comments 'that is a complex one'.... We take over an hour to write.  Andreas confirms we may not necessarily move today, but draw our awareness about 'the work' so that working may happen tomorrow (a task for 'lab time').

RESPONSIBILITY
The next question is responsibility (perhaps attached to a sidebar discussion of discipline at break time)..what do we feel responsible to in the work?  How are we responsible for the work? 

15:15 (Maria S.)
Now this day has been very different than what I anticipated!
Andreas has us writing and exploring various variables like crazy and I'm lovin' it!

Time...
Space...
Responsibility...

It is very interesting to dig deep into variables such as the above because you uncover things about yourself that you never even thought before, or never had thought consciously about them anyway. I am in the process of trying to understand my own self and what is going on this the studio as we speak is helping me achieve exactly that! I'm really intrigued to see where all this exploration is going to take us next..!

THOUGHT
We move on to consider what is 'thought' within the work (not a work)...  related to these are thoughts on doubt, questioning, thinking about the work....


FINAL THEME:  ATTITUDE TOWARDS THE WORK IN GENERAL...
[Setting up tomorrow's work on 'working' specifically, a work].
 

thoughts on the go - from the studio

12:34pm
Today will feel like a big shift.  Trying to identify a 'first' task, experience, thought, working concept, idea to get the participants individual processes going. We emphasise this is not finding the idea 'for a piece', but an area for investigation.  We speak of trust in a 'something' already discovered, experienced in the previous days, or perhaps daring to bring to the 'floor' a specific idea which was already in mind prior to the star of the lab...and pursuing it, giving it time and space. 


We will work for half an hour and see where that leads us, stop make a 'reconnaissance' of where each one is, and then take it from there...The studio is split into areas of diverse foci...

14:03 (Maria S)
A very different day than the day before... Although it started off in exhaustion, pain and a few silly incidents that can easily make you mad, the shedding of light through my process last night was enough to keep me calm.   The first task of the day is focused on finding our No1, like a starting point for our very own process. I decided to go with what I had last night and although it seemed (and felt) weird at first, the more I got into the movement and trying to really listen to my No1 physically, the more I felt like I was progressing to something that at least I find pleasurable. I tried and tried the same thing all over again without playing attention to how long it took or how many times it was repeated, simply because I liked what I feeling through the movement.
I like the exhaustion that I felt, the sweat that was all over me and all over the floor...
I like the sound of this movement...


14:11 (Marilena)
OK, it is now 14:11 as u can c and we just finished the half-hour task!
HAHAHA
AS IF....

15:34 (Ana SC)  impossible to capture the very hot discussion on storytelling and choreography still going on!  I am going to have lunch...don't dare mediate that one!

1:47 (late Xica after the go) kkkk... Ana... that really sounded hot. But to be honest I felt a nice and open exchange of ideas on our eyes at this moment... an open trying to understand. I just wanted you to know, Marilena! We will still come back to the topic ;)

PS the day after:  Xica, hot is good!  means we are thinking, talking,  processing, exchanging! 

thoughts on the go -from the studio

Marilena Papaioannou:
A day has gone by.
Twenty fours hours now weigh on our bodies and brains.
...
Is it possible to recover the body's memory?
We must at least try to.
...
Yesterday, Ana gave us a few tasks. Today she asks us to chose one of those tasks and figure out what part of it still remains in our memories.
Gosh..
I use my body rather than my brain to remember. I chose the "finding a reference point in the space..." task to work on today.
Yesterday I chose the black steel wall on the side of the room. It has a few screws that protrude and little wholes all over. Interesting structure and form. I attempted to feel it with my palms so that when I would close my eyes and become disoriented, I would still be able to find it through touch.
Ouch.
My memory today has transformed this task into a longer, more precise, and more incentive action.  Today I focus almost entirely on the sense of touch. I move more instinctively because the task has been imprinted in my body and brain. I try to focus on what my hands and feet feel while moving, so that I develop a full idea of the environment that surrounds me, that is, the floor, the wall, even the air.
And thus, weird stuff happen, pretty ones too.
...
Bummer! Ten minutes have gone by (with me in front of the screen), and already my memory has transformed again! I m sure that if I stand up, and try to do the same thing again, it will be different.
Wait, no.
It will be different in shape and dynamics, but it will be the same in terms of purpose.
Why?
Because of my intention.
That remains the same.
OVER

Maria Sermpou: 
It all started with the hanging chair today...
The chair was one of the touch stimuli I played with yesterday.
At first I was trying to bring back stuff and movement moments from yesterday's session and I was quite happy because I remembered all of them.
Yet at the same time I was a bit disappointed because apart from a couple of them, the other seemed pointless to me...
Until Ana told us to not just do the exact same thing and try to be more internal in the process. So I decided to transfer the feeling and touch of the chair in my body and that's when it all started to make more sense! From then onwards, I just continued trying to grasp the feeling of each movement, explore the movement, feel the ground and the space. The intention is not yet crystal clear, but for me it's all about the feeling of the movement today and where this exploration can guide me.







 

We begin, Wednesday 3rd July 2013-Athens, GR

Walking up Drakou Street.  I become aware that in four versions of the Lab, some habits have been established, like always stopping at the same periptero (kiosk) to get the big bottle of water (only one euro!), which will be most necessary as the days are quickly getting hotter.  I also notice that I ways walk on the same side of the street, right side, through the outside café and bar tables that now line the street, or perhaps already anticipating the fork on the road where Drakou become Erechthiou, were I must bear right, and climb to the studio, facing the Irodio..  Cats everywhere.

Someone outside the metro almost smiles at me.  Wasn't sure if this was directed at me, so I keep walking (was I rude?). Enter the studio, I finally meet Angeliki, the studio administrator who I have only communicated with electronically since January when we got the planning going, she has been so patient with me, trying to learn 'how the lab works' through my rambling emails.  Next to her is Maria Sermpou (I already know her) and next to her, Marilena greets me.  Two people enter, I recognise Xica from her picture, and following her, the woman who almost smiled at me, now acquiring the name Ismini (now I really feel bad about not smiling back!). Maria Tsichli arrives next and finally Maja.  We try to keep our voices low as the yoga class has not finished, we fail miserably.  There is excitement in the hellos and new acquaintances.

We finally take possession of the studio, official 'introductions' begin. 'Why am I here' which will not be detailed here as I have asked them to prepare this as a first entry to get their pages going.  I am impressed by the range of experiences other than dance - from biology to one currently still studying medicine, in fact today she will have to leave early as she has a surgery exam (we are humbled by her dedication -talk about multi-tasking). Practicalities (the blog, the notebooks, the writing, etc) take up almost the time.  However, we decided to take a pause and work til 5, ensuring that we manage to get the process going.  So ahead of my 'full workshop' tomorrow, we begin to go through a series of tasks and experiences to open up our 'thinking physically' towards issues of process which will be the focus of my days.

We do some of the tasks of my 'map of the sense' exercise (for more on this refer to 'The Dream Project' click here to read) but always modified for the occasion.  This time I use it to draw attention to issues of intention(ality), trying to make a distinction (although the processes are related) between the experience of moving and the experience of 'making' [a] movement. We use sense stimulus to draw attention to movement with an external referent.  We then explore the same experience of movement having brought intention to within the movement itself, no longer linked to an external referent - same movement?  maybe, same experience - don't think so! This bring in the question of inner/outer imagery and the role it plays in feed-backing a process of 'moving' .  How do we gain intention/motivation from the process itself.  What kind of 'kinetic beings' are we, we all deal with the experience of moving differently, what makes it sense-ful?  touch, sense experience, enjoyment of movement, intensity, play...  we are distinct and unique in this, and recognising this within ourselves is - I propose- in part linked to the kind of choreographers we are, and of course linked to the choreography 'we do'.  Again, choreography first as an act, and experience before it is a medium of communication, related but also distinct. There is much discussion about this.

Movement memory, again there are many ways into movement memory, memory in movement - how do we remember, what do we remember.  Important to note as it affects the evolution of the process, its way into form. 

The final tasks lead us into sharing of kinetic experience. Is it possible?  How? To what degree? A lot of this sharing balances on knowing/not knowing, on considering the process of movement as a giving, movement as a receiving.  What are these two interconnected within a creative process and how does this connect to the final stages as the form acquires intelligibility when perceived by others (other dancers, audience, me as a series of others within my own process).

We agree that today was about front-loading questions, my method of facilitation when dealing with intensive periods.  This load will be unpacked as we progress through the weeks to come.  I ask them to consider the idea of 'giving time', giving space in and within the process perhaps bring into time, bring into space (this in Latin languages is a birthing a 'bring to light'- dar a luz). 

Homework for tomorrow - brain storm on the idea, concept, word intension, in-tension, intens(ion).

The blog is HOT!!!

Not even started and we have already received over 100 views from Greece to Portugal to Sweden, Japan, the United States and even Australia!!!...  4th International Kinitiras Choreography Lab....is here to stay!

Remember, some pages will still be 'under construction' and may appear empty at first, it is a live blog, announcements will be made via Facebook as participants and artists elaborate their pages, keep watching!

If you did not join us this year...why not next?!

4th International Kinitiras Lab Summer 2013

Ready to be launched tomorrow Wednesday 3rd July with the participation of:

 

 

Xica Lisboa (Berlin/Sao Paulo, Brazil)

Maja Maletkovic (Belgrade, Serbia)

Ismini Makaratzi (Athens, Greece)

Marilena  Papaioannou (Athens, Greece)

Maria Sermpou (Athens, Greece)

Maria Tsichli (Athens, Greece)

 

 

and the input from the following visiting artists:

 

Ana Sanchez-Colberg (UK/GR)

Andreas Dyrdal (Norway/Portugal)

Androniki Marathaki (GR)

Dimitris Karalis (GR)

Kiriakos Spirou (Cy)

John-Paul Zaccarini (SWEDEN/UK)