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Posts categorized: Rebecka Stillman

Weld Company@Dansens Hus!

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Weld Company & Rebecka Stillman at Dansens hus main stage!

April 28 (premiere) at 7 pm with following party
April 29 april at 7pm with following party

Tickets at:

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)
Produced by 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
location TBA
3rd session: April 21 at 1pm – 4pm
location TBA

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.

Friday April 22 at 4pm-4.30pm

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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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