In "New Performance Work 2011", the nine 2012 graduates of the masters programme Solo Dance Authorship critically reflect on the conditions of performance creation and production. Whilst doing so, the group questions preconceived notions of authorship through the practical workshops and table discussions they had over the course of their studies. The publication of their results hopes to present a glimpse of their artistic work and ideas, and highlights the influence of the community that the artists operate within.

In "New Performance Work 2011", the nine 2012 graduates of the masters programme Solo Dance Authorship critically reflect on the conditions of performance creation and production. Whilst doing so, the group questions preconceived notions of authorship through the practical workshops and table discussions they had over the course of their studies. The publication of their results hopes to present a glimpse of their artistic work and ideas, and highlights the influence of the community that the artists operate within.


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<strong>SODA</strong>.<strong>WORKS</strong><br />

New<br />

Perf orm ance<br />

W o r k<br />

<strong>2011</strong><br />

Columnentitel 1

Contents<br />

Sheena McGrandles » 4<br />

Ana Trincão » 8<br />

Keith Lim » 14<br />

Ana Monteiro » 20<br />

Dragana Bulut » 24<br />

Elisabete Finger » 28<br />

Zoja Smutny » 32<br />

Yair Vardi » 36<br />

Daniel Kok » 40<br />

Programme » 46<br />

Imprint » 48

Anything But Solo<br />

One of our rst <strong>SODA</strong> lectures dealt with dance as an open concept. Reading Eco and Barthes<br />

as a group not only quickly led us to question our preconceived notions regarding authorship,<br />

but also established a common language for us to communicate with in the months to come.<br />

What is ‘open’? Open to what? And for whom? These were precisely the kind of questions that<br />

we would busy ourselves with in practical workshops as well as table discussions.<br />

One gift that a programme like <strong>SODA</strong> offers is time – the time to sharpen and rede ne our<br />

artistic methodologies, the time to ponder over feedback about our work, and perhaps more<br />

importantly, the time to re ect critically on the very conditions of performance creation<br />

and production. By challenging ourselves to reconsider the contextual frameworks that<br />

surround art making, we have sought to leave little taken for granted while asserting our<br />

independent practices as critical research.<br />

In the following pages of this publication, we hope to give you a glimpse of what each of us<br />

has been concerned with artistically. While we hope the diversity of our approaches<br />

will speak for itself through this publication, we also wish to highlight how <strong>SODA</strong> has not only<br />

been ​about shaping our independent practices, but also about how the solo artist is<br />

appreciably in uenced by the community that s/he operates within. We have often tapped into<br />

each other’s capacities relying on the differences between us in order to go further with<br />

our respective work. Feeling challenged by others is as much a means of mutual support as<br />

being given an af rmative pat on the back.<br />

There are many other members of our community whose contributions to and assistance<br />

with our work have been just as invaluable. We therefore would like to take this opportunity<br />

to extend our sincere thanks to our tutors, all visiting artists and lecturers as well as the<br />

administrative and technical staff at HZT.<br />

Finally, as we prepare for our nal <strong>SODA</strong> presentations, we agreed in a recent meeting that<br />

although all of us will leave <strong>SODA</strong> with a clearer idea of how we will tender our work as artistic<br />

research shareable with the public, none of us can rmly draw conclusive and de nitive<br />

claims about art. Solo, Dance and Authorship will continue to remain moot points and open<br />

questions requiring further investigation and negotiation.<br />

Dragana Bulut, Elisabete Finger, Daniel Kok, Keith Lim, Sheena McGrandles, Ana Monteiro,<br />

Zoja Smutny, Ana Trincão, Yair Vardi<br />


Sheena McGrandles<br />

To a l l i t shoul d c on cer n Mexico City, November <strong>2011</strong><br />

Recommendation letter for Sheena McGrandles<br />

I met Sheena McGrandles dressed as a man in January 2010.<br />

She was nervous, I was nervous, we were all nervous.<br />

We were waiting in a room, she presented herself as a man before I presented my paper.<br />

It went well – really well for both of us. So well that we started to see each other more<br />

often that year and the year after, and hopefully in the years to come.<br />

Sheena is a committed human being in her art and life. Kind, intelligent, thoughtful,<br />

and serious (just enough).<br />

I saw her playing the bad and the good girl, talking on ‚Gay Romeo‘, transforming<br />

her body into a hybrid being, questioning Catholicism, and using words to confuse<br />

( reinterpret) meaning.<br />

McGrandles is into gender studies, the body, dance, politics, society, norms, laws and<br />

behaviour. She is active in questioning the place of the body as an entity that carries<br />

meaning, as well the thing that is able to surpass meaning and open new spaces for<br />

understanding.<br />

I like Sheena, I have always liked her … She is a peer that has very clear concerns in her<br />

work and genuine research questions. In all our encounters, I have found her to be a serious<br />

artist with integrity and deep consideration, who is rigorous in her enquiry of performancemaking<br />

and life. All artists need help to develop their methods and their own voice.<br />

I want to encourage you to support her and her life research project. She will undoubtedly<br />

make an invaluable contribution to the world.<br />

Please give her life and art the utmost consideration and do not hesitate to contact me if<br />

you need any further information.<br />

Yours sincerely, Ana Trincão<br />

anatrincao@gmail.com<br />

4 Sheena McGrandles

Eee<br />

Columnentitel 5

‘Doing’ the body in performance<br />

On the next paragraphes I will share and trace for you a passage that I have taken over the last<br />

year on MA <strong>SODA</strong>. It is written from the perspective of still being in this practice, still curious, still<br />

questioning and still dealing with being confused. I hope to convey how I arrived at where I am at<br />

rather than providing concrete answers, conclusions or statements. Terms will appear throughout this<br />

text, which are interwoven into my practice. These terms have emerged through my practice, but most<br />

of all they allow me to speak about my practice. At times they are slippery – it is in their nature, they<br />

are ‘of’ the body.<br />

Bodies of Questions | Questions of Bodies<br />

This is a research that aimed to literally get out of the head and into the body. I call this a no longer<br />

pointing at the body but a pointing with. After spending half a year talking, theorising and<br />

conceptualising about performance-making, it became an urgent need of mine to nd a way for the<br />

body to ‘speak’. My work, then, started to revolve around the question of how can I embody this body<br />

that I often referred to through queer/feminist theory and the performativity of language and what<br />

can it potentially communicate?’<br />

So what I simply started to do, was ‘do’. It was evident that I was building a body but this time<br />

outside of language. It was unnameable. All I could say was that I was doing something, indeed<br />

‘doing’ the body in performance. I was also sure about the direction I wanted it to go in:<br />

unfolding a compositional space in which the body is signalled as multiple moving between the<br />

defi able and undefi able; the recognisable, and unrecognisable, aiming to render itself ungraspable,<br />

ever changing in its act(ion) – even pointing toward a queer.<br />

But: what is this queer that I was pointing at? Or: how was I approaching this within my practice?<br />

In helping me grapple with the notion, theory, identity, and all the things it is and is not, I wrote<br />

an essay ‘Composing Queer’, which allowed me to nd my own story and relation to what it can and<br />

cannot be. In relating my experiences of practice through theory I attached myself to the following:

moving beyond what has been named, a space of questions that embodies slipperiness, a resistance<br />

to a singular and most of all that which is not or cannot be expressed through language. I pulled<br />

this back into practice, accepting language gaps and the unnameable qualities that came with the<br />

work and named ‘body’ E, which is now a series of three performances.<br />

Everything has its time<br />

Back in the studio, the voice made an organic appearance, not in language but as a potential to<br />

disturb the body. I understand the voice to have a body in and of it self which I call voicebody.<br />

The voice talks to me about another body, an internal body which externalises itself through the voice.<br />

We speak in order to say something, but the voice is precisely that what cannot be said. It eludes any<br />

pinning down and yet it is the material which we use to create meaning in language. I became interested<br />

in the space that the voicebody inhabits. It is an in-between space: voice being neither inside<br />

nor outside but coming into its body through this transition from outside to inside. My interest turned<br />

towards the question of what can this space offer in ‘doing’ the body in performance?<br />

To ‘do’ body beyond my own<br />

In harnessing this elusive body I collected some things that I was dealing with and built a ‘working<br />

language’ (appearing terms), a language that works for my practice and that I work with. It puts the<br />

body in a motivational action – in a state of ‘doing’ par ticularly a body beyond my own. This ‘doing’<br />

happens on a sensorial level, which requires a sensitivity to space, body and voice. It is through this<br />

practice that a morphic body appears; uncanny, queer, strange in its performance. It is a body that<br />

nds itself through its own echo, an auto-effective body, listening to the world that it establishes.<br />

Appear | Appearance<br />

The practice of ‘doing’ is framed and supported through conditions that I have identi ed: light, shoes,<br />

a swing, a wig, voice, body and space. These conditions have become the ‘workers’ for the practice<br />

and I approach them with a ‘not taken for granted’ attitude, in that everything has its purpose and use<br />

(not aesthetical but operational), thus allowing me to continually re- nd this speci c space of ‘doing’<br />

and at the same time provide a world for this‚ living being body‘ to be in.<br />

What body?<br />

By working through this collection of ‘doings’ and understandings of the body, over the last year<br />

I have produced a series of three E’s: ‘E’, ‘Ee’ and the most recent ‘Eee’. This has been a process that<br />

shifted from the choreographic (E), to a performative practice (Ee) to a performative space in which<br />

the body moves between ‘doing’ and ‘being’ (Eee). It is through ‘being’ that I re-learnt to bring the<br />

body back into time and space, to the present, to be in front of you, to be seen and to see.<br />

Rather than moving through a world that the body creates for itself (Ee).<br />

A new element to this work is the employment of light as an actor and material to change the context<br />

of vision and experience, in order to further disturb the body and the space it in habits (Eee).<br />

So by continuing to push these ‘doings’ into and onto the body itself, I nd other ways of being<br />

present, other ways of continuing ‘doing’ the body in performance.<br />

What is the ‘doing’ doing?<br />

In ‘doing’ what is being done?

Ana Trincão<br />

To Whom i t May C on cer n Berlin, November <strong>2011</strong><br />

Recommendation letter for Ana Trincão<br />

My name is Keith Lim and I have the pleasure of knowing Ana Trincão, as a colleague and<br />

friend, since we both began studying in the MA Solo/Dance/Authorship course in April 2010.<br />

Ana is a passionate, devoted and incredibly hard working artist. Having an unshakable<br />

belief in her work, she continues to inspire me with the integrity of her practise and rigorous<br />

navigation of her artistic vision. She leaves no stone unturned.<br />

Her stage presence is impressive, with a focused attention to detail; a certain energetic<br />

drive combined with sensitive attentiveness.<br />

For me this especially came through in one of her earlier pieces, where Ana’s heart beat<br />

and other internal sounds were controlled, manipulated and ampli ed. The sound speaker in<br />

this dark space interacted with a large sheet of paper, thus creating the sum effect of<br />

an intimate, visceral sound-scape, whilst the sub-woofer eventually devoured the paper with<br />

its vibrations. This piece is perfect for a live art or contemporary performance context.<br />

Also as a fellow student, I have had the privilege of accessing Ana Trincão’s working<br />

processes. I can only begin to attempt to comprehend the depth of some of Ana’s imagery;<br />

the interplay between images produced between words. She creates a poetry of sorts when<br />

speaking about her modes of production and her work. In a way, it is an artwork in itself.<br />

I am always con dent in Ana’s abilities and the direction of the work which she presents.<br />

She has that extra something special that speaks of a true artist. I look forward to what the<br />

future holds for Ana Trincão.<br />

Yours sincerely, Keith Lim<br />

8<br />

Ana Trincão

SEPT 26th, <strong>2011</strong> MEXICO CITY<br />

I Imagine #5<br />





AN ARENA.<br />




































Columnentitel<br />

Ana Trincão 9







































10 Ana Trincão

Event July 5th, <strong>2011</strong><br />

Score 2<br />

Space is not arbitrary. Choices are different from impulses. The contact<br />

with these objects generates more than images. Images become events that<br />

have continuity beyond the event itself. Deal with materiality beyond materiality.<br />

Give time, meaning by not doing anything, something still happens.<br />

Experience beyond the experiment. Allow echoes. Choose randomness. Create<br />

a landscape/environment. How can we not generate a hierarchy? Reveal.<br />

Make visible. Acknowledge space without having to experiment. Undo.<br />

Redo. Map. Trace.<br />

Columnentitel 11

Berlin, May <strong>2011</strong><br />

L etter nº7<br />

“What is there?”<br />

“What can I not see that you can try to make visible for me?”, having as a principle that<br />

everything is already there and nothing is new.<br />

I brainstorm whatever was in my mind at that moment: ideas, concepts, modes, issues that<br />

made the big cloud above my head. After I shared them with Sandro, we started to negotiate<br />

those ideas and see what was emerging out of that big line of thoughts (a big roll of white<br />

paper with 15 m of written words). How/What could we work with?<br />

A rst summary … an archive of qualities: LANDSCAPE/SITE, BEING, SILENCE,<br />



abstract but that meant something in relation to each other. They created the big landscape,<br />

and we established a language as a way of communicating through that landscape. (We had to<br />

share as much as our subjectivity allowed this universe of codi ed words.) An nomenclature.<br />

This rst period of work has been a period of intuitive research and experimentation, of nding<br />

the mode/ nding the making, based on a daily physical and written practice. This mixture has<br />

so far allowed a hybrid modality where one deeply informs the other, generating a speci c<br />

realm for action. We are dealing with the materiality of our language … ideas are emerging.<br />

Still, what is there? Meaning that we are trying to nd an internal logic; the parameters of the<br />

mode of making we are working with.<br />

Rocks, water, sound, environments, what is there?, nothing, almost nothing; slightly weird,<br />

to work with the information that a certain locale is providing and just add a new layer of<br />

thought that is con ned to our subjectivity as makers. To propose a way to engage with what<br />

is there, that is recognisable and somehow perceived with a certain normality provided by the<br />

way one sees the world.<br />

What was the subject?<br />

How to proceed?<br />

What to do with it?<br />

We gured a way: maybe the conditions of how to perform the making.<br />

Apply it to the space that was there. When I say space, I think about the architecture,<br />

the environment from our window, the sink in the studio, the materials available:<br />

pens, paper, a rock.<br />

12<br />

Ana Trincão

Some days ago, after the session we felt:<br />

This is about almost nothing, like when nothing happens.<br />

Our “almost nothing” appears in the way we mapped the process. Putting things next to<br />

one another in order to generate the other, although they must belong next to each other to<br />

generate another. Our map looks and feels like almost nothing.<br />

What can nothing contain?<br />

1. Almost nothing – actions empty of content in itself, but meaningful in relation to each other.<br />

2. Almost nothing – the action in itself is nothing but you make something out of it because<br />

you have an intention with it.<br />

The work now is: what is the body of this almost nothing … a contemplative body?<br />

I like simplicity, objectiveness, and I don‘t want to impose anything more in the performative<br />

space, I mean, I don’t want to bring an alien in to it. I don‘t want to ignore the architecture of<br />

the studio, the sound of the speakers, the echo, the black curtain, the wooden oor and the<br />

poetry in it … and us in “that”. That’s my “What is there?”<br />

It is about creating a “being” that exists in “that”, if that changes, this “being” is changing in<br />

relation to the concrete as well.<br />

It’s taking more and more the form of an installation, something that can be seen from different<br />

points in space.<br />

It‘s slow … (as always)<br />

New ideas:<br />

Landscape pumping as a heart beat.<br />

What is randomness? Is there a place for randomness inside the choices already made?<br />

Periphery/No centre.<br />

We realised that we are concerned with autonomy. Autonomy of the process/work. The mode<br />

of making is dictating its own strategies and asking its own questions. The subtext of the<br />

work, meaning the mode of operating within it, should be the only concern of the makers/<br />

performers. The idea that one means something is attentively trying to be surpassed,<br />

one is meaning something that can be meaningful in many ways if one is not concerned with<br />

meaning but merely with the subtext that is sustaining the work. The materiality of the subtext<br />

should then be the concern with the locality of the event, what a certain context is, has, etc.<br />

Studio, street, house. One’s aesthetics emerged by the activation of the poetic landscape<br />

one is operating within.<br />

Ana Trincão<br />


Keith Lim<br />

To whom i t may c on cer n Berlin, November <strong>2011</strong><br />

I recommend Keith Lim with the highest regards.<br />

I had the great pleasure to meet Keith during the Solo/Dance/Authorship Masters Studies<br />

in 2010/2012.<br />

The rst thing that struck me when I met him was his smiling, uplifting manner.<br />

At that point I could understand very little of what he was saying – a mix of my non-native<br />

English skills and his mumbling way of talking. Two years later, I can assure you, we both<br />

improved our communicative dexterity, in addition Keith is now able to give lectures and<br />

talks on his artistic practice in an articulate yet frolicsome way.<br />

Keith is truly multifaceted: a mover, a computer programmer, a puppeteer, a psychologist,<br />

a media artist, a choreographer and a spiritual researcher. Besides this impressive set of<br />

skills, Keith is a wholehearted art-warrior, determined in pursuing his investigations in the<br />

complexities of the self without avoiding the necessary hardships of such a quest.<br />

Keith is a beautiful artist and an even better person. You will be very fortunate to get<br />

to work with him.<br />

Please let me know if you have further questions.<br />

Sincerely, Ana Monteiro<br />

anaisabelvieiramonteiro@gmail.com<br />

14<br />

Keith Lim

Keith’s Simple (and Slightly Stupid) Question Generator<br />

Aim:<br />

To make a question generator for/about/to my work.<br />

Ideally by sharing my current, diverse set of questions through this experiment, it will reveal<br />

some of the methods, concerns and analytical tools I learnt from <strong>SODA</strong>.<br />

This test with Keith’s Simple (and Slightly Stupid) Question Generator (KSSSQG), will also<br />

hopefully expose some of my processes in self-referential divergent thinking for the generation<br />

of material.<br />

By re-processing the list of questions I encountered during <strong>SODA</strong> to the generator and then<br />

back to myself, I hope that some sort of evolution will occur in the questions themselves.<br />

These new questions may then be an additional basis for discourse, provide different insights<br />

into the original questions, or create completely divergent propositions.<br />

This is a test in using technology to produce a creative divergence, within a scienti c<br />

methodology, whilst applying artistic criteria on artistic analytical content to address my work.<br />

Through practise!<br />

Methodology:<br />

This is a basic, yet hybridised, scientific method to make my existing<br />

question base more complex, using “brute force” trial-and-error code.<br />

Otherwise know as “variations”. It is hybridised scientific method, since<br />

subjective aesthetic decisions are integrated in the methodology.<br />

1) I quickly write up as many simply structured “input” questions as possible in 15 minutes,<br />

which broadly re ect my concerns, the things I learnt and my research during the <strong>SODA</strong><br />

course. I delete the questions that I don’t like or don’t want to share, either for you, my<br />

dear imagined reader, or to protect myself. The owing order of question remains the<br />

same, minus these omissions.<br />

2) I manually split the input questions into three parts:<br />

The rst part of the question is the “handle”. E.g. “How do I” or “What does it mean”, etc.<br />

The second part of the question is the “verb”. E.g. “use mash up as” or “to be authentic<br />

to”, etc. The third part of the question is the “subject”. E.g. “a means of production” or<br />

“the work”, etc. Each question part is placed, in programming code (Appendix 1), into its<br />

respective word sets: handle, verb, subject. Duplicates in the set are kept, to maintain the<br />

weight/emphasis of that part. E.g. “a ow state” is repeated 4 times, and is thus 4 times<br />

more likely to appear than the one-off “radical gesture”.<br />

Keith Lim<br />


3) Generate the output list. Run the algorithm/code (Appendix 1) and produce output<br />

questions. Putting the input questions through the random generator mixes up the “handle,<br />

verb, subject” sets between questions. The probability is that any one of the new output<br />

questions is a mash-up of three different input questions. Arbitrarily create 20 questions at<br />

a time, for ease of ltering.<br />

4) Filter. I choose the generated questions and put them into a nal output list. These<br />

questions resonate with my work, are possibly interesting in a wider sense, or are funny<br />

(I think …). I delete the questions that don’t make any sense, are boring, or are repeats of<br />

the original input questions.<br />

5) Fix the grammar. KSSSQG is slightly stupid. As is its maker.<br />

6) Repeat the generating and ltering stages until we reach the same number of questions<br />

as the inputs.<br />

7) Re-order the list for some sort of dramaturgical ow.<br />

Results:<br />

KSSSQG is slightly stupid in that it doesn’t handle all the grammatical<br />

irregularities that our bastardised (in a good way) English language<br />

has. Tenses sometimes miss the mark. But most of the time the code gets<br />

it right. The list was generated approximately 5 times, producing 100<br />

questions which were edited to 61.<br />

While editing the questions, attempts were made to keep the grammar as close to the original<br />

output as possible because different meanings arise from different prepositions. For example,<br />

“What does it mean to use found material to wants?” is different from “What does it mean to<br />

use found material for wants?” Although the second is more grammatically correct, the former<br />

original has a different, possibly more subtle, meaning.<br />

In some other cases it is still not clear what the correct grammar is (slightly stupid, see above),<br />

or the incorrect preposition creates a more … spacious … question, or the slippage in grammar<br />

is amusing. In which cases I defer to the original output.<br />

16 Keith Lim

Input Questions:<br />

Output Questions:<br />

How can I codify myself?<br />

How can I codify my work?<br />

How can I use mash-up as a tool?<br />

How can I use divergent thinking as a means of production?<br />

How can I manage myself?<br />

How can I manage my practise?<br />

How can I use the context productively?<br />

How can I express energy without going into representation?<br />

How can I be authentic to my desires?<br />

How can I balance impulse with control?<br />

How can I balance acceptance with change?<br />

How can I pull in all my knowledge into a one hour show?<br />

How can I be in a ow state?<br />

How can I use the existing tools to produce something new?<br />

How can we use technology artistically?<br />

How can I use found material to create something new?<br />

How can we use therapeutic practises in performance?<br />

How can the audience approach the work?<br />

How can I use gami cation to provide feedback?<br />

How can I use feedback to create games?<br />

How can I use ritual to create performance?<br />

How can I nalise the work?<br />

How can I manipulate myself (in a good way)?<br />

How do I build a practise?<br />

How do we share a practise?<br />

How do we produce new knowledge?<br />

How do I contain the chaos?<br />

How do I use the chaos?<br />

How do I feel?<br />

What does it mean to be divergent?<br />

What does it mean to be in a ow state?<br />

What does it mean to be happy?<br />

What does it mean?<br />

What does it mean to give technology what it wants?<br />

What does it mean to be in a state of non-duality?<br />

What is dance?<br />

What is solo?<br />

What is love?<br />

What is authorship?<br />

What is staging?<br />

What is a mash-up?<br />

What is a framing statement?<br />

What is self re ection?<br />

What is analysis?<br />

What is the shift in thinking?<br />

What is the role of the body?<br />

What is the role of the audience?<br />

What is the criteria for the research?<br />

What is “The European Context”?<br />

What do I mean by “The European Context”?<br />

What is the framework in which we can look at this?<br />

What is the radical gesture?<br />

What are the hallmarks of analysis?<br />

What comes from argumentation?<br />

What are the rules of the game/task/score?<br />

Is it useful to be in a ow state?<br />

Is it good to be in a ow state?<br />

Is it bad to be in a ow state?<br />

Is it relevant to categorise in terms of “good, bad or useful”?<br />

Is the game in nite?<br />

Is it possible to answer all these questions?<br />

What does it mean to manage a ow state?<br />

What is it to be authentic to the chaos?<br />

How can I balance impulse with divergence?<br />

What is it to balance acceptance with importance?<br />

What does it mean to balance impulse with control?<br />

What does it mean to manage practise?<br />

What is manipulated (in a good way) solo?<br />

What is it to pull all my knowledge into productivity?<br />

How can I codify an algorithm?<br />

Why use ritual to myself?<br />

How do mash-ups use ritual to happy? [sic]<br />

How can I use existing tools to provide feedback?<br />

What is it to codify providing feedback?<br />

Is it possible to codify a ow state?<br />

How can I codify divergence?<br />

What does it mean to use divergent thinking as the work?<br />

What does it mean to use divergent thinking as creating games?<br />

What does it mean to express energy of the game/task/score?<br />

What does it mean to use therapeutic practises productively?<br />

What is expressing energy as practise?<br />

Is it good to be in practise?<br />

How do we give technology dance?<br />

What does argumentation want?<br />

What is being new knowledge?<br />

What is it to pull all my knowledge into new knowledge?<br />

What is answering a practise?<br />

What is answering the work?<br />

How can I give technology my desires?<br />

What does it mean to use found material to wants?<br />

How can I be my desires?<br />

How can I be the role of the work?<br />

What is it to be the criteria for the research?<br />

What is using technology with the hallmarks of analysis?<br />

How do I specify the hallmarks of analysis?<br />

What does it mean to share my practise?<br />

What is sharing without going into representation?<br />

How do I build staging?<br />

What comes using mash-up as staging?<br />

What does it mean to feel staging?<br />

What is it to nalise a means of production?<br />

What does it mean to constantly create performance?<br />

What does it mean to be the radical gesture?<br />

How can I use gami cation to the role of the body?<br />

How can I nalise myself?<br />

What comes codifying the shift in thinking?<br />

How can we produce terms of good, bad or useful?<br />

What is the in nite game in self re ection?<br />

What does it mean to go by “The European Context”?<br />

How can we give authorship to “The European Context”?<br />

How can I give authorship to the framework from which<br />

we can look at the work?<br />

What does it mean to be authentic to that what I mean by<br />

“The European Context”?<br />

How can I use the context to terms of ‚good, bad, or useful‘?<br />

How can we be control?<br />

How can I give authorship to change?<br />

What is using existing tools to the role of the audience?<br />

What is the role of the role of the audience?<br />

How do we pull all my knowledge into the role of the body?<br />

How do we be authentic when being beyond one‘s limits?<br />

How can the audience feel in nite?<br />

How do I categorise in love?<br />

What is being in in nite?

Conclusion:<br />

For me, the strongest questions generated by KSSSQG this time are “How<br />

do we give technology dance?”, “What is the infinite game of self-reflection?”<br />

and “How can I finalise myself?”<br />

Does KSSSQG count as having performed in our contemporary de nition of dance? Was<br />

it solo or was it a duet between me and the machine? I wouldn’t have come up with the<br />

majority of the output questions by myself but I wrote the code. By giving the computer<br />

authorship, we attempt to break some of the human habitual pattern-making, which is visible<br />

in the input ow. By breaking this patterning, maybe we have stumbled upon what it means<br />

to “give technology dance”.<br />

In this in nite game of self-re ection, the context and structure of the input questions is<br />

of note. These input questions draw on the eld of self-criticality which is one of the most<br />

invaluable tools that I’ve begun learning on the <strong>SODA</strong> course. The underlying methodology<br />

of analytical questions is within the input questions, which KSSSQG capitalises on and<br />

outputs using simple remix techniques.<br />

The question of convergence remains. What if all of these questions can be answered?<br />

At the same time? How can these questions be resolved through artistic practise? Maybe my<br />

nal <strong>SODA</strong> performance, re:self->com provides the answer. Maybe.<br />

KSSSQG also addresses further questions of the language and methodology used in this<br />

artistic context. Rather, how can we use a scienti c or technological methodology to<br />

produce/support critical enquiry? Although there is plenty of complexity to be found in our<br />

sets of language, is this complexity calculate-able and possibly nite in its combinations and<br />

permutations? For these input questions there are 18 unique handles, 39 unique verbs, and<br />

64 unique subjects, resulting in a maximum combination of 18 x 39 x 64 = 44928 questions.<br />

Presumably about half of them are nonsense or uninteresting. In some ways approximately<br />

22500 questions is plenty, in other ways, it is not enough. To ensure the longevity and<br />

contemporaneousness of critical enquiry, we must continue to expand the vocabulary of<br />

the language and methodologies used. We can see that simple, inter-disciplinary tools can<br />

already yield rich results. Surely this is a eld for further investigation and speci cation.<br />

18 Keith Lim

To this end, further interaction with this experiment may be possible through further development<br />

of the KSSSQG code in two ways.<br />

1) Build a simple interface for directly editing the handle, verb and subject sets. This would<br />

allow for users to generate their own lists of divergent questions. Users would be required<br />

to “split” their own questions, following the example question parts or the generator may<br />

not produce meaningful output.<br />

2) Build a more complex, smarter interface that takes a list of user input questions and<br />

attempts to “split” the questions in code. However, then the generator will no longer be<br />

simple or slightly stupid. This option is outside of the scope of the experiment. For now.<br />

Appendix 1: Programming code. Code is written in PHP. Pretty simple<br />

programming code. Comments are in green.<br />

//initialise the word sets of handles, verbs and subjects<br />

$handles = array(„How can I „, „What is it to „, „How can the audience „ . . . );<br />

$verbs = array(„specify „, „use divergent thinking as „, „be „ . . .);<br />

$subjects = array(„myself“, „the work“, „in performance“ . . .);<br />

//etc. etc.<br />

for ($i = 0; $i < 20; $i ++){<br />

//generate 20 questions at a time<br />

$question = $handles[ array_rand($handles) ] // pick a random handle<br />

. $verbs[ array_rand($verbs) ] // add a random verb<br />

. $subjects[ array_rand($subjects) ] // add a random subject<br />

. „?“; // it ain‘t a question without a question mark.<br />

print($question); //display the question<br />

print(„“); //new line. To keep the list a bit neat.<br />

}<br />

The script is available to run at:<br />

http://www.kidsthesedays.com.au/soda/question-generator.php<br />

Keith Lim<br />


Ana Monteiro<br />

To Whom I t May C on cer n Berlin, November <strong>2011</strong><br />

RE: Letter of Recommendation for FORCED ENTERTAINMENT PERFORMER<br />

It is with great pleasure that I write this letter of recommendation for Ana Monteiro.<br />

I have known Ana M as a fellow artist and a peer since 2010. We have worked together in<br />

a range of capacities during the last year and I have no hesitation in recommending her<br />

to you as a highly skilled performer and collaborator.<br />

I have experienced Ana to be an intelligent, self disciplined and humorous woman. She is a<br />

dedicated collaborator with an interest in pushing the ways and means of working with other<br />

artists. Her most recent work SHOWCASE demonstrates just this through her multifaceted<br />

and multimedia approach to collaboration and authorship. In this piece she is working with<br />

a range of people from the local Turkish belly dancing school, an experimental video artist,<br />

as well as a performer who creates a solo for her via emails.<br />

Ana’s creative writing abilities are next to nothing, her use of words to grasp a situation,<br />

a thought are just immense. I have had the privilege of experiencing some of her devised<br />

texts and scripts. They are intricate pieces of work that interweave the critical and<br />

poetical, documenting and capturing situations and discussions around performance and<br />

collaboration. It is her talent to take this material and ip the context around from a heated<br />

exchange about working to a fun lled dramatic, yet ironic soap opera. She has a rich<br />

ima gination and a way with words that allow her to be generous, yet precise in what she<br />

wants to convey.<br />

It is in Ana’s performance skills that really show her competence. Her use of hyper<br />

theatrically and ‘concern’ for the audience, which pairs very well with the work of Forced<br />

Entertainment. Through this she challenges and at the same time pushes and teases the<br />

boundaries of what we understand as theater and ones role as performer and beholder.<br />

It is clear that Ana M has found an imaginative and risk taking attitude to making on the<br />

MA <strong>SODA</strong> and I can only further insist that she would be a credit to the company.<br />

Yours, Sheena McGrandles<br />

sheenamcgrandles@yahoo.co.uk<br />

20 Ana Momteiro


The starting point for the project SHOWCASE began when I became aware that the nal presentation for<br />

the 4th semester of the MA <strong>SODA</strong> has, as one of the criteria, a performance presentation of at least<br />

45 minutes in length. This information ignited a proliferation of questions that, I believe, surpass largely<br />

the academic context at hand:<br />

What are the assumptions behind a time frame considered as standard in a given context?<br />

What does it say and do in terms of modes of perception and partitions of the sensible?<br />

Are standard time frames for performance presentation already inscribed within a certain<br />

understanding of what performance-making and performance-spectating should be and should do?<br />

Does this standardisation contribute to a homogenisation of artistic practices?<br />

To which extent does a certain standardisation of conditions become part of the logic<br />

of the production of the work?<br />

How does a predetermined time frame organise (choreograph) the work?<br />

Curious to investigate the notion of autonomy, which I understood as the creation of one’s own<br />

conditions of engagement inside the speci cities of a given context, I decided to propose a set of 4 solo<br />

performances of 12 minutes each. The creation of each solo would be autonomous from one another,<br />

exploring different logics of production yet interdependent in that they would be presented side by side in<br />

the same evening in a kind of showcase (as in a display case in a store or museum).<br />

What would the spaces in between the works do? Which unpredictable relations would emerge out<br />

of such conditions? What different perceptions of time and space would it generate?<br />

Interested in differentiation as an approach to artistic practice in general and solo work in particular<br />

(it seems relevant to me to point out that this text is being written exactly one month before the<br />

presentation of the work), it is in motion a series of different operations that mediate the creating<br />

process of each solo and enable singular and inderterminable sets of relationships to take place.<br />

It is necessary to mention the crucial role of other people in the process. I would provisionally call the<br />

pieces ‘joint creations’ which involve two creative processes that intercept (join) each other at given<br />

moments while keep running in parallel. Processes in which creation emerges from the tensions and shifts<br />

between relations, exploring the autonomy-interdependence chiasma.<br />

The experiment is ongoing and the effect and affect cannot be anticipated.<br />

Columnentitel 21

<strong>SODA</strong> OVERVIEW?<br />

The practice I’ve been developing<br />

during the MA <strong>SODA</strong> has been<br />

con cerned with the questioning of<br />

modes of production of stuff, spaces<br />

in between stuff, the order and the<br />

place of stuff. ‘Where?’ rather than<br />

‘What?’ has been a crucial question<br />

for me for the past two years.<br />

<strong>SODA</strong> has been generously granting<br />

me the opportunity to increase my<br />

awareness of conditions and conditionings<br />

and it has been supporting me<br />

with time not only to raise but also to<br />

experience that questioning process.<br />

The dif culty in talking or describing<br />

the space between stuff seems to be<br />

that this ‘Where’ is constantly moving<br />

and shifting; the space between is<br />

inevitably relational, a process,<br />

un nished, ‘undecideable’, ongoing.<br />

I am thinking, how can I represent,<br />

inscribe, share and continue to<br />

practice the questioning on these very<br />

pages?<br />

The following list of questions was<br />

written between 7 and 7:30 am<br />

on the 09. 11. <strong>2011</strong>. The guide for the<br />

movement of thought was to direct<br />

attention to images and sensations<br />

that have arisen during my journey<br />

through <strong>SODA</strong> and to try to unfold<br />

them in a cascade of questions.<br />

How to articulate without de ning?<br />

How not to de ne articulation?<br />

How not to articulate articulation?<br />

How to articulate non-articulation?<br />

Where is the place for contradiction?<br />

Is contradiction perception?<br />

Where does perception become<br />

paranoia?<br />

Can confusion become a place?<br />

Could confusion be the name for the<br />

impossibility of engaging in a particular<br />

form of distinction making?<br />

Can displacement be created<br />

through a particular perception of<br />

distances?<br />

Can the process of question formulation<br />

enable a mutation?<br />

22 Columnentitel<br />

Where does reaction becomes a<br />

response?<br />

Does urgency become the place for<br />

the production of questions?<br />

Producing or enabling?<br />

What to include? What to exclude?<br />

An illustration of a question?<br />

Is a question an illustration?<br />

Is a question a translation?<br />

How do ‚pink‘ and ‚solo‘ go to gether?<br />

Going together in a pink solo?<br />

Are singularities made of differences?<br />

Autonomy?<br />

Autography?<br />

Choreography?<br />

Revelation without con rmation?<br />

Recognition without knowing?

What else can appear in the process of<br />

repetition?<br />

What else can appear in the process of<br />

repetition?<br />

What else can shift in the process of<br />

repetition?<br />

Being traversed by a question?<br />

Being relations?<br />

?<br />

Is this pointing to?<br />

Is it doing it?<br />

Are distinctions mere conventions?<br />

Are conventions mere distinctions?<br />

Where is the perimeter of the question?<br />

Where is the co-creation of this<br />

moment?<br />

From oneself to at least fourselfs?<br />

To differ?<br />

To differ from what?<br />

Who owns this invitation?<br />

Is the way the question is formulated<br />

part of the question?<br />

Is the way the question is formulated<br />

the question itself?<br />

Does the part contain the whole?<br />

Does the part contain the hole?<br />

What can the hole contain?<br />

A frame within a frame within a frame<br />

within a frame?<br />

Curiosity as irritation?<br />

Irritation as curiosity?<br />

How can two parallel lines meet each<br />

other constantly?<br />

Standing under as understanding?<br />

Can this be a vitrine for questions?<br />

Can a vitrine be a form of questioning?<br />

Can surface become depth?<br />

Is there something happening between<br />

the questions?<br />

Development in the form of a line?<br />

Can accumulation turn into<br />

accommodation?<br />

Are conditions the conditioning?<br />

Are conditionings the condition?<br />

Can conditions turn into expression?<br />

Is the performance the embo di ment of<br />

a questioning?<br />

Is this list about the questions that are<br />

not yet here?<br />

Does the word question come from<br />

quest?<br />

Does this keep postponing<br />

the solution?<br />

Is the solution to keep post poning?<br />

Ana Monteiro 23

This page is mine!<br />

Dragana Bulut<br />

24<br />


„This Page Is Mine!“<br />

Author: Dragana Bulut<br />


26<br />

This Page is Mine!<br />

If you want to buy it write to: draganabulut@yahoo.com

Dragana Bulut<br />

To whom i t may c on cer n Lisboa, November <strong>2011</strong><br />

I’m writing to recommend Dragana Bulut.<br />

I still have a strong memory of when I rst saw her, in a studio in Berlin. She was standing<br />

in front of a serious looking jury, with her 80’s styled long black curly hair, wearing a black<br />

leotard and a pair of black dance socks. The situation seemed a bit odd, and she looked<br />

somewhat nervous. However, when we heard the rst musical chords from “What a feeling”,<br />

by Irene Cara, the infamous song from “Flashdance” soundtrack – we all got caught up by<br />

her ability to reveal the context, whilst commenting and revealing it, by using humor to<br />

answer to an audition with another one.<br />

Inside and outside of the <strong>SODA</strong> group, I could see Dragana going further and further in<br />

what, in my point of view, is her signature: re ecting upon the moment, the conditions,<br />

the reality, and giving it back to us as a strange (broken) mirror.<br />

As a colleague, I can say that Dragana is strongly committed to both the work itself and<br />

a critical perspective of it, which makes her a special intense disturbing and important artist<br />

to have inside a group. As a person, she is ready and available to help others, especially<br />

if helping means getting into a good discussion. She has a remarkable sense of honesty,<br />

and she rarely complains about life. She can’t really cook, but she doesn’t expect others<br />

to cook for her. She is perfectly ne with a doner kebab in the corner and/or a piece of<br />

chocolate.<br />

Dragana Bulut is a strong and special person to get to know, and also a dedicated and<br />

critical artist. I am sure she is always going to bring important contributions to any group,<br />

context or situation in which she happens to be.<br />

Please do not hesitate to contact me for further information.<br />

Yours sincerely, Elisabete Finger<br />

elisabete. nger@gmail.com<br />

Dragana Bulut<br />


Elisabete Finger<br />

Balkan dance alliance association<br />

Kings Petar Street 6/81<br />

Smederevo, Serbia<br />

To Whom I t May C on cer n November 11th, 2021<br />

I recommend Elisabete Finger with the highest regards.<br />

I had the pleasure of meeting Elisabete 10 years ago, during the MA Solo/Dance/Authorship<br />

that we were both taking part in. From the start Elisabete made a striking impression as a<br />

practitioner deeply interested in emancipation. Getting to know her better was (and still is)<br />

an interesting and inspiring process. She never stopped surprising me with the speci c<br />

sensibility and intelligence through which she approaches the process of learning and<br />

education. Very soon Elisabete became a comrade, always there to help and share concerns<br />

with.<br />

Now, ten years later I am amazed by her strong determination to stay true to her interests<br />

which are shining through any given context, no matter what the conditions impose.<br />

She carefully moulds her world of “monstro”, holes, fur, hair, balloons; all kinds of materials<br />

which she manages to bring to life while building a speci c language and poetics.<br />

Elisabete always has something to reveal, something hidden you wouldn’t imagine was there<br />

before. Observing her through the years made me think that rather than talking about the<br />

work, she is interested in being IN it.<br />

Her latest work indirectly acknowledges the relevance of motherhood, where becoming<br />

a mother four years ago makes a shift in her thinking and at the same time strengthens<br />

her artistic position. She is generous, has a re ned and compassionate personality that knows<br />

how to listen and is always ready to open her doors to you.<br />

I believe that the Balkan Dance Alliance Association will hugely bene t from her presence<br />

and integrity which unquestionably adds value to any context she operates in.<br />

Please let me know if you have any further questions.<br />

Sincerely, Dragana Bulut<br />

draganabulut@yahoo.com<br />

28 Elisabete Finger

Columnentitel 29

there is 1<br />

there is language and practice. there is name and nameless. there is image<br />

and imaginary. there is effect and there is affect. there is sensation and there<br />

is feeling. there is a situation. there is an egg. there is the skin of an animal.<br />

there is repetition and there is variation. there is something red. there is<br />

something hairy. there is something ying. there is something turning.<br />

there is something dying. there is an arrow. very well. there is presence. there<br />

is functionality. there is excess. there is togetherness. and otherness. there<br />

are collisions, fusions, perforations and co-penetrations. there is aparição,<br />

manipulação, consumação, alucinação and assombração. there is happiness<br />

and headless. there is darkness. there is an abîme. there is voyage. there<br />

is vertige. there is a mystery. there is a monstro. there is sacri ce. there is<br />

traversing. and there is piercing. there is coca-cola. there is an accident. there<br />

is an immigrant. there is something unready. there is gestação, maturação,<br />

becoming, delivering. there is devouring. there is Jean Cocteau, Caetano<br />

Veloseau, and Brigitte Bardot. there is George Bataille, and Roland Barthes.<br />

there is vibration. there is consummation. there are possibles. there is time and<br />

timeless. there is form and formless. there is a circle. there is a hole. there is<br />

O.<br />

1 Since the beginning of MA <strong>SODA</strong>, I’ve been occupied with images. I’ve created, experienced, performed, discussed, I’ve read<br />

and written about images, I’ve been wandering around images. I’ve used images to build situations, engagements, sensations,<br />

affection. They are my battle eld. If this collective book is as a place to share materials that are present inside my research and<br />

practice, it means for me a place to share images and the imaginary. The only writing I could add to this selection was this kind of<br />

list – the “there is” that I constantly generate, increase, improve, by means of practice, beside and inside practice. The list format<br />

suits my way of producing and editing. It is how my monster project comes into language. It is a catalogue, a collection, a breviary.<br />

“There is” was produced or collected in Berlin, New York, Curitiba and Lisbon. In “there is” there is also: Joana von Mayer Trindade,<br />

Sandro Amaral, Vera Mantero, Johanna Hegenscheidt and Yair Vardi. There is Jodi Melnick, Vicky Shick, Susan Rethorst, Melinda<br />

Ring and Neil Greenberg. There is Neto Machado, Michelle Moura and Gustavo Bitencourt. There is Miguel Pereira, Susana Gaspar,<br />

Rita Natálio, Dinis Machado and Joana Martins. There is Ric Allsopp, Rhys Martin, Litó Walkey and Jeanine Durning. And there is<br />

always Kerem Gelebek.<br />

30 Elisabete Finger

Columnentitel 31

Zoja Smutny<br />

To whom i t my c on cer n Berlin, November <strong>2011</strong><br />

Letter of support and recommendation for Miss Zoja Smutny.<br />

I know Zoja Smutny through the two years we have spend together as students at the <strong>SODA</strong><br />

(Solo/Dance/Authorship) programme at the HZT Berlin. From the hours sitting together on<br />

the benches of this institute I have come to know her as loving colleague, a friend and a very<br />

honest and generous collaborator.<br />

In the centre of Zoja’s practice lies the focus on human relationships. She has a great curiosity<br />

in how we can build, create and maintain relationships, and how these can be stretched<br />

and translated into an artistic language. Her keen eye always manages to reach the core of<br />

the people she is observing and gently touch the deepest layers of their soul. From that point<br />

she creates a structure and materials to analyse and understand what lies at the basis of<br />

human communication.<br />

Zoja deals with “real” life and “real” relationships. By constantly being alert and aware of<br />

her surroundings, she notice structures and concepts of human communication and develops<br />

these into material that becomes the basis of her artistic practice. She has a unique ability<br />

to mix and blur “the artistic” and “the real” to a point where the observer no longer bothers<br />

or cares to maintain this difference.<br />

On stage I have experienced Zoja as a strong and powerful performer and have a great deal<br />

of respect for the way she manages to give you, as an audience, the “gift” of being in the<br />

performance while at the same time she breaks down the conventional distance in the<br />

performer/audience relations.<br />

She creates events that merge her outstanding sense of performativity together with deep<br />

understanding of human communication by the way in which the performance itself offers<br />

the public new ideas and methods for reading and re-questioning their way of communicating<br />

and through that also their existing relationships.<br />

As a collaborator Zoja is one of the most honest, open and serious people I have been able to<br />

work with. I feel lucky to have been able to work with her and know that she is a person to<br />

trust and count on in the future and I am sure that anyone who gets the chance to work with<br />

her in the future can expect a great deal of intelligent, creative and astute communication.<br />

I expect in the future that she will continue to challenge the relationship between what is<br />

“real” and what is “artistic” and as these borders become more blurred, I can see that this is<br />

not only her artistic life but it becomes rather her practice of life, and I guess her life practice.<br />

I wish to nd in my life more people like Zoja to work with. And for you I wish the greatest<br />

of luck in working with her.<br />

Sincerely, Yair Vardi<br />

Vardi.yair@gmail.com<br />

32 Zoja Smutny

I love you<br />

I miss you,<br />

I want you,<br />

I feel you,<br />

I remember you,<br />

I wish you,<br />

I see you,<br />

I know you,<br />

I like you,<br />

I kiss you,<br />

I love you,<br />

I drink you,<br />

I smell you,<br />

I believe you,<br />

I hate you,<br />

I suck you<br />

I fuck you<br />

I feed you<br />

I show you<br />

I love you,<br />

I endure you<br />

I time you<br />

I project you<br />

I love you<br />

I am you<br />

I know you<br />

I read you,<br />

I betray you,<br />

I love you,<br />

I dance you,<br />

I act you,<br />

I cry you,<br />

I tell you,<br />

I desire you,<br />

I sweat you,<br />

I ride you,<br />

I sense you,<br />

I hear you,<br />

I love you,<br />

I interpret you,<br />

I call you,<br />

I am you.<br />

Zoja Smutny<br />


“oh I wish you were here“<br />

Proximity<br />

“I watched you walk away and you did not look back“<br />

“did not shut you out, fell asleep with phone in hand“<br />

“I miss you“<br />

“when are you coming back?“<br />

“on my way“<br />

“missing you“<br />

“I will be there when I get there … “<br />

“I can close my eyes and picture us there“<br />

“I send you big hugs“<br />

spending time<br />

“don’t think you are too interested in hanging out unless we r having sex“<br />

“you are important to me, I wonder how long I will be important to you“<br />

“y o u awake? “<br />

“can I come tomorrow for 2 days“<br />

“I am going to burn them and watch the smoke rise“<br />

“just curious are you planning on meeting me soonish?“<br />

“he isn’t leaving until Monday does that mean I won’t see<br />

you until Tuesday? Oy you are on your way there …“<br />

“what about next day “<br />

“I am not alone“<br />

“I wish I could hold you to sleep“<br />

34<br />

Zoja Smutny

Persistence<br />

“and so do I have to ask?“<br />

“are you coming w me?“<br />

“don’t be crazy you are my girl“<br />

“I keep dialing but your number is busy“<br />

“clearly I said too much“<br />

“call you mother this weekend, if not please call her before I see her this eve?“<br />

“stop txting g“<br />

“did you get my last message and choose to ignore it? “<br />

endurance<br />

“read you email we need to talk, totally drunk and walking down queen st“<br />

“I love hearing from you don’t stop“<br />

“I tried calling you 4 times today“<br />

“oy I am upset that is not the end of the conversation“<br />

“I love hearing from you don’t stop“, “don’t stop“<br />

“I will try to communicate with you again, if that’s what you want“<br />

For the last two years I have been researching language that appears through and between I … YOU. In looking at my own<br />

personal emails, letters, texts, lyrics of many love songs, dialogues in lms and interviews, which I have speci cally selected that<br />

deal with questions of romantic love and departures, I am drawn to the relationship between the eroticism of writer and reader,<br />

as well as that of the performer and the audience. The theatre space then becomes a place of examination; the audience becomes<br />

the means to establish or discover what the connections are in order to try to de ne and re-de ne a lover‘s discourse.<br />

Zoja Smutny<br />


Yair Vardi<br />

To Whom I t May C on cer n Berlin, November <strong>2011</strong><br />

Recommendation letter for Yair Vardi<br />

In my experience, Yair’s reputation for warmth and generosity preceded him. I experienced<br />

this when I was travelling in Israel before arriving in Berlin to begin <strong>SODA</strong>, the masters<br />

programme that Yair and I belong to. Although he was not in Israel at that time and had<br />

not even met me, he had put me in touch with his friends and family who were instructed to<br />

take good care of me and from whom I also learned more about the man I was to spend<br />

the best part of the following two years studying with.<br />

In the months to come, Yair and I would often nd ourselves at a large table discussing art<br />

making and our work from morning till night. In these sessions I was constantly challenged<br />

to question my assumptions, due in large part to Yair’s artistic acumen and candid analysis.<br />

He has the gift and sensitivity to see work and people in a tting context; his keen eye<br />

for detail is always, however, balanced by a critical awareness of the larger picture: about<br />

people’s history, cultural background, practical needs and artistic growth. He is able to<br />

discuss one’s work with insightful questions that lead one to tangible answers. I believe Yair<br />

would make a great teacher because of his ability to put his own artistic tastes and values<br />

aside and appreciate the other person‘s point of view.<br />

Having lived and studied in Israel, England and Berlin, Yair’s exposure to a wider context<br />

has given him a comprehensive view of performance making and put him in a good position<br />

to play the role of a curator. Yair has been directing the A-Genre performing arts festival<br />

in Israel since 2003. He makes a great curator not only because of his grasp of critical<br />

discourses or rst-hand experience as an art maker – both of which qualities Yair certainly<br />

already possessed – but also a strong knowledge of production and technical management.<br />

His pro ciency as a lighting designer further gives him the advantage to understand the<br />

demands of artistic production from multiple perspectives.<br />

Yair’s dedication to his artistic eld, his work and that of others is unequivocal. He ghts<br />

passionately for his beliefs and readily stands up for others in times of need. He has a<br />

perfect record for punctuality and is always well prepared in meetings and discussions.<br />

These are added testimonies to his commitment to his profession and discipline in life in<br />

general. I wish him the best as he ful ls his vision and would be happy to assist in any way<br />

possible along the way.<br />

Yours Sincerely,<br />

daniel kok diskodanny<br />

36 Yair Vardi

You never look at me from the place I see you *<br />

The piece is a performance based on light compo sitions<br />

and texts reconstructing light as object, memory, and<br />

text. The images and the perceptions of light described<br />

in the texts are drawn from our daily life. The audience<br />

is lit with different light pictures (images of lights) and<br />

texts in relation to how we remember and perceive<br />

lights.<br />

My project investigates how designing lighting for the<br />

theatre space can create a d ifferent frame and dramaturgy,<br />

and in this way make a performance just by<br />

using lights and not creating any other element. Can the<br />

body of the observer in the space become the performer<br />

in this situation just by being lit?<br />

In this way the project will show the aesthetics of the theatre space as a c ontainer of the<br />

audience’s actions in order to show that it is possible to create an intervention with the public<br />

which is respectful and not an aggressive action but rather a gentle and poetic one, using the<br />

sensitivity that the light has as an anti-material materiality.<br />

Lacan says “I saw myself seeing my self” in his essay ‚Of the Gaze as Objet Petite a‘ (1973). In<br />

which he explains how we perceive reality through our gaze. The premise of my piece is to<br />

explore how we see and experience a well known environment and by seeing how we are seeing,<br />

we create a whole new level of reseeing, which we already forgot that we once saw - to become<br />

“a tourist” once more in our familiar surroundings.<br />

From this assumption I would like to re-examine the use of light (which allows us to see) as a<br />

stage event e.g. action, material, choreography, dramaturgy, framing the performer, framing the<br />

audience, and framing the context of the theatre, in order to investigate how light can become a<br />

language. This language is created by the relationships between what we see (the light and the<br />

object), the memory of it, and the language we are remembering this in (text) – the elements<br />

that make us see and perceive the way Lacan states. In relation to audience participation (or<br />

activation) which is the core of the piece, light should function as a central tool for creating a<br />

balance between the audience as audience and the audience as performer.<br />

* Jacques Lacan<br />

Yair Vardi<br />


These sketches are an excerpt from the documentation process of the performance which<br />

have become a “piece” in their own right as a series of light drawings and text.<br />

During the documentation the drawings became an additional re ection on the quadruple<br />

process of moving between elements: text-light-drawing-observer.<br />

Back side and foot light Wash #203<br />

Channel 7+8+9+10 PAR MF 1000W Cell phone lights #202 – #201<br />

The white piece of cloth at the bottom of the painting<br />

catches a lot of light and at the same time, the coat of<br />

the man (it is from fur) doesn’t catch the light even<br />

though it is supposed to do it especially if it is 203 (203<br />

works great on dark coloured surfaces). The piece of<br />

white cloth is actually a w oman, a h and of a w oman,<br />

and it (the hand of the women) receives the light from a<br />

totally different source: from the top right hand side – it<br />

has 203 on it, as well.<br />

Maybe in 1604 someone discovered candlelight, and<br />

understood that the composition of the light (which<br />

is to say what we can see, and where our eyes are<br />

directed) doesn’t have to be according to the narrative<br />

of the story. It means that the best lit here is not<br />

Maria and her baby, but it is the arm of the woman<br />

who is watching them. Her light doesn’t come from<br />

the candle it comes from a different place.<br />

The observers that are on the podium that is far from<br />

the entrance door: Please take out you mobile phones<br />

and switch them on so we can see their lights.<br />

First row please hold your phone in your left arm and<br />

place it to light your right arm. Can the two other<br />

rows please hold your phones to light your face?<br />

Thank you, now can you please turn off your phones,<br />

and put them in your bags or pockets, so that we<br />

can not see the light anymore.<br />

38<br />


SP backlights OW, Channel 18 PAR VN<br />

There is a p aradise; in this paradise there are a l ot of<br />

happenings. It means that there are a lot of animals and<br />

the animals are gathered in the front of the stage, which<br />

is to say the painting. At the back, there is a small hill<br />

with a t ree and a lot of animals, and on the hill, what<br />

is important is that, Adam and Eve, the snake, and an<br />

ostrich can be seen. And they are better lit since the<br />

light in this picture comes from the cracks in the tree<br />

from the top left side, and it is lighting them from the<br />

side, as well as the animals which are sitting in the right<br />

front of the painting. Because the lights hit the ground<br />

at this point, after they hit Adam and Eve from the left.<br />

When we draw the night, we need to paint the dark. For<br />

painting the dark we need to paint the light. And when<br />

we need to paint the light in the dark or the dark in<br />

the light every thing is dark. Every thing is light, every<br />

thing has a lter, every thing is.<br />

The ones that are in the lights are: The lion, the lioness,<br />

the ibex, the white horse, the swan, the ass of the brown<br />

horse, the stork.<br />

The ones who are not in the light: The cow, the tree, the<br />

Billy goat, the fox, the goat, the camel, the duck.<br />

If they had only chosen a d ifferent place to sit in the<br />

picture, it would have been a totally different story.<br />

Columnentitel 39

Daniel Kok<br />

To whom i t may c on cer n Berlin, November <strong>2011</strong><br />

Recommendation letter for Daniel Kok<br />

My name is Zoja Smutny. I am choreographer/director, performer based here in Berlin.<br />

I rst met Daniel at an audition 2 years ago in Berlin, ever since I saw his audition I became<br />

curious about this man’s work, I thought who is this guy? How is it possible he is getting away<br />

with dancing to Beyoncé in the context of applying to a conceptual art masters programme?<br />

I slowly opened up, and gave his work a chance, and realized he was brilliant. Daniel has<br />

the ability to bring together his academic knowledge of art history and his true passionate<br />

love for dance and performance. He deals with concepts that very much pertain to the world<br />

in this moment (technology, immediacy, loneliness, sexuality and voyeurism, lling up<br />

time-distractions).<br />

Daniels new work “the gay romeo” I highly recommend for this years Impulse Tanz Festival.<br />

Not only is it visually stunning and deals with the idea of who is watching, but also Daniel<br />

puts himself as a performer in the role of the audience. He does this by creating an<br />

atmosphere where you are aware that his research (his lovers) are in the room with you.<br />

Therefore we as audience become voyeurs to an experience that some of us know about and<br />

some us merely become a part of. Many artists try to use the tactic of audience participa tion,<br />

but in my opinion Daniel does this far and beyond other works I have seen.<br />

In this solo, Daniel invites the people he has gone on dates with through the social network<br />

Gay Romeo to come to his performance where he gives back personal gifts to the people<br />

he has gone on dates with. It is the rst time these dates see the gift … so the work<br />

becomes very interesting for the audience … they start to look around wondering who is<br />

this one for, who in this room is the “ONE” … creating an intimacy and a curiosity within the<br />

audience themselves. The audience starts to acknowledge each other and their role in Daniel’s<br />

work.<br />

Daniel is pushing the borders between, performer, audience, work, and the idea of “sharing”.<br />

He is pushing the boundaries with what experience looks like and more importantly feels like.<br />

‚The gay romeo‘ has the ability to change at how we look at audience participation today<br />

within the dance world.<br />

Thank you, Zoja Smutny<br />

Zojasmutny74@gmail.com<br />

40<br />

Daniel Kok

3 Monologues To Trick Myself I nto Dancing<br />

by daniel kok diskodanny<br />

The Premise of A Dance:<br />

At its heart, A Dance is an encounter between the subject and the love-object.<br />

It remains inde nite (or inconsequential) who the subject or what the love-object<br />

is. In the case of the dancing being and the being-danced, the subject and the<br />

love-object are interchangeable. The audience enters the equation by considering<br />

this ambiguity or by identifying with either the subject or the love-object.<br />

The performance is then a process of substitution and alternation, almost always<br />

about desire and a movement towards/around/with it. <br />

Monologue #1: We Search for We<br />

‚I do … I d o … I d o … (a gesture) I do! I really do. Do you? Don’t you? Because<br />

I do. I really do. I will. I mean I would. Just not now, not yet. But I should. Would<br />

that do? It could. So I might. Yes, I think I might. That might do. Don’t you think?<br />

You don’t? Oh, you do not. But you did! You did say “I do!” When you said “I do”<br />

to me, I stood there, (gesture) frozen as I am transformed by your will to perform<br />

an act, an act to perform but one that does not act, does not perform. When you<br />

said “I do” and didn‘t do anything, what were you doing? Your speech-act marks<br />

an emptiness of action as well as enacting an act of ful lment. It bonds me to you<br />

and we go in search of “us”... till death … do … us … part. Yet in this momentous<br />

shift, at this moment, nothing happens. You do nothing and neither do I. The only<br />

reply I c an give you, if indeed a r eply is what you want, is to also say “I do”.<br />

I offer a r eply by means of a r epetition, a m imicry, a d oubling. A d oubling.<br />

I copy you. I a m a c opy of you. I d o what you do and not what you do not.<br />

In doing so, I g ive you what you want, just as you have given me. I, too, say<br />

“I do”. But that is a trap. That is too easy. That’s also why I did it. The easiest thing<br />

I could do, I did it. So I said it. I said “I do” too. Now it’s too late. I cannot undo<br />

what I have done. Now we both do nothing. We said “I do” and we said nothing.<br />

There is just this gaze. This gaze that we exchange. A g aze that pins the here<br />

and now down to the here and now. (gesture) We try to transform the here and<br />

now and turn a moment, this here and this now, into an eternity. Still, nothing is<br />

happening. At least not now. Not yet. We wait … for something to happen … for<br />

something to emerge … for someone to do something … For someone to take this<br />

moment and go somewhere with it. But is this enough? Would this do? What do<br />

you say? Did you say something? Maybe? You wonder. Your mind wanders. Wondering<br />

with an ‘o’ and wandering with an ‘a’. You started here with me but you<br />

Daniel Kok<br />


are now somewhere else. Maybe. Maybe it is the same with me. I may be here,<br />

I may be speaking to you, but who’s to say where I might really be, where I might<br />

go? Might I go? Should I go? Could I? I could try. I could try to do it. No! I should<br />

not try. I should just do it. OK. I will do it. I will do it. I will to do it. In 3 minutes,<br />

I will do it for you. But before I begin, I should clear up this question: What do<br />

I mean by ‘doing’? What am I trying to do? But no! That is not the point! I am<br />

not here to tell you what this is or to shed some light on what it might be, should<br />

be, could be. I will simply do it. Almost two minutes now. I will do it. I will start.<br />

Just not now. Not yet. In about two minutes, I w ill carry this to its natural<br />

conclusion. I w ill nish what I h ave started. That is only responsible of me.<br />

I know I am accountable to you. I need to account for myself. I need to account for<br />

this, this thing that I am doing, this thing that I have started to do, this thing that I have<br />

said I will do. This dance that I will do but just not now, not yet! This dance that I will<br />

do … In about 1 minute … I will start in 1 minute … When I am ready … I will be ready …‘<br />

Monologue #2: A L ast-Minute Dance<br />

(1)<br />

I‘m thinking a thought.<br />

This thought is a memory.<br />

You are in this thought.<br />

In this memory, we were dancing at a party.<br />

It was 10 years ago.<br />

2001.<br />

(2)<br />

In 3 minutes, I will stop thinking this thought.<br />

I will drop this memory and start another one.<br />

Or start to do something else.<br />

See?<br />

I have already started.<br />

I have already stopped.<br />

3 minutes into the future.<br />

Less than 3 minutes now.<br />

42<br />

Daniel Kok

(3)<br />

I’m thinking a thought.<br />

I’m remembering us dancing because of this song.<br />

This song was playing on my iTunes<br />

When I was doing some work in my room last night ...<br />

20 hours ago.<br />

(4)<br />

The song is still playing.<br />

20 hours into the past.<br />

I‘m still listening to it.<br />

(5)<br />

I’m thinking a thought.<br />

We were dancing in the middle of a crowded room.<br />

We were waving our arms in the air ...<br />

2 minutes from now.<br />

(6)<br />

10 years later, I’m here thinking this thought.<br />

Right now.<br />

I am at the party, dancing with you.<br />

I am listening to this song.<br />

1 minute from now.<br />

Less than 1 minute.<br />

(7)<br />

I don’t want to think this thought any more.<br />

I want to do something else.<br />

I‘m dropping this memory.<br />

It’s leaving my mind.<br />

Daniel Kok<br />


Monologue #3: A Dance To Be R emembered<br />

What if you have never met the one you love? What if you met this person in<br />

a dream? You see, when she stepped onto the train, she saw her standing by the<br />

window. She decided not to approach her, in spite of the fact that she had known<br />

her for years. For once, she just wanted to be a stranger, to remember what it<br />

was like before she knew her, the long days when they had yet to meet. She watched<br />

as she played with the earphones from his iPod. The way he ddled with<br />

his ears when he was restless, the way she touched the side of his own neck.<br />

The music was so loud it could be overheard and he was obviously nodding not<br />

quite in time with the music. I wonder if he was thinking of me, although surely<br />

not in the way I was thinking of her at this moment … In my fantasy of a chasm<br />

between her and I, between past and present, between a lost and solitary version<br />

of herself and the man who had become her husband. When she went onto<br />

the oor to dance, the music was suddenly too loud. Without letting her see<br />

me, I danced a few feet away. I decided not to approach her, in spite of the fact<br />

that she had known him for years. For once, he just wanted to be a s tranger,<br />

to remember what it was like before he knew her, the long days when they<br />

had yet to meet. She watched as he played with the earphones from his iPod.<br />

The way she ddled with his ears when he was restless, the way he touched the<br />

side of his own neck. The music was so loud it could be overheard and he was<br />

obviously nodding not quite in time with the music. I wonder if he was thinking<br />

of me, although surely not in the way l w as thinking of him at this moment …<br />

in my fantasy of a chasm between him and I, between past and present, between<br />

a lost and solitary version of himself and the man who had become her husband.<br />

When he went onto the oor to dance, the music was suddenly too loud. Without<br />

letting him see me, I danced a few feet away. We danced in our different ways,<br />

him with his hands in the air, me with my hands in half-surrender. I could tell she<br />

was not quite in time with the music but I pretended not to notice. Our visions<br />

crossed like searchlights in the ickering dark and still we saw nothing beyond<br />

our own immersion in the lights and the pounding music. And her shirt … her red<br />

shirt would ride up her torso and she had on the tightest jeans that seemed about<br />

to come unhinged from her hips each time she moved. We danced apart like this<br />

for a long time, him with his hands in the air, her with her hands in half-surrender.<br />

He could tell I was not quite in time with the music but he pretended not to notice.<br />

Our visions crossed like searchlights in the ickering dark and still I s aw<br />

nothing beyond my own immersion in the lights and the pounding music. And my<br />

… shirt … m y shirt … w ould ride up your torso and I h ad on the tightest jeans.<br />

44<br />

Daniel Kok

We danced apart like this for a long time. And did I want to touch you? Of course<br />

I did, but the more you danced, the further you became from me. And I s eemed<br />

to be watching you across a great distance … of smoke, and light … the way<br />

you gyrated, the way your hands wove and ploughed the air around you … t he<br />

jagged cuts of your body as you moved … the uncompromising jerks … and sudden<br />

moments of delicate grace … You look at me from across the bar. I r eturn<br />

your gaze. Our eyes meet but only very brie y. Why does this simple act require<br />

so much courage? If I h old your gaze for a l ittle too long, my boldness would<br />

be considered conceit. How dare I p resume that I w as good enough for you?<br />

How dare I a sk if you were good enough for me? But what is the alternative?<br />

Never meet you and go home alone? What do polar bears say to each other<br />

when they rst meet? … I d on’t know either … I’m just trying to break the ice …<br />

Yes, I know you’ve heard it all before … and yes, I think we’ve met before … in<br />

this very same place. I remember it like it was yesterday. I’ve been watching you.<br />

I’ve been watching you for a l ong time. You have a b eautiful body and I h ave<br />

never seen such a beautiful body as yours. If I watch you for long enough … if<br />

I keep watching you … I s uspect I w ould disappear completely. I d o believe in<br />

the suspension of disbelief. It is an aesthetic theory intended to characterise<br />

your relationship to me. It refers to your alleged willingness to accept as true<br />

the premises of my dance even if it is fantasy, contradictory or impossible.<br />

It also refers to your willingness to overlook the limitations of my medium so<br />

that these do not interfere with the acceptance of those premises. So accordingly,<br />

you have agreed to provisionally suspend your judgement in exchange for the<br />

promise of entertainment. You have been watching me. You have been watching<br />

me for a long time. I have a beautiful body and you have never before seen such<br />

a beautiful body as mine. And if you watch me for long enough, you might disappear<br />

completely.<br />

Daniel Kok<br />


<strong>SODA</strong>.<strong>WORKS</strong> <strong>2011</strong><br />

Programme<br />

Performed at Uferstudios I Studio 14<br />

» December 6th, <strong>2011</strong><br />

Ana Trincão – Crystal<br />

» C oncept: Ana Trincão in collaboration with Alma Quintana, Esthel Vogrig, Joana Von Mayer Trindade, Joel Alejandro Rodriguez,<br />

Sonja Pregrad » Sound design and O riginal Music: Joel Alejandro Rodriguez » Performers in Mexico: Alma Quintana, Ana<br />

Trincão, Esthel Vogrig, Joel Alejandro Rodriguez » Performers in Berlin: Ana Trincão, Joana Von Mayer Trindade, Sonja Pregrad<br />

» Musician: ANY (angelina nina yeowell) » L ight design: Jésica Elizondo » L ight adviser/L ight operator in Berlin: Yair Vardi<br />

» Tutor: Angel Rosas » Technical Support: Max Stelzl, Nikola Pieper » Artistic R esidency: Programa de Residencias Artisticas<br />

para Creadores de Iberoamérica y Haití en Mexico » Production: Masha Soluciones Escénicas » Thanks to: Ezequiel Steinman,<br />

Gerardo García (cosas de ingenieria), Indira Pensado, Magdalena Leite, Omaris Mariñas, Ricardo Cortés, Rolando Apolo,<br />

Zoja Smutny and Jeanine Durning, Litó Walkey, Ric Allsopp, Boyan Manchev, Rhys Martin and <strong>SODA</strong> class 2010 – 2012 for being<br />

part of my work and life since April 2010. » Special thanks to: João Bento, Thiago Granato, Sandro Amaral » Project<br />

supported by: HZT Berlin, Fundação Calouste Gulbenkian, Fondo Nacional Para La Cultura Y Las Artes (FONCA), Consejo nacional<br />

para la cultura y las artes (CONACULTA) Centro Cultural De España En México, Secretaría De Relaciones Esteriores (SRE)<br />

De México, Centro Nacional De Las Artes (CENART) » Ana Trincão is a scholarship holder of Foundação Calouste Gulbenkian.<br />

Zoja Smutny – this I L OVE you thing<br />

» C oncept & Performance: Zoja Smutny » C ollaborator: Jenn Goodwin » L ight: Yair Vardi » Costume: Johanna Bartsch »<br />

Music: i will always love you (Dolly Parton) » Mentors: Sharon Smith, Thomas Plischke » I would like to TH A NK yo u SO much:<br />

<strong>SODA</strong> crew, HZT Berlin, UFERSTUDIOS, Jan Komarek, Manuel Bujold, Ame Henderson, Zoe Knights, Guntar Kravis, Srinavas<br />

Krishna, Alicia Grant, Lanimal, Claudia Fancello, Ilektra Almetidu, Milan Smutny, anna and christina, Athena Stamatis,<br />

Brad Horvath, Florian Kowatz.<br />

» December 7th, <strong>2011</strong><br />

Elisabete Finger – O.<br />

» C oncept & Performance: Elisabete Finger » L ight: Yair Vardi » Tearing and motion: Joana von Mayer Trindade<br />

Mentors » Vera Mantero, Sandro Amaral, Johanna Hegenscheidt and Cristóvão dos Reis » C ollaborators: Dinis Machado,<br />

Susana Gaspar, Rita Natálio and Miguel Pereira (Lisbon) » Donnators: Jodi Melnick, Vicky Shick, Susan Rethorst, Melinda Ring<br />

and Neil Greenberg (New York) » Accomplices: Neto Machado, Michelle Moura and Gustavo Bitencourt (Curitiba) » Thanks to all<br />

the so da group and also to: Ric Allsopp, Rhys Martin, Litó Walkey, Jeanine Durning, Joana Martins, Antje Kuhlebert,<br />

Eva Meyer-Keller, Thiago Granato, Jorge Alencar, Ricardo Marinelli, Cândida Monte, Alex Cassal and Kerem Gelebek » Support<br />

and residencies: O Rumo do Fumo (Lisbon – PT) and Couve-Flor Minicomunidade Mundial – Petrobras Cultural, Couve-Flor<br />

Manutenção Coletiva (Curitiba – BR)<br />

The “studies for Monstro” – the process that gave rise to O. and the research I have developed since April 2010, was also<br />

supported by Bolsa Residência em Artes Cênicas FUNARTE – Fundação Nacional de Arte (BR); Programa de Intercambio e<br />

Difusão Cultural – Ministério da Cultura (BR); Forum Dança and O Rumo do Fumo/Residências no Edifício (PT).<br />

daniel kok diskodanny – The Gay R omeo<br />

» C oncept & Performance: Daniel Kok » Dramaturge: Jorge Gonçalves » Production A ssistant: Lia Schmieder » Mentors:<br />

Jeremy Wade, Eike Wittrock, Sharon Smith<br />

46<br />


» December 8th, <strong>2011</strong><br />

Keith Lim – re:self->com<br />

» C oncept & Performance: Keith Lim » Stage, L ighting D esign & Video: Keith Lim » Puppet design and construction:<br />

Keith Lim » Music: Manuel Breuer » Mentors: Anna Henckel-Donnersmarck, Lisa Becker, Jorge Gonçalves, Daniel Belasco Rogers<br />

» Super duper mega thanks: Rhys Martin, Jeannie During, Ric Allsop, Thomas Plischke, Boyan Machev, Max Stelzl, Nikola Pieper,<br />

Lisa and Manuel again, Federica Fiore, The Evolution Group and Jonas Roy.<br />

Dragana Bulut – Pass it on<br />

» Author & Performer: Dragana Bulut » C ollaborators: Maria Baroncea, Sheena McGrandles, Alex Baczynski-Jenkins,<br />

Ligia Soares, Drinka Bulut » Mentor: Ana Vujanovic » The project is supported by HZT Berlin and City council of Belgrade.<br />

» December 9th, <strong>2011</strong><br />

Sheena McGrandles – Eee<br />

» C oncept & Performance: Sheena McGrandles » L ight: Raphaël Vincent » Mentor: Zigal Zouk » Dramaturg: Sophia New »<br />

Endless thank you‘s: Ric Allsopp, Rhys Martin, Litó Walkey, Jeanine Durning, Kattrin Deufert, Antonia Baehr, Sabine Trautwein,<br />

Eva-Maria Hoerster, Judith Brückmann, Eva Meyer-Keller, Andrea Keiz, Max Stelzl, Nikola Pieper, Sabine Zahn, Eva Burghardt,<br />

Katja Legin, Katja Münker, The <strong>SODA</strong>‘s 1st and 2nd, Studienstiftung des deutschen Volkes and my love, Nina Gribat.<br />

Ana Monteiro – Showcase<br />

» Project by: Ana Monteiro » C ollaborators: Ivo Serra, Eva Johanna Burghardt, Susanne Schubert » Performance: Ana Monteiro,<br />

Susanne Schubert » Video: Ana Monteiro, Ivo Serra » L ights: Ana Monteiro, Yair Vardi (light consultant) » Sound R ecording:<br />

Christoph Schlimbach » Technical Support: Max Stelzl, Nikola Pieper » Graphic D esign: Carlos Monteiro » Mentoring:<br />

Siegmar Zacharias, Pirkko Husemann, Anja Müller » Documentation: Ivo Serra, Andrea Keiz » Project supported by: HZT Berlin<br />

» Ana Monteiro is a scholarship holder of Fundação Calouste Gulbenkian. » Wholehearted thanks to: Vera Mantero (O Rumo do<br />

Fumo), Gloria Barbin (Mobile-Studio für Bewegung und Tanz), <strong>SODA</strong> Class 2010 – 2012, Rhys Martin, Judith Brückmann, Sabine<br />

Trautwein, Litó Walkey, Ric Allsopp, Jeanine Durning, Daria Fain and Carlos Monteiro.<br />

» January 21st, 2012<br />

Yair Vardi –<br />

You never look at me from the place I see you (Lacan)<br />


Imprint<br />

» Publisher: Hochschulübergreifendes Zentrum Tanz Berlin (HZT)<br />

» Master Programme: MA Solo/Dance/Authorship (<strong>SODA</strong>)<br />

» Authors & Concept: Dragana Bulut, Elisabete Finger, Daniel Kok, Keith Lim,<br />

Sheena McGrandles, Ana Monteiro, Zoja Smutny, Ana Trincão, Yair Vardi<br />

» Editor: Judith Brückmann<br />

» L ectorate: Sophia New, Daniel Belasco Rogers, Dr. Ric Allsopp<br />

» Graphic Design: gewerk design, Susanne Kluge in co-operation with Dragana Bulut,<br />

Elisabete Finger, Daniel Kok, Keith Lim, Sheena McGrandles, Ana Monteiro, Zoja Smutny,<br />

Ana Trincão, Yair Vardi<br />

» Photos and I mages: Diego Wiltshire, p. 5 – 6; Crystal # Rehearsal series by Ana Trincão,<br />

Alma Quintana, Esthel Vogrig, Paper, Blue water marker, 2,30 m/2,80 m, <strong>2011</strong>, p. 9 – 10;<br />

Roger Rossel, p. 11 (Performers: Ana Trincão and Sandro Amaral); Unknown, p. 12 – 13;<br />

Ana Monterio, p. 22 – 23; Elisabete Finger, p. 29 & 31; Guntar Kravis, p. 34 – 35<br />

» Thanks to: Jens Imig, Susanne Kluge und Birgit Schlegel for their unconditional support.<br />

» Print: Primeline Print Berlin<br />

» Edition: 700<br />

Hochschulübergreifendes Zentrum Tanz Berlin (HZT)<br />

» Directorate: Prof. Nik Haffner, Eva-Maria Hoerster (Managing Director), Prof. Ingo Reulecke<br />

» Study Programme C o-ordinators – MA Solo/Dance/Authorship (soda):<br />

Prof. Rhys Martin & Prof. Dr. Ric Allsopp<br />

» soda Core & Visiting Staff 2010 – 2012: Dr. Ric Allsopp, Dr. Una Bauer, Dr. Ramsay Burt,<br />

Dr. Emilyn Claid, Dr. Franz Anton Cramer, Bojana Cvejic, Dr. Kattrin Deufert,<br />

Jeanine Durning, Nik Haffner, Heide-Marie Härtel, Janez Janša, Dr. Bojana Kunst,<br />

Dr. Boyan Manchev, Rhys Martin, Eva Meyer-Keller, Martin Nachbar, Dr. Isabel de Naverán,<br />

Jeroen Peeters, Dr. Victoria Perez, Thomas Plischke, Litó Walkey<br />

» Administration: Sabine Trautwein<br />

» Communication: Judith Brückmann<br />

» Technical: Maximilian Stelzl & Nikola Pieper<br />

» Web: http://www.hzt-berlin.de<br />

© <strong>2011</strong> All Rights Reserved

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