TRIBUTE Many dancers dance in a dancer’s body and a dance is always the product of other dances as well as a call for dances to come. For Tribute, Frédéric Gies open his library to the dancers of Weld Company, to make dances that summon up the poetic, delicate and raw textures of past dances, utterly present as the promise of dances to come.
Choreography: Frédéric Gies
Light design: Thomas Zamolo
DJ: Fiedel Dance: Anna Westberg, Robin Dingemans, Marie Fahlin, Sybrig Dokter, Per Sacklén, Elias Girod, Disa Krosness, Caroline Byström and Andrea Svensson
Weld Company is initiated- and conceptualised by Anna Koch/ Weld and produced by Weld
This autumn, the legendary choreographer, dancer and filmmaker Yvonne Rainer is moving from a large retrospective about Judson Dance Theatre at MoMa in New York to Weld at Norrtullsgatan in Stockholm to create a new work for Weld Company titled Again? What now? During her visit Yvonne Rainer will also give one of her lectures.
Yvonne Rainer + Weld Company
Again? What now?
October 14 at 5pm + 8pm
October 17 at 7pm
October 18 at 7pm
October 19 at 7pm
October 20 at 7pm
October 21 at 6pm
book your ticket at book.weld.se
Again? What now? is a work specificly created for Weld Company autumn 2018. It is an amalgam of “old” dance excerpts and more recent ideas, including spoken texts, music, and movement configurations. You might call the piece “Yvonne Rainers Best Bits.” The actual title can also be read as a cry of desperation and protest in response to the fraught state of the world, and more specifically, the current calamitous social and political situation in the United States.
In a career-long concern with integrating and separating the influences of dance history and current events, Rainer’s work — from dance to film and back to choreography — reflects these sometimes irreconcilable poles of the aesthetic and the social. Ever hopeful, she begins again.
Performing in Again? What now?: Andrea Svensson, Noah Hellwig, Marie Fahlin, Robin Dingemans, Anna Westberg, Kajsa Sandström, Sybrig Dokter, Per Sacklén and Max Wallmeier.
October 30 from 1-8.30pm
Prior to the visit we are warming up with a full day of film september 30 showing Rainers films Lives of Performers and Privilege, the documentary Feelings Are Facts: The Life of Yvonne Rainer by Jack Walsh among other films. Read more at weld.se
October 5 at 7pm
Lecture by Yvonne Rainer
Yvonne Rainer is a sharp social critic and an entertaining lecturer. This evening, we meet her in a lecture entitled “Revisions: A truncated History of Universe for Dummies”.
We are very pleased to present the autumn’s choreographers for the Weld Company.
In October, the legendary dancer, choreographer, filmmaker and writer Yvonne Rainer (NYC) will come to Stockholm and Weld to create a new work for Weld Company entitled Again? What now? The work will be premiered at Weld Sunday 14th of October, with further performances October 17-21.
On October 5, Yvonne Rainer will hold a lecture here at Weld
We are also pleased to announce that the french dancer and choreographer Frédéric Gies as invited choreographer to Weld Company. Gies will create the work Tribute for the company with premiere December 7-9. Weld has presented Frédéric Gies´ solo/duo works for ten years now and this is the first time he choreographs for the company.
These events will be bookable on our booking page book.weld.se
Read more at weld.se
Weld Company 2017: Caroline Byström, Robin Dingemans, Sybrig Dokter, Marie Fahlin, Noah Hellwig, Elias Girod, Disa Krosness,Robert Malmborg, Sandra Lolax, Per Sacklén, Hanna Strandberg, Andrea Svensson and Anna Westberg.
In the fall of 2017 Weld Company worked with choreographers Matthias Sperling, Georgia Vardarou and Andros Zins Browne. The company also showed the choreography Phoenix by Rebecka Stillman during six evenings in October.
The project Weld Company Extended started and invited dancers Elise Nuding, Ursula Nill, Emma Strandsäter, Max Wallmeier och Johan Hillgren for a three week process together with Rebecka Stillman, Litó Walkey, Sybrig Dokter and Robin Dingemans with open public days for sharing the work.
Weld Company also released the third issue of the book “No Talking No Props” with contributions from the company and invited guests. Contact weld,se to get your copy!
http://dansenshus.se/event/phoenix/ Phoenix is a work created with choreographer Rebecka Stillman. On stage we meet 13 dance artists who use different chorographical methods to explore what it means to actually be a company. They delve deep into the knowledge and experience they have between them as a group, to see what might come out on the other side of the fire. The focus is on how the body of a company is built, examining its social as well as physical characteristics.
Weld Company comprises dancers and choreographers from different generations and contexts that together explore different choreographical methods and issues concerning the collective and the shared. Weld Company is the brainchild of the Weld dance and art platform in Stockholm.
Choreography Rebecka Stillman with Caroline Byström, Robin Dingemans, Sybrig Dokter, Marie Fahlin, Pavle Heidler, Noah Hellwig, Elias Girod, Disa Krosness, Josefine Larson Olin, Sandra Lolax, Robert Malmborg, Per Sacklén, Kajsa Sandström, Hanna Strandberg, Andrea Svensson, Anna Westberg.
On stage Caroline Byström, Robin Dingemans, Sybrig Dokter,Marie Fahlin, Noah Hellwig, Elias Girod, Disa Krosness, Robert Malmborg, Sandra Lolax, Per Sacklén, Hanna Strandberg, Andrea Svensson, Anna Westberg.
Light- and setdesign Chrisander Brun Costume Erik Annerborn Image Sepidar Hosseini (based on original photos by Weld_Company) Producedby Weld in collaboration with Nordberg Movement Made possible with support by the Swedish Arts Council, the City of Stockholm and the Stockholm City Council
Three Thursday afternoons in a row Weld Company is arranging Writinghubs at Dansens Hus, as part of the process of the upcoming performance Phoenix.
The writing is related to the idea of a repertory dance company, in the past, the present and into the future. We write from the viewer’s position, for everyone who creates dance and from a place of hope..
1st session: April 7 at 1pm – 4pm
at Dansens Hus, Wallingatan 19, Dansklotet!
2nd session: April 14 at 1pm – 4pm
3rd session: April 21 at 1pm – 4pm
SUPER MARKET 2016
Weld Company makes a studio preview with excerpts from Phoenix at the Red Spot stage on the International artist-run art fair Supermarket. The Black House, Telefonplan.
We are excited to welcome you to a new season with the work of Weld Company!
Weld Company 2014 is currently in process with Rebecka Stillman, with performances November 5-7. The following week, there is an encounter between WC 2013 and WC 2014 with evening performances Nov 13+14. Legendary choreopgrapher Margareta Åsberg is working with the Company for one week, which will be shared in an open evening Nov 21.
The Company will work on their own project until Dec 2, when Julian Weber (DE), the last choreographer of the season, is starting his process with performances Dec 17-19.
Dates to look out for in November are: 5-7, 13-14, 21 and Dec 17-19 but more evenings will be announced! For full detailed program and for tickets go to weld.se
Members of Weld Company 2014: Anna Westberg, Elias Girod (FI), Per Sacklén, Caroline Byström, Pavle Heidler (HR) och Josefine Larson Olin. Costume by: Erik Annerborn Light: Ronald Hessman
There is now a long history of dancers being guided into using their “self” as the principle creative tool in devising processes. In this case we are principally asked to question reality, to expose ourselves to a void of what is beyond. Going there is a familiar feeling to most improvisers, going beyond there is perhaps more interesting if one has been there regularly over a few decades. It is a great challenge though, as in a ways it is asking to take you to a place that you have little idea of how to get to and maybe you won’t recognise it once you have gotten there or even after having returned/or found yourself in a new beyond. A dancer’s body is directly connected to their employability which lends the occupation a natural tendency towards egocentricity, any exploration that takes the dancer beyond themselves is potentially helpful in restructuring the inward egocentric gravity, then again perhaps the outward looking, grasping beyond could just be an expansion of psychological territory and exaggerate any already grand delusions!
Memory as a constituting of identity
Memory of memories- where does my memory end and turn into imagination or fabrication
My brain is finecombing its input and storage. I am using the output by synching it into perceptible and unperceptible movement.
This process takes my brain to another level of functioning. I do not really notice this as I am working but can reconstruct it from remembered thought patterns. Noticing things happening which would elicit or need to elicit a certain response, or a thought process into activity but due to this kind of dream state I do not have my usual tools at my disposal during these sessions.
After each rendering of the work, memories, reconstructions, debris of past renderings stream through me, emerging through the mesh, the porous gates of my cognitive brain.
The tools to embark upon this practice are in the structure, it calls upon previous experiences and allows me to put this into movement.
The difficulty comes when I have to decide how to interact with others because then I only have my experience to call on as each of the others have too.
I am finding myself passing by, in time, thinking of being in. Being in. Seeing myself taking place. I’m taking place.
Is your art a place? The doing opens a room, emotions poor in. Intense feelings of sorrow, loss, confusion. The movements are loaded, fragile, uncertain, empowered.
Am I personal?
Efva spoke about her different roles in life and how places by convention inherently limits behavior, movement, communication, expression, feelings. Roles represented by three spheres: one public, one private and one for the Arts — a sort of unregulated space where borders can be tested and moved.
We are hitting each other. Not playing hitting, but hitting for real. A revolting feeling. I do not want to do this to that other body. Would it be up to me we could speak about it, like “civilized” people. I’m gradually trespassing a physical limit within. Getting used to the impact and to the response. A new agreement is shaping between us. I can take it. Hit me, but be prepared because I am going to hit you back.
What is respectful: To deny violent physical infliction as expression? Or fighting back?
It becomes clear how also this space of the Arts is fully conventionalized by ideologies, a way of being together as well as in relation to the world beyond the studio. Through the work with the three choreographers so far, each method and choreographic system has also included and enabled different levels of meeting – with our selves, one another and the audience. With Efva we have a triangular relationship to each other. Embodying given material and rhythm experiences are revealed on the floor, up front and besides each other. We meet inside the choreography as it is being made.
Avoid the neutral attitude. Be alive within.
Dance education is full of contradictions, between an erasing ideal form and discipline – and at the same time absolute euphoria of physically trespassing ones own limitations. And the whole potential of working with the body, the human being.
“Try to push the wall away.”
The big beautiful back-wall. Some thick iron screws are sticking out approximately three meters high. There used to be a “shelf” from where one could climb up and watch. Even higher up on the walls, close to the ceiling and around the room are iron loops. They were used for climbing with harnesses. Half way up the wall a gray line of concrete leaves the trace of what used to be a floor. Weld was divided in a basement and a ground floor. In the basement, left stage side, an artist was painting. On the floor above a dance studio. It was a terrible studio with low ceiling that did not allow for high jumping.
The company as company. A transmission machine. What is our identity both as a group and as individuals? Is the work performing us or are we performing the work or is the group performing the choreographer? Movement material that is bounced back and forth between dancers and choreographer in a fluid state until decided to allow it to gel in the shape it has at that particular moment. Still unperceptibly changing by performing it again and again. If it reaches a tipping point, it can morph into something quite different from where it started. Then the question comes whether it will be allowed to exist there where it landed or whether the process of bouncing back and forth has to start anew.