The SODA WORKS 2015 compiles selected contents of the SODA master graduates of 2016 thesis projects. It reflects the experimentation and/or critical reflection that the SODA students pursue in preparation of their final SODA project. It positions their work in relation to their experiences and to wider cultural and aesthetic questions and conditions.

The SODA WORKS 2015 compiles selected contents of the SODA master graduates of 2016 thesis projects. It reflects the experimentation and/or critical reflection that the SODA students pursue in preparation of their final SODA project. It positions their work in relation to their experiences and to wider cultural and aesthetic questions and conditions.


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ODA<br />

<strong>WORKS</strong> <strong>2015</strong>

<strong>SoDA</strong> master works <strong>2015</strong><br />

About this publication:<br />

The <strong>SoDA</strong> (Solo/Dance/Authorship) class of 2016 have<br />

compiled this publication to contain selected content<br />

from their individual thesis projects. These projects<br />

each consisted of a live performance - presented in<br />

December <strong>2015</strong>, at the Uferstudios in Berlin - an artist<br />

work book, as a document of the creative process and<br />

a written essay, each explicating areas of independent<br />

research. It is the aim of this publication to present a<br />

selection of this material for public dissemination.<br />

Video documentation of the performances:<br />

http://www.hzt-berlin.de/?z=7&sz=2&lan=de<br />

About <strong>SoDA</strong>:<br />

The MA in Solo/Dance/Authorship (MA SODA) is a two<br />

year, full-time, performance-oriented Master of Arts<br />

degree. It provides a practice-led postgraduate education<br />

for practitioners and recent graduates who wish<br />

to challenge, extend and transform their practice and<br />

their understanding of arts practice through practical,<br />

theoretical and critical enquiry.<br />

The MA SODA is situated within the HZT – Inter-University<br />

Centre for Dance Berlin, which provide a practice<br />

led and research driven education in contemporary<br />

dance, choreography and performance.<br />



The Work / _fieldnotes<br />


The artist has appropriated part of a structure commonly<br />

found in public playgrounds, specifically, the<br />

entrance to fenced ball courts. Normally from these rectangular<br />

enclosures a perpendicular L shaped extension<br />

emerges. This extension forms an enclosed threshold<br />

that dictates performing a series of turns, in order to<br />

gain physical entry to the court. This sculpture, however,<br />

recreates only a corner of one of these structures,<br />

a corner from which emerges an enclosed threshold or<br />

‘entrance’, as described.<br />

Created from industrially produced units of zinc-coated<br />

steel fencing – a ubiquitous material for defining public<br />

and private spaces – one is free to move around the<br />

structure in its entirety, whilst also able, significantly, to<br />

move through it.<br />

Imposing in scale and material, elegant in form and<br />

linearity, the artist has placed this structure within an<br />

empty dance studio, apparently co-opted as an exhibition<br />

space. Yet the specificity of the context appears<br />

significant, as the accompanying literature suggests:<br />

we can consider this untitled sculpture a ‘somatic structure’,<br />

but in what sense?<br />

If we were to simply read the sculpture as a body, why<br />

should we be able to pass right through it? Does the<br />

somatic emphasis rather enable us to read it as an<br />

experience of body, specifically an experience of body<br />

as movement? The dance context would suggest so.<br />

what it is to do somatics. The process of experiencing<br />

one’s body from within necessitating conscious attention<br />

to the organic diversity of one’s body: observing<br />

activity.<br />

As a barrier that may be penetrated, the sculpture also<br />

performs division and integration. The steel grid that<br />

constitutes the fencing is itself semi-permeable, it<br />

permits some things to pass through, sight for example,<br />

and other things not. This is all analogous to understanding<br />

the structure as a membrane.<br />

The somatic philosopher Thomas Hanna describes<br />

a cell’s membrane as ‘not so much a separative wall<br />

as it is a series of windows and doors through which<br />

elements of the environment are made to go in and elements<br />

of the soma are made to go out’ (Hanna 1987).<br />

The selective osmosis of the cellular membrane is echoed<br />

in the nature of the organism, echoed in the nature<br />

of society, made up, as it is, of human organisms. What<br />

is true at the level of the cell resonates in all instances<br />

of life. This is what makes somatics significant beyond<br />

the experiencing subject. In this time of bodies breaching<br />

borders, refugees, national politics facilitating or<br />

refusing passage, we might be tempted to read this<br />

sculpture as a statement on existing mass migration,<br />

but this is too narrow. Membranes – barriers, borders<br />

– in/tangible – im/permeable, exist everywhere. The<br />

polarities of division and integration constituting life<br />

as we know it, as even a cursory consideration of one’s<br />

relationship to others – or oneself – would confirm.<br />

rounding space and this sculpture does the same. By<br />

intersecting space it creates a multitude of spaces, each<br />

with their own feeling quality, but each equally part of a<br />

unified spatial experience. That you may move from one<br />

space to another, through the transitional space of the<br />

threshold, emphasizes the plastic potential of space as<br />

experienced – be it intrasomatic or extrasomatic.<br />

If somatics is a journey towards integration, the<br />

threshold represents the physical navigation necessary<br />

within that process. It is also a space between spaces,<br />

balanced between open and closed, it is the moment of<br />

embodied movement.<br />

Perhaps a somatic practise, on account of its subjectivity,<br />

its paradoxically intangible experientiality, has<br />

necessitated the creation of a concrete object, as an<br />

objective testament to a lived process. A process the<br />

artist offers other bodies to experience as passage,<br />

movement from one quality of space to another, the<br />

consistent properties of our experiencing body echoed<br />

in the consistent properties of space in general.<br />

This sculpture is a somatic structure, then, because it<br />

articulates the experience of a body through staging a<br />

process of transition.<br />

Acknowledging this structure’s provenance, we recognize<br />

it possesses properties of activity and observation,<br />

in keeping with a ball game, yet also in keeping with<br />

So this sculpture may be experienced as an intrinsic<br />

kind of structure. Membranes define a space whilst<br />

simultaneously order that space’s relation to sur-

THE RIFF<br />

On encountering integration, what else but to perform<br />

the potential of my body?<br />

I remove everything from the stage that is superfluous<br />

to my body until it is all that remains.<br />

Until this point my practise has explored the notion that<br />

perception is a choreographic activity and, by extension,<br />

cognition is a cross-modal process of abstraction.<br />

These things are true, but positing what essentially constitutes<br />

my own consciousness for objective consideration/research<br />

is essentially neurosis in action.<br />

Now it seems proper, and possible, to embody my<br />

perceptive faculties and have them constitute performance.<br />

On encountering integration, self with self,<br />

locating my mind in my muscle, seeing how muscle is<br />

expression of mind, I move, I begin to move<br />

in another dimension<br />

A horizontal plain of application, my body is an activity.<br />

Apply. Come home.<br />

Home is a necessary component of somatic activity: it<br />

provides a stabilizing parameter for action. Home is, by<br />

functional definition, the place from which one goes and to<br />

which one returns (Hanna 1986).<br />

Somatics is a spatial discipline. Reclaiming internal<br />

ground created room for myself and improved my capabilities.<br />

Frontiering my new parameters, I continue this<br />

spatial exploration in performance, testing my limits,<br />

both internal and external.<br />

Come home – test limit – come home – test limit –<br />

I identify a loop.<br />

I choose an 8 count bass line, a riff, repeated, emphasizing<br />

constancy.<br />

The riff, a loop, iterates and negates time, a cyclical<br />

reordering that both emphasizes and expands the moment.<br />

Subsequently the riff possesses an emergent spatial<br />

materiality, provides a non-set for my performance.<br />

I place myself, through fragments of movement and<br />

words, within the ground of the riff. I avoid hierarchy<br />

and arrange the fragments like equivalent objects that<br />

appear and instantly dissolve to nothing, but resonance<br />

in space.<br />

The fragments are terse choreographies, devised in the<br />

studio. They are embodied actions that play with the<br />

potential of my physical capabilities: movement and<br />

voice and transition.<br />

Their arrangement in space is a three-dimensional edit.<br />

Edit is action independent of consistency. The specific<br />

qualities of each fragment dictates what fragment<br />

follows, as do the qualifiers space and rhythm, they<br />

become my compositional tools. A continual process of<br />

re-editing composes my fragmentary material into abstract<br />

cohesion, subjectively experienced as embodied<br />

sense. I do what feels right. A composition (dramaturgy)<br />

of language and action emerges not formulated upon<br />

conventional notions of meaning or representation.<br />

Instead, through the expanded moment of the loop, a<br />

moment of total self awareness, I manouevre in and out<br />

of physical states, embodying the edit. There is no place<br />

to get to, no culmination, no performative climax, only<br />

continual transition within a horizontal plain of activity.<br />

Fragmentation then is not unified through increased self<br />

integration, but rather, positively assimilated as creative<br />

strategy, is co-opted as cohesion.<br />

Like I do here.<br />

I explore ways to connect space. There’s a sculpture in<br />

the other room, remember. Perhaps you think of it as<br />

you watch me perform. I am performing the outcome<br />

of internal spatial integration. I am integrating internal<br />

space with external space:<br />

Through proprioception<br />

I close my eyes and allow a sense of my internal volume<br />

manouevre me in the external volume of the stage. I<br />

acknowledge my improvisational tendencies with movement<br />

in the moment and consciously alter them, finding<br />

myself in new spatial configurations.<br />

Through voice<br />

I locate the space a vowel sound physically resonates<br />

within my body and use it to amplify that sound into<br />

external space. I play with modifying my voice and loop<br />

language, acknowledging they are both, anyway, means<br />

by which I acoustically explore inter-personal spaces.<br />

All this upon the ground of the riff<br />

in harmony or discord, a constant<br />

rhythm, the riff is rhythm, the riff is you dear reader,<br />

viewer<br />

moving in time<br />

the nuance and play of awareness<br />

conscious, constant activity<br />

of rhythmic repetition and differentiation<br />

synaptic syncopation of cognition<br />

looping, relooping<br />

your thinking body, your body thoughts<br />

are the pulse of being.<br />

Cells vibrate, resonate<br />

presence<br />

we are<br />

space in transit, we are<br />

a fabric of fascia, between all things<br />

our bodies, our modulated constants<br />

transitioning<br />

about the place<br />

we breathe, space, gravity<br />

on stage, nothing but life<br />

the riff (the riff - the riff) is this thing of being alive.<br />

Hanna, Thomas (1986) Selection from… Somatology:<br />

Somatic Philosophy and Psychology, Somatic Systems Institute.<br />

Hanna, Thomas (1987) What is Somatics? Part IV, Somatic Systems Institute.<br />

For further information please contact andrewkerton@gmail.com<br />

I identify an implicit dramaturgy for performance within<br />

myself: explore modulations with/of my performing<br />

body, always returning home to an embodied place of<br />

neutrality, ready to embark out again.<br />

I fragment language to a level of ambiguity that it might<br />

offer an audience the possibility to elicit subjective<br />

responses. I speak with a multiplicity of voices and<br />

physically manoeuvre into divergent perspectives.


Orbital Studies<br />

Something out there is moving.<br />

Halley’s Comet was seen on the Earth in 1986 and will be<br />

seen again in 2061. At this moment it is moving at the<br />

outside of the orbit of Neptune.<br />

is an attempt to imagine the unimaginable<br />

body – Halley’s comet – and its movement in<br />

space and time through choreographic understanding.<br />

How has a non-human body such as Halley’s comet<br />

affected human perception of time? To what extent can<br />

choreography, human artistic technique be sufficient<br />

and insufficient to conceive this movement?

The sun is located at one of two foci.<br />

Kepler’s first law of planetary motion.<br />

Every orbit is an ellipse.<br />

The closest point from the sun in the orbit is point A.<br />

The farthest point from the sun in the orbit is point B.<br />

Point B is located at 70 times the distance between the Sun and point A.<br />

Point B is nearby the orbit of Pluto.<br />

From point A to point B, the orbit passes.<br />

It is a very outstretched ellipse.<br />

The first movement is orbiting.<br />

The first movement takes about 76 years.<br />

Currently it is located at point C.<br />

Point C is here, point C is outside of the orbit of Neptune.<br />

It will gradually move from point C to point B, and make a turn.<br />

To reach point B, it will take 8 more years.<br />

The orbit is clockwise.

An orbit commonly refers to the path of a repetitive<br />

movement. From the perspective of physics, on<br />

the other hand, an orbit can only be established and<br />

properly function when the presence of two bodies<br />

is a prerequisite. In other words, orbiting is not the<br />

independent action of a singular body that proceeds on<br />

its own, it is the consequential action of two bodies in<br />

the effect of gravitation. One of the two bodies acts as a<br />

focus of the other, which revolves around the former in<br />

a circular, elliptical or parabolic path. Behind the body<br />

that moves, there exists the other body, which enables<br />

it to move, and the force that mediates the two bodies.<br />

Based on the aforementioned facts, we might also think<br />

of a moving body and its time.<br />

A body orbits in an ellipse.<br />

It takes ( ) for a body to complete one orbit.<br />

Suppose that another body that served as a focus in<br />

creating this orbit disappears at a certain point.<br />

A body will not move in the same way anymore.<br />

The time of a body will not be repeated every ( ) any<br />

longer.<br />

Thus ( ) is the time invented by two bodies under the<br />

force of gravitation.<br />

Therefore an orbit should be understood as one form<br />

of time.<br />

Orbital Studies is a study to reflect time as an orbit.<br />

Time which has its origin in the gravitational force of the<br />

other. A performance as a site for an orbiting body of<br />

Halley’s comet.<br />

foto © Marion Borriss


P DANCE<br />

I am a Man!<br />

Perhaps almost…<br />

Or perhaps I should say that I am a man, somehow,<br />

disassociated from what maleness is within certain<br />

social beliefs.<br />

With P Dance, it´s my attempt to create a setup for a<br />

contemporary ritual, where a potential hybrid “Ethno-<br />

Choreography” takes place. A contemporary space<br />

where the naked body is constantly transitioning between<br />

a “found“ archive of social dance patterns, while<br />

addressing reflections on globalised notions of gender,<br />

and positioning them with older folk traditions.<br />

P Dance takes as its starting point the folk dance and<br />

costume of “Careto”, which is considered as a symbolic<br />

rite of passage from boyhood to manhood in Podence,<br />

Portugal.<br />

From its roots in European and medieval agrarian cultures,<br />

the “essence“ of Careto has morphed into different<br />

textures and aesthetics, depending on its sociocultural<br />

values and usages. Appropriating the costume associated<br />

with the ritual and repositioning it as a queer object, I<br />

investigate and “draw” together influences from Judith<br />

Butler, popular dance and Drag culture, to question,<br />

explore and deliberately to fail in the attempt of magnifying/performing<br />

melancholic assumptions of masculinity.<br />

Through P Dance the naked movements create a visceral<br />

and relentless physical language, with my body as<br />

a central point of focus, as a screen for communal projections.<br />

This questions and navigates through potential<br />

archetypal and stereotypical ideals of maleness, and<br />

the (mis)interpretations and perpetuations of certain<br />

claimed values of masculinity.<br />

Thanks to: Constanze Schellow, Maria F. Scaroni, Jessy<br />

Layne Tuddenham, Peter Pleyer, Nico Lippolis, Benjamin<br />

Schälike, Ponderosa Community, Justin Francis Kennedy,<br />

Kennis Hawkins, Julian Weber, Yoav Admoni, Lulu<br />

Obermayer, Marc Lohr, Will Rawls, Teresa Dillon, Carlo<br />

Roffare, Fabian Anst, Tino Sehgal and the “This Variation”<br />

crew, to UDK, to HZT and SODA office administration,<br />

to all professors and dear colleagues of the SODA<br />

program 2014-2016. A special thanks to my mother<br />

Alexandrina Serra.<br />

With the support of: Studienstiftung des deutschen<br />

Volkes, Ponderosa community organization, Caretos<br />

de Podence non-profit organisation, Centre d’ Art Contemporain<br />

Genève, Switzerland and the 2nd edition of<br />

Nomadic School (Homo Novus Festival in Riga, Latvia).<br />



The Practicalities of a Poetic Engine.<br />

Do something and then talk about it. When someone else<br />

talks about what they did, translate that into instructions<br />

and follow them. Do something and then wait for someone<br />

else to do something. Don’t talk about your opinion, talk<br />

about how it feels. Wait till you feel the effect of what you<br />

just did before you do something else. Think of how the<br />

fog might behave, describe it, try it out, and then report<br />

back. Talk about what you just did by simply naming it.<br />

Make sure the big inflatable is moved regularly. Don’t make<br />

violent movements in the first 15 minutes. Let things go<br />

wrong. Don’t let me off the hook so easily. Work to always<br />

be physically involved with someone, but let yourself be<br />

affected by forces transmitted through the structure. Make<br />

clear proposals. Stay with it. Don’t do it for too long. You<br />

don’t need to be interesting. Speak clearly, our accents are<br />

a bit hard to understand. Only talk about what’s happening<br />

in the room. Don’t mention theories or political issues. Don’t<br />

knock the lights over, but if you do, pretend that it’s ok. Let<br />

things soak in. Just, figure it out. Mess up the space. Don’t<br />

use the fog machine too much, because some audience<br />

members might not like it. Don’t breathe so loudly.<br />

Patterned Interference, my fourth semester presentation<br />

for the <strong>SoDA</strong> program was conceived as a milieu of<br />

nested situations, where action and discourse mediate<br />

changes of spatial arrangement and atmosphere. It<br />

grew out of an interest in training practices and improvised<br />

ascetics. We engaged in a long period of searching<br />

our bodies and environments for activities that were<br />

“interesting”, in that they held a fascination and a<br />

desire to investigate further. It could be something<br />

as simple as rolling your head around while focusing<br />

on the sensations in your feet, or repeatedly trying to<br />

touch the same point on a wall with your eyes closed.<br />

We called these activities “choreographic situations”,<br />

and set about describing them in words to each other,<br />

or diagramming them. Then we noticed that the act of<br />

describing what you just did has a certain effect and<br />

could be worth investigating further. What started as a<br />

way of keeping track of activity became a kind of instant<br />

research output, a way of mediating our relationships in<br />

the abstract space of performance, and an unexpected<br />

method of training a certain kind of self-awareness.<br />

We then wanted to apply a similar process to the search<br />

for choreographic situations in the arrangement of the<br />

space we occupied, to observably relate our outside to<br />

our inside. The large inflatables were thought of as a<br />

way to quickly change the spatial characteristics of the<br />

room, as well as providing more insides and outsides.<br />

Their bodies were pliable and unpredictable. They could<br />

be entered, they enveloped and prodded . They were<br />

both compliant and stubborn. They were, in fact, more<br />

than we bargained for and exerted substantial force on<br />

the process. Lights and fog, indispensable atmospheric<br />

effects for the stage, were called upon to soften and<br />

smooth our transitions, to usher us across thresholds<br />

and seduce us into action.<br />

In a sense it was an exercise in building and being built.<br />

There was an excess of framing and a commitment<br />

to organising everything around questions. This was<br />

partly a response to working within the artistic research<br />

environment that contextualises the <strong>SoDA</strong> program, and<br />

the attendant demands to demonstrate one’s activities<br />

as such. As research. I made a real-time research environment<br />

on stage consisting of 3 human performers, 3<br />

large black plastic inflatables, 4 LED panels on stands, a<br />

fog machine, and the search for things worth doing.<br />

<strong>SoDA</strong>. Solo. Dance. Authorship. So how can I justify<br />

working with 2 other people? Well, what I can do is<br />

contextualise or signpost it as a necessary risk, a<br />

side-effect of the conditions I desired to work in and<br />

with. The conditions I speak of are those of a system, of<br />

something that behaves of its own accord, with a repertoire<br />

of states and a tendency to react to conditions<br />

and inputs. If you give a coherent system information, it<br />

will return a result in some form. In our case, the moods,<br />

thoughts, expressions and actions that traversed us<br />

were all part of the interest of the work, and contributed<br />

to the navigation of the creative process and the<br />

performative outcomes that emerged. And why 3 of us?<br />

In keeping with the theme of systems, I gesture towards<br />

Edward Lorenz’s discovery that a chaotic system<br />

requires a minimum of 3 interdependent elements<br />

(Gleick, J. 1987). And chaos? Chaos, from Chaos Theory,<br />

which is also called Dynamic Systems Theory, in which<br />

simple rules lead to unpredictable and never repeating<br />

behaviours. Simple rules are something we worked with<br />

a lot. The working method in the studio was a repetitive<br />

sequence of propose, enact, evaluate and refine.<br />

The performance piece itself was a network of simple<br />

interconnected rules.<br />

For me, the stage is a space for simulation, like the<br />

ones they do on computers nowadays. A space for the<br />

colliding of materials into one another, for interrogating<br />

structural tendencies, for subjecting fragments of culture<br />

to one another; for testing. A space for experimentation.<br />

Performance science. Research, results, findings. What<br />

happens if I… What happens to me? What happens to<br />

the things around me? How are we together? Cause and<br />

effect. Terms and interactions. Endless recombination.<br />

Moments of coherence. Spatters and smears of meaning.<br />

Why put something other than a living organism on<br />

stage? The coilings and thrashings of a mutating system<br />

make for a good spectacle. Live memetic engineering.<br />

We made the inflatables ourselves, from black rubbish<br />

bags and tape. DIY. This aesthetic permeates much of my<br />

work. I suspect part of its value for me is the ever-present<br />

possibility of changing the arrangement of physical materials,<br />

of revising the design, of trying something out. The<br />

barrier to action is low and enables one to simply think<br />

through doing, to find one’s way in a cognitive-material<br />

narrative. The revising of material bodies plays out in<br />

contrast to the seeming impossibility of revising my own<br />

body in any immediate physical sense, short of cutting off<br />

an arm, which I am not prepared to voluntarily undertake.<br />

Revising or redesigning my own body takes place in the<br />

form of searching for trainable activities, for choreographic<br />

situations that evoke new experiences, that change<br />

perception and the organisation of the mind/body.<br />

These training practices are a way to create new modes<br />

of feeling and perceiving. Rejigging the psychosomatic<br />

connections. Hacking. The development of new organs<br />

of sensing, alternative ways of thinking and doing. If my<br />

mind emerges from my body, then in rearranging the<br />

way my mind is involved with my body, the habitual connections<br />

and conventions of interpretation, I may add<br />

dimensions to my world. Practices can alter the body in<br />

order to influence the mind in order to enter new ways<br />

of experiencing, which in turn alter the nature of one’s<br />

presence or behaviour on stage.<br />

The body is key. Messy, full of openings and prone to<br />

mis-haps. An unreliable replicator, unable to consistently<br />

discipline potentials, to restrain latencies. Infectious and<br />

infected, subject to movement, rhythm, word, image and<br />

mood. Polyrhythmic and out of sync. Oscillating wildly<br />

through recursive situations. How do we find purchase?<br />

Get a grip? Increase the squeeze and feel the burn? What<br />

is the threshold between experience and technique?

Some limits are easy to find. Limits like aerobic fitness,<br />

strength, balance, attention. Others are obscured.<br />

Hiding in corners, folds and depths. Hidden in clouds of<br />

thought and feeling. Taken for granted or assumed to<br />

be fundamental. How might I confront the limits of my<br />

imagination? How real are they? Have my expectations<br />

of the world been formed by inaccurate impressions? Is<br />

there a way to test that? Frames help. If you can frame<br />

a situation so that it orients itself towards a question,<br />

directs the force of its unfolding into an enigma,<br />

a fresh ream of experience might be revealed. This<br />

is what I have learnt. Categories help. Naming helps.<br />

Questioning your constructions help. Precision helps,<br />

effort helps. And when these frames, these activities<br />

are organised around a sufficiently wild problem, the<br />

risk of reduction and flattening is reduced. The risk of<br />

discovery is heightened.<br />

Patterned Interference existed in a field of tension between<br />

three realms: the realm of spatial arrangement,<br />

the realm of subjective experience, and the realm of<br />

language. All three choreographed and modulated one<br />

another in a chaotic, interdependent fashion. Perhaps<br />

what we were really training was the ability to facilitate<br />

this particular interaction, the confluence of three<br />

realms through ourselves. The outcome of this encounter<br />

was, for me, an enigma. Although I knew what we<br />

were doing, and more or less how we got there, each<br />

night we performed the work I encountered a hard limit<br />

in my ability to encompass or understand the situation<br />

as a whole. I didn’t have an adequate frame through<br />

which to organise my impressions. The system simply<br />

exceeded me. The complexity of its quiverings and<br />

thrashings left me dizzy and saturated. But also awake<br />

and curious. It was not cathartic. Mostly I was left with<br />

a sense of work. Endless work. Beautiful work.

foto © Marion Borriss


The Agency of Touch<br />

“The Agency of Touch” is a work utilising touch, bodilysensorial<br />

awareness and connectivity as a social vehicle<br />

for corporeal communication.<br />

The final presentation for the <strong>SoDA</strong> Master Program<br />

(Solo Dance Authorship) consisted of a durational setup<br />

installed in Studio 9 of UferStudios, which aimed to<br />

develop a synesthetic/reflexive context around touch.<br />

The Agency hosted four activities for the participant:<br />

<br />

25-30 minutes for each participant;<br />

<br />

was invited to map his/her tactile experience;<br />

<br />

<br />

Set-design/costume: Ana Botezatu<br />

Sound-design: Natalia Bustamante<br />

Light-design: Benjamin Schälike<br />

Many thanks and gratitude to: my mentors (Siegmar<br />

Zacharias, Martina Ruhsam, Ella Ziegler, Isabelle<br />

Schad), my tutors and teachers (Sophia New, Rhys<br />

Martin, Boyan Manchev, Nik Haffner) my <strong>SoDA</strong> and<br />

HTZ peers, the HTZ staff (Sabine Trautwein, Max Stelzl,<br />

Stephan Kostropetsch, Bettina Kempf), Steve Heather,<br />

Dave Hall, Hosun Lee, Catalin Iie, Barbara Friedrich,<br />

Sophie Camille Brunner, Allison Peacock, Rodrigo<br />

Garcia Alves and all the people I encountered through<br />

this experience.<br />

https://www.youtube.com/watch?v=GFjVeepIwXs<br />

foto © Marion Borriss

the diagramms are intended to be printed in DIN A1

Publisher: HZT Hochschulübergreifendes Zentrum Tanz Berlin, Uferstraße 23, 13357 Berlin, Germany / Concept and Authors: Andrew Kerton, Joshua Rutter, Hwayeon Nam, Ivo Serra, Mădălina Dan / Pictures: all<br />

rigths by the authors of the projects if not mentioned otherwise / MA SODA Staff: Prof. Rhys Martin, Prof. Dr. Boyan Manchev, Prof. Sophia New / Graphic Design: Carsten Stabenow, milchhof.net / © HZT Berlin<br />

2016 Hochschulübergreifendes Zentrum Tanz Berlin www.hzt-berlin.de / office@hzt-berlin.de / Artistic Director: Prof. Nik Haffner / Administration: Sabine Trautwein / Technical Director: Maximilian Stelzl<br />

HZT – Inter-University Centre for Dance Berlin is the joint responsibility of the Berlin University of the Arts (UdK) and the Hochschule für Schauspielkunst “Ernst Busch“ (HfS) in cooperation with TanzRaumBerlin,<br />

a network of the professional dance scene.

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