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Author Profile: Emin

Work 1 on the Process, Method and History

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Stillman On the History from Weld Company on Vimeo.

Weld Company Interview with Rebecka Stillman 20131218 Part 1


Stillman On the Method from Weld Company on Vimeo.

Weld Company Interview with Rebecka Stillman 20131218 Part 2


Stillman On the Process from Weld Company on Vimeo.

Weld Company Interview with Rebecka Stillman 20131218 Part 3

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Weld Company working with Rebecka Stillman

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Reflection 1.

We refrain from clear communication, repetition, a vocabulary. We refrain from wanting to say something with the content of the choreography. We instead work with a form through which one can produce movements, without engaging interest in what movements or movement qualities are the appropriate ones. We let the form be the interest and the content something that serves that interest.
We organize our history differently. We recognize the different politics that different kinds of dance techniques have advocated and manifested in our bodies. We reflect upon how conditioned we are.  We turn back on our history, to find something unknown or forgotten or hidden in between the things we know, remember and see. We take detours to arrive at familiar places through new means. We do it together.

Reflection 2.

The personal history as a platform to act from. To undermine the terrain we know. Turn around to chase things. Language and movement, used to clarify each other. The dancing takes me somewhere and the writing is a short-cut.

Three dance techniques that have had an influence on and that makes up your personal dance history are used to create ”new” forms, middles, in relation to space, time and body. These ”middles” (the combination of for example spatial parameters in all three techniques) can be both positive and negative and can be material for yet other middles. The middles can be performed in their own state, or be morphed into other middles (by using the three components that they are made up from separately) and they all constitute the movement material for the piece. What is interesting is the way of turning things around by looking at the past, the individual one, or of the art form as such. Making a shift of focus or perspective makes you see and understand another version of that which you already know. It’s also an interesting form of analysis, to dig into the ideas of the techniques and to meet the particularities in them that still interests you, but somehow freed from the aesthetics of them.

The material is personal, but freed from the feeling of repetition, of repeating yourself, it goes around, makes a detour, and makes me interested in myself again, instead of choosing for reduction.

But why make phrases? Why blend in such conventional forms of measuring dance? Where, what, in the work that we do is the art? Is it the method, the material, the dancers, all of it or none of it?

It’s such a liberating feeling to be able to dance without being my own art … without opposing myself and without feeling that I’m in the way of the dance.

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