The SODA (Solo/Dance/Authorship) class of 2018 have compiled this publication to contain selected content from their individual thesis projects. These projects each consisted of a live performance - presented in December 2017, at the Uferstudios in Berlin - an artist work book, as a document of the creative process and a written essay, each explicating areas of independent research. It is the aim of this publication to present a selection of this material for public dissemination.

The publication can be read in two directions: vertically as well as horizontally. You can choose from which perspective you would like to start. You can read the book from the beginning till the end and after that start again, this time reading from a different angle, or you can simply make fast changes, jumping from horizontal to vertical, from vertical to horizontal. It is just a matter of adjusting the object to your choices. The amount of changes is limitless.

oDA 2018

The SODA (Solo/Dance/Authorship) class of 2018 have compiled this publication to contain selected content from their

individual thesis projects. These projects each consisted of a live performance - presented in December 2017, at the Uferstudios

in Berlin - an artist work book, as a document of the creative process and a written essay, each explicating areas of

independent research. It is the aim of this publication to present a selection of this material for public dissemination.

The publication can be read in two directions: vertically as well as horizontally. You can choose from which perspective you

would like to start. You can read the book from the beginning till the end and after that start again, this time reading from a

different angle, or you can simply make fast changes, jumping from horizontal to vertical, from vertical to horizontal. It is just

a matter of adjusting the object to your choices. The amount of changes is limitless.

The MA in Solo/Dance/Authorship (MA SoDA) is a two year, full-time, performance-oriented Master of Arts degree. It

provides a practice-led postgraduate education for practitioners and recent graduates who wish to challenge, extend and

transform their practice and their understanding of arts practice through practical, theoretical and critical enquiry.

The MA SODA is situated within the HZT – Inter-University Centre for Dance Berlin, which provide a practice led and research

driven education in contemporary dance, choreography and performance.

f it‘s not sharp,

t won‘t cut

ove is healing

TaypiMami // footnotes to myself

‘feel how what I have to tell you vibrates’

maque pereyra

pleasure is


TaypiMami is a hyper existential, deeply

spiritual dialogue with

the real/imagined selves I was/am

and the ones I will be.

Decolonial aesthetics and notions,

personal stories,states of mind-body-soul-spirit,

and movement practices, gather at

the intersection with identity,

memory, healing strategies,

rituals, and the agency of love,

sensuality and sexuality.

It draws into the idea of

the circularity of time and that

healing the present can change the

past and the future.

In my work I deal with personal material as means for engaging with

a wider understanding and production of practice, knowledge and

theory in order to connect with a broader social frame full of colonial

woundings in which the enjoyment, growth and sharing of oneself in

body-mind-soul-spirit, the exercise of memory, the practice of rituals,

the awakening of consciousness, the embracement of sexuality,

sensuality, emotions, sensations, affections and intuitions and the notion

of deserving love and pleasure, are constantly diminished and/or

threatened and therefore I see them as modes of resistance, knowledge

production and a healing decolonial rebellion facing the different

oppressive structures.

Self healing through self reflection is one of the decolonial strategies

I use in my creative processes. Gloria Anzaldúa says that achieving

consciousness means to go deep into oneself and then expanding out

into the world. Healing oneself is a way to consciousness and it also

means healing others following the idea of the personal as political.

For being able to do that I took the idea of juxtaposing different times

of my life, inviting my past, future, real and imagined selves to a ritual

here and now.

The juxtaposition of times, images, dances, texts I produce are directly

related to identity. A ch’ixi identity, as Silvia Rivera says, or a nepantlera

identity, according to Gloria Anzaldúa.

These identities exist at the cracks between worlds, they are fluid and

constituted out of different worldviews, different influences that are

many times contradictory and exactly this contradictions produces the

necessary tension that will enable them to exist. I embrace my ch’ixi

and nepantlera identity knowing there is no ‘pure’ identity where to

‘come back to’ after a long process of colonization.

trust your intuitions

The aymara word ‘taypi’ means the gathering of the opposites. I see

this liminal place as a healing space where feelings, emotions, sensations,

desires, loves, thoughts, memories, negotiate with themselves

and find their ways to be expressed, transformed, enhanced, comforted,

forgiven and accepted, acknowledging the empowerment that will

come out of that. So I created the conditions for my ritual to happen;

I invited my beloved ones to send me their chants, letters, videos,

music, thoughts, I invoked their presence to feel they were with me all

the time.

I celebrate my process of self healing with them

and to expand the possibility of generating loving

connections through this work, I dedicate this

to my brother Diego.

sensuality is empowerment

pleasure is empowerment

love is empowerment

love is healing

respect is love

love is trust

intuition is knowledge

loving sex is empowering

vibration is healing

open your heart

shake your womb

love your vagina

invoke your guardian spirits

take time

practice YOGGATON

trust your intuitions

talk to yourself

pray for those you love

find yourself

sweat cowardice off

because life asks you to be brave

find yourself

Agata Siniarska

ngest and digest it!


Our bodies, as well as our bodies of work, travel in time and space by occupying and being occupied by many places, institutions

and by intermingling within many political dimensions.

The outcome of these movements is the trajectory of the ‘Name’. ‘Name’, as concept and material, is the currency, a value

every artist needs to take care of. Name often has important impacts on our future possibilities, artistic recognition, prestige,

work conditions as well as artistic choices. Name is a network of relationships participating in the art market. The artist and

their name become a currency that belongs to a higher anonymous bureaucratic and managerial authority, the structural

power of the market with a multitude of evaluative, managerial and organisational processes that need to be constantly

adhered to.

Name is a place of investment. When institutions invest in a name, they continue this investment into the future. They want

to prove to the world and convince themselves that this name is worth investing in. In a project, the ideas and artistic work do

not have that much importance, but the name makes the project important. The signature. The brand. These are what make

the product valid. The name is one and unique, and it signifies only one artist. If the name is valid enough, it will be the preferable

choice of product for most of the audience who refer to a festival program. This name becomes trustworthy because

it is responsible for the whole artwork and its process. Here appears a crucial question: Is an artwork really made by one

person? If not, as we claim, then how is it possible to put a name on an artwork if a work is never done by one individual?

Specifically, one human?

Bacteria have an enormous impact on our feelings as well as our thinking processes. What does it mean when one says:

“I thought about it, this is my idea”. Thinking processes are collective, involving hosts and guests. They always transpire

with the assistance of others within an ecosystem. There is nothing that fully belongs to us. As humans, we cannot claim our

authorship. Bacteria always participate in all parts of our life. And bacteria knew this already, before us. Of course one

response to this would be to say: “I am thinking with my bacteria”. But can we say that bacteria exclusively belong to us?

Let’s hold this question for a moment.

The first contact with bacteria happens during the birth. The womb is sterile. The amniotic sac and fluid that surrounds the

baby is a pristine environment devoid of bacteria or other microbial agents in order to protect the growing baby which still

doesn’t have a fully developed immune system. A baby’s first exposure to bacteria starts during birth in their mother’s vagina.

This is the bacterial first stamp we receive as we enter the world, which then continues through skin-to-skin contact with

our mother and our new environment. This stamp becomes our ecosystem that stays with us till death, but with certain

changes that depend on our relationships, the places we live and our hygiene, etc. The transmission of bacteria is a fact and

cannot be questioned. The time spend with other humans and non-humans, especially when intimate, slowly changes or

moves the borders of our primary ecosystem.


It is impossible to trace from whom or where new microbes have come as they appear in our bodies. They are not ‘our

bacteria’. They choose to inhabit our environment, and just as quickly as they came to us, they can leave. The human body

is a space of transition, like a bus stop, a train platform, an airport: space that does not belong to anybody. The passengers

change their location, they come and go. We are like a landscape, so even though some bacteria may live with us forever, it’s

hard to imagine that they have any feelings or sentiment towards ‘the land’, nor any possessive ambitions toward it.

We must ask ourselves if we want to be a land or a residency space.

ean the thing!

As we continue thinking with bacteria, we ‘have’ no bacteria, meaning that no bacteria belong to us. At the same time, we are

influenced by them and our thinking and feelings are connected with their actions. What does this mean for our decisions?

Every community lives in communities with many others, just like ideas live in art. The ideas and artworks do not belong to

the artists. It is impossible to distinguish ‘our’ bacteria, the ones that inhabit us our whole lives. In the same way, we cannot

tell if an artistic thinking process is happening with the company and assistance of certain bacteria. What an artist does by

making art is to put them in process. We can have tons of ideas but to realise them, we have to insist on them; to put them

in process. Imagine this: I, a scientist, share my apartment with a film director, let‘s say, Jane Campion. Eating breakfast

together, sharing cups, using the same towels, keeping our things in proximity, kissing each other, using the same utensils

to cut our nails, borrowing shoes, our bacteria ecosystems impact each other. Practically, this means that my bacteria

triggers certain ideas in Campion, making her write certain scripts, choosing certain scenes for her movies. Yet it is her as a

person that activates the whole machinery. She allows bacteria from my ecosystem to niche in her, she listens to them

and ‘lets them speak’ through their molecular language. She listens to them, she listens to her body as we might call

it colloquially, but on a physical level there is nothing more than Campion giving space to different kinds of microbes. She

cultivates them and allows them to interfere with and influence her own ecosystem.

Some symbionts help digest food, some symbionts help digest ideas. Some new microbes are random residents, some

temporary passersby. But there should always be a small fraction that matters, and this is where artists have the possibility to

act. An artwork is not a product of discourse, it is the material confrontation between bodies. The act of thinking and making

work is dynamically entangled with the microbial capacities of our bodies. We should not forget that while writing our credits.

This process is still not clearly understood by science and is definitely not taken into consideration by the art market. The

self-revolving way artists write their artistic biographies, insisting on naming themselves in applications, and institutions

and funding bodies also demanding these identifications from the artists, shows just how far from reality art exists. We (as

humans) contain a multitude, we are a multitude, we are not unique and thus, our artworks are not unique. Why produce

ideas if there are so many in the world?! Why not share resources?! Stealing, reformulating and translating are artistic strategies

that create conditions in the body in which microbes can thrive.

The biggest question now is, if we embrace this perspective, can this process be shaped into form? [….]

- from the book “IN THE BEGINNING WAS A COPY”, written by Agata Siniarska, 2kg of bacterial flora, rota virus, CEFUROX

Basics 250mg, 377521 handshakes, others..., illustrations by Salomé Genes, Coccigram +, Coccigram -, Streptocoque,

Meningcoque, others..., editing by Alice Heyward and a hundred trillion microbes and others...

Find another point of entrance!

Agata Siniarska makes works within formats of performances, events, practices, lectures, videos, TV programme and others. She is interested in knowledge,

that explores various mediums, protocols, strategies of its own production and does not apply any hierarchy to itself. These are all the detours,

twists, turns through knowing and confusion: from aliens, imaginative blobs, sweat, scientific facts, air particles, discourses, affects, personal dramas,

gossips, zeros, thoughts, inner speeds, transplants, women – all knowledge that seeks not to explain but to involve. Agata is a founding member of

female trouble - a collective revolving around identity, body, feminisms, pleasure, affirmation and love, as well as a co-founder of Pinpoint TV, an artistic

research project in the format of an internet TV programme, set within intersecting art-scenes of Berlin. Her project during her SODA studies was a

research around dance and performance as a soft act of killing.

Janine Iten

ow to balance and interlink the personal,

olitical and poetic?

photo: Kaj Kotsia

I just wanted to dream in concrete ways.

But all too often I am confused about how to negotiate my way. It has become difficult to feel at rest in my own (body) space.

That’s the reason to undo, to unbolt space, to open up new spaces, to shift space, to morph in and out of these spaces, to

inhabit the interspace which is constantly changing. There I wish to find a place of endless daydreaming, a place where time

is undefined. A place where there is no duality of inner and outer, of woman or man, of depression or ecstasy.

But where can I find a place to inhabit, where do I find this space of mine?

I try to find rest in unstable qualities. I am lost at sea on a heaving ship but will not get seasick because the horizon is not

the base for an anchor. The point of reference is more the centre within myself. Rhythmically oscillating structures set out

the condition for a fragile new state of dynamic equilibrium. There is no such thing as left nor right nor in-between. The only

thing is an underlying cognitive dissonance, a constant base of uncertainty. If the grey zone is set as foundation, all colours

can be found within.

My ongoing research consists of paying attention to certain basic emotional experiences, social phenomena, and physical

principles in myself and my surroundings.

Taking these processes out of their context helps me understand my reality.

lace yourself where time is undefined.

nhabit the negative


I use the process of art-making to create an alternative, differently layered reality to show my perception of time and space,

bodies, society, movement, and fluidity. I want to create an echo in this world.

I would like to overcome loneliness by understanding my temporality, and by finding a space to call mine.

States of transition

performative installation

The installation explores the contradiction of feeling at rest in unstable qualities. A line is drawn between psychological and

physical processes by tracking moments of phase transition. Phase transition is a term from physics that is commonly used

to describe shifts between solid, liquid, and gaseous states of matter, whereas I apply it to a fluid notion of gender identity. In

states of transition I draw a line between inner and outer realities. I link my personal experience, feelings, and understanding

of having a fluid notion of gender identity to a space in constant transition.

photo: Marion Borriss

Welcome the audience to experience.

photo: Marion Borriss

Felix Ofosu Dompreh

llow the hand to be the window

o your mind.


Imagine the carpenters in Africa as they use their high-tech finger prosthetic to drill through the compact wooden

surface.In this time, it is a common belief that the future is a technological terrain, a terrain as hostile as their history.

As they examine the twenty-first century archive patiently and carefully, they were astonished by the impact of

the development of the high- tech finger drill and the effect it was to have on the forgotten beings (Ancestors). The

seriousness of the forefathers and mothers of Afrofuturism touched them, and the accountability they exhibited

towards the not-yet, towards the becoming. Inspired by Kodwo Eshun

Imagine the fishermen in Africa programming and installing hand-embedded sensors on their nets, detecting fragmented

pieces of broken nets over and over.Imagine the readouts on their portable indicators pointing to the risky

and high levels of hostile projection of the broken net.

photo: Marion Borriss

You can reveal to conceal.

econfigure the history

ith your imagination.


Marion Borriss

Imagine the craftsmen with their tech-kente helmets, navigating and keeping records of their products on a

remote server, moving from the antagonistic period into the future.

photo: Marion Borriss

ost performance interventions.

Can modus operandi of labour and corporality be considered as art?

My performance work deals with the transformative potentials in traditional manual labour gestures and patterns

with mythical concepts of Afro-futurism to poeticize and construct a new corporality of movement, sound, and visual

imagery. The project entails methods of revising the societal dystopia of labour through a post-colonial lens.

The basis of my work consists of field research as tangible social investigations of documenting labour engagements

in the contrasting environments in Africa and Europe.

The poetics of the performance employs time to facilitate a gradual transformation of the labour patterns through

constant repetitions.I see physical labour more as a dance than work: it is action as well as procedure.

Pauline Payen

photo: Yamila de Pico

A Very Unique Gift

Something sticky is stuck


She once told me:

“I often dream of the endless party

The one where everyone gets caught in a trance

And you wonder if you are the only one who feels like leaving

You know what I mean?

And the more you feel like leaving, the more it feels like a repetitive torture

to stay

Like... Marguerite with the devil!

Or eating bar-food for dinner

The sensation of forced containment…

To avoid getting kicked out of The Society

Dancing like chewing gum

And singing like it’s the only thing to do

There is an idiotic, dark cabaret

And a cinematographic sliding diva

A frame around conversations...

A word above the absence of sight.

And elevator music, gently whispering.”

photo: Pauline Payen

The stage work ‘A Very Unique Gift’ is structured into six titled scenes: Introduction, On Board, The Shadow, Interlude, What

happened to Sophie’s Doll and Outro. Each scene is thought of as being in dialogue with the other scenes, and this dialogue

is what creates a ‘world’ for the general performance.

The audience is invited to proceed spatially in the space of the theater, which is being transformed through the opening and

closing of curtains. The black box somehow unfolds several boxes. Employing intertwined tactics of pleasing and controlling,

the performers guide the audience to experience these scenes, both as voyeurs and moving bodies, gazing and being gazed at.

Each scene uses a specific rolling object and a soundtrack. The way those soundtracks project in space and into bodies is inherited

from psychological sound-techniques aiming at either influencing the masses or inducing self-enhancement of one’s

own life. A specific attention has also been given to the sound of wrinkled papers, spitting of chewing gums, rolling objects

(conveyor belt, skateboard, rolling TV-cases etc) and sounds of falling (chewing gums, skateboard, high heel shoes)...

“In Pauline’s work, power relationships are staged in a playful way. Using materials that suggest games of superiority and submissivity,

she works with derisory, seriousness and slight irreverence. Seeing the world as a place of drag-extended practice,

her collection of personae is always growing, evolving, and returning, adopting fiction as a strategy. The narratives are built as

a riddle: elements are associated in a curious manner; to grasp a sense of it, one has to put it together with one’s own projections.

The resulting universe is often an idiotic environment, and the performer’s desperate attempts to cope with the overflow

of her own mysteries sums up as a “David Lynch meets La Ribot” type of seduction.” Jeanne de Palme

photo: Hanna Kritten Tangsoo

photo: Yamila de Pico

erhaps it is my heart. Still

t keeps on rolling. Ashes


photo series: Pauline Payen

“Pauline is a powerful and versatile performer. In the work

I accompanied she sets the architecture, the sound (often

based on contemporary objets trouvés), her body and those of

the spectators in constellations that create critical and visceral

tension and humor. I was personally interested in her take on

questions related to feminist Performance Art, expanding its

concerns to contemporary issues related to the representation

of bodies and subjectivi ties through the internet in late capitalist

western societies”

Antonia Baehr

“Pauline is a dedicated, self-motorized investigator of movement.

I had the pleasure of accompanying her work as a

mentor for 6 months, which were so exciting that I had to say

yes when she asked me to perform in her diploma work, so

thanks to Pauline I became a dance-tor. Her work is funny,

dark, irreverent and very powerful. She activates images that

we know, and makes them uncanny. Pauline is also an intense

and sometimes worryingly strange performer.”

Alice Chauchat (Extracts from ‘Recommendation Letter’,

December 2017.)

photo series: Hikaru Suzuk

“Shadows, secrets, assistants, casts, curtain-guards, rolling

movements, heard voices, stereotypes, images... I am

working with a family of things and concepts that have a

slippery quality. Similar to haunting: never graspable, always

present. Their presence manifests through transformation

and projection...

Concept, choreography, performance: Pauline Payen

Performance and artistic accomplices: Jelena Alempijević and Alice Chauchat

Dramaturgy/external eye: Katherine Evans and Siegmar Zacharias

Light and set design: Hanna Kritten Tangsoo

Performance coaching: Xica Lisboa

Mentors: Alice Chauchat, Siegmar Zacharias

This work is dedicated to the loving memory of Jens Seidler

photo: Marion Boriss

photo: Marion Boriss

photo: Evgenia Chertvertkova

... The chewing gum interests me in the sense that it is an

object that manifests an idea of independence (the laidback,

cool or blasé attitude it confers) and at the same time

has an addictive ‘more-ish’ quality. Because the chewing

gum fulfills its task only temporarily (it cannot be swallowed

and it loses its taste after few minutes) it is a surplus.

One needs to spit it out and/or use another one. ‘More is

more’. I also find chewing-gums interesting because it is

something that goes inside the body yet remains in a transitional

space, on the threshold of the digestive system.

It is not organic, yet it has an intimate relationship with

the organic: it is chewed, transformed by the body, taking

the shape of the inside of the mouth. When spat out, the

chewed gums are like small casts, each of them uniquely

imprinted by teeth and saliva.”

Pauline Payen

photo: Yamila de Pico

photo: Pauline Payen

ashes, persona to persona

photo: Anze Kokalj

Jan Rozman

Nothing, nothing, nothing,

bare nothingness.

G a p s are places of not knowing. The process of studying at MA SODA was the process of exploring these spaces

in-between and finding ways to activate them; at first accidentally and later intentionally. ON SPIRIT was an investigation of

the body of voice, and places between words and sounds. ON MATTER was exploring things and ways of activating them

performativly and relating to them (sometimes indulging in anthropomorphism), working with an extended body. The sketch

for solo No. Matter! What? was the result of this process. In ON LANGUAGE the “difference” of word and action was in the

forefront. It was a short and intense process; an attempt to locate the meaning formed in the relations between words and

actions. The research was presented in a lecture performance Mean Meanings. ON STAGE brought all the previous projects

together and connected them in a hybrid work ƒ(being), staging and reimagining R.U.R. (an early sci-fi theatre play). The

project was using human performers as “recombinant performative objects” together with video, light, music and fog. It was

using gaps as disruptions, changes in the performative mode, to introduce confusion and prevent the audience to get too


A g a p is a mysterious space between spaces, a space in-between

(spectral) registers. It is a place of potentiality: not A (pronounced /ɑː/),

not B (/b/) and not AB (/ɑːʔb/) but rather the /ʔ/ (a glottal stop) in

between. There is not one single g a p.

Many different gaps exist. A g a p is a space of the poetic, a space

between the form and the content, a space between the “how” and the

“what”. It is a space between the signifier and the signified. A g a p is

between the essence and appearance of a thing. It is between a thing

and another thing. Between you and me, for example; as the complete

change of perspective and experience and as a spatiotemporal break.

It is a space between the physical and the imaginary. The elusive now

is also a g a p, a black hole of the moment, separating the past from the


A g a p is an unbreachable space, but it is not totally unreachable. In

other words, we can’t grasp the whole spectrum of the g a p, but we

can tap into it, activate it, even if only on the surface to understand its

reverberating effects in the surrounding spaces.

In the accelerated world of the globalized webbed 21st century we are

living a drastic increase in the density of information and perceivable

shrinkage of time, forming a saturated experience of being. Saturation is

a lack of gaps with no space for playfulness. No space for comprehension.

Saturation is being too close to the situation to see it properly. The

senseless pursuit of profit promoted by the current dominant political

agenda is a pathological societal condition, a saturation of society’s

body with LDL, the bad cholesterol. Saturation is the cause of a clogged

vein – a gap is a diluent.

Interrupt the space!

By working with gaps we can achieve pieces of magic interruption, we

can pull saturated mental and physical space apart and activate a space

of poetic. Using gaps is a way of stimulating the audience, activating

both imaginary space and fostering physical body involvement. In my

practice I employ gaps to destabilize the state of saturation where things

stick to each other in numbing inertia. I use them to introduce friction;

destabilizing the common perception of the world we tend to (mistakenly)

take for granted. Working with gaps is a practice of disruption,

questioning and dilution. It is an attempt of deconstructing dualities,

establishing performative spaces as places of meetings in-between,

encounters belonging to no one and everyone at the same time.

e primitive in all types of operations!

photo: Philipp Weinrich

Will none of these creatures be

flesh-and-blood humans?

photos: Philip Weinreich

Jan Rozman is not. A guy with an immense smile and notorious interest to provoke confusion in everyone, including himself. Interest in causing

disruptions. Fog is a significant and essential part of his body. Despite trying he couldn’t stop his body from extending. There. Over the physical and the

imaginary. Crossing the borders of voice, objects, images, light, music.

And fog.



Larisa Navojec


Through my time spent at SODA as a student, researching and working on my artist processes, searching for key questions,

redefining artistic methodologies, delivering presentations and following assessment requests, I discovered the joy of

multitasking between different bodies of identity. I define it as a saturation of the technological in the political all inside the

borders of my body, in order to discover the physicality as a new navigation system (”DOTS” & ”The Work” - 101 presentation,

1st semester/module 101 & 101 ”Showing” , 2nd semester/module 102).

Manoeuvring through hardware (external material – lights, space, time, bodies/audience, actions) and software (my experience)

by the principles of choreographic chronographie and parkouring through landmarks, I visited many layers of my

identity and became a territory that I first named ELEN (2nd semester/module 201).

Landmarks are inscribed in the body through heritage, memories, past project, experiences, and knowledge. These landmarks

became visible during the extensive process of digging through body databases and noted with the tools of choreographic


Choreographic chronographie is the method that I’ve developed during SODA course and it includes an observation of this

personal landmarks with an analytical eye, noting them and translating them into the performative space with the tools of

choreography: structure, dynamic, rhythm, movement research, vocabulary.

Continuing the research in the 3rd semester, the process developed. Till that time I received lot of feedback and talked

about my work many times through practical workshops and table discussions. I expanded the territory of ELEN to E.L.E.N.

(”E.L.E.N.” - 201 showing, 3rd semester/module 301). This territory had again its hardware and software.

The hardware is overloaded with history, meaning, practices,discourse. A personal archive that became an open archive for

participation of the audience and software (ways of knowing, ways of doing) needed to activate the hardware.

While in the previous phase of the research we were focusing more on the hardware, trying to extend the boarders of

ELEN’s bodies, to exhibit the hardware of her bodies and compose the territory of ELEN in which the public migrates

through collective action, in this phase- E.L.E.N. , we directed our attention towards its software. This includes strategies,

and methodologies of how this territory could be assembled and put into action. The assemblage happens through series of

participative tools that invite the audience to take part through guiding them. Their participation changes the score, offering

an unstable and exciting ground to navigate within. There is an influence, exchange, interaction and resonance happening as

a chain reaction. Collective action becomes the engine that activates the piece.

Based on this finding and reflecting on previous ones, at first, A Solo Together: chain reaction emerges (301 ”Research

Presentation”, beginning of 4th semester/module 301) was an event performance, created and performed together with

the public. Through objects that are invested with my biography, symbolic and filled with emotion, I displayed certain aspects

(particular events) of my life to the audience. These objects are then offered to audience members for translation into action.

Based on this action or their reaction I build the performative material – a solo that is performed in the end of the piece.

The intention was to show how this material transforms to create a collaborative moment, a dialog. The audience produces

choreographic input, influencing my work, resonating in me and become part of the performance choreography. In turn they

construct through my biography something that reflects part of themselves.

Later, during the 4th semester, I continued to develop this idea of creating a collaborative moment with the audience

through solo performance. I went back to my dance, to my own movement. In Croatian the {noun} pokret is understood in

relationship to an idea of movement as collective body of political thinking. Movement as an action of a person or activity of

a body of persons, a collective spirit that is busy with changing something, a choreography of community. Living in Eastern

Europe as a child, an athlete and artist lot of things needed to be changed and moved... Movement was present all the time.

It became the core of me. It became my dance.

At the end of my traveling through this course, I presented A SOLO TOGETHER (401 showing, 4th semester, 401 module)

as my final performance as part of the MA Solo/Dance/Authorship presentations, in December, 2017. The performance

thematised the notionof utopian collectivity that I remember from my childhood, lived in socialist Yugoslavia and thought

through the context of the post-socialist world. Imagined as an event performance co-created and co-performed together

with the audience. By exposing my intimate story to the audience, I invited them to create a collective thought to join together,

to gather, to create a common experience being A SOLO TO-GET-(t)HER(e). Gradually, from the beginning to the end of

the performance, I was building with the audience an experience through different formats of participation.

I conclude this text with a thought that “my personal experience is the foundation of my work”. I see the body as a performative

territory, which I constantly revisit through observing, noting, mapping, reflecting. Taking that into consideration, I am

using my past as a surface to enable new perspectives. One of these perspectives would be:


“Building a sense of community and creating a common experience with the audience by applying different formats of participation,

with the intention to question “Is it possible to create a thinking space to revisit notions of collectivity in a different

ways within a theatrical environment?”


“I am not trying to perform a dance but a movement. A collective spirit,

a choreography of the community. What happens if we think about political

movement as a dance? How is the community moved? Or what/who moves it?

How can we become choreography?”

a solo together

a solo to get there

a solo to get her

a solo to gather

a solo


Author / performer: Larisa Navojec

Dramaturge: Pavlica Bajsic Brazzoduro

Video artist: Aleksandar Rapaić

Sound designer and engineer: Hrvoje Jelinčić / DJ hrwo E

Light designer: Sanja Gergorić

Hostess: Pauline Payen

Artistic advisor: Jasna L. Vinovrski

Mentor: Aleksandra Janeva Imfeld

Tutors: Rhys Martin and Ric Allsopp

Photo credit: Hrvoje Jelinčić

Production: HZT, Uferstudios

photo: Marion Borriss


O A LACK OF CONNECTIONS (Jacques Ranciere)

Supported by Zagreb City office for Culture, Ministry of Culture of the Republic of Croatia and TALA dance center, Zagreb.

Alejandro Karasik

oy is the risk

I think much of the final meaning of the work I do emerges not so much from the goal I set for

myself initially but from all the small choices, negotiations, transitions, limitations that the work

requires to reach the final product. Each of these small instances asks me again what I want to

say, how I want to do it, and makes me see where the work is finslly going and how I can help it to

go there.

In my processes I wait for the moment of combustion. In this catalytic moment the initial ideas of

the work mutate into something else that was potentially already there, but had not yet arrived or

perceived. And all the previous ideas stay behind and I just continue working with this unexpected

but desirable new one. I can spot works in which the artist bringd his first idea without modification

to the end of the process, and the piece is a linear product of it, hence, no ‘combustion’ takes

place. I don’t empathise with this way of conceiving the artistic processes. I crave these moments

of combustion.

I have addressed in my work diverse issues like obstetric violence, perception, family dynamics,

stage darkness, theatre apparatus and computer devices. A relevant aspect of my poetics is the

presence of references to different genres thats go from sci-fi/fantasy or grotesque to dogma 95

film aesthetics. I usually create very physical performances full of images, inviting the audience to

experience a physical interaction which is playful and associative. A playfulness which sometimes,

through exaggeration, overflows into humour or satire of the problematic it addresses. The

images I evoke point in the direction of issues that concern complex problematics, but do not

confront them directly with an antagonistic stance. Instead, the pieces work at the level of “What

if…”, supposing things work this way, as alternative ways of thinking.

Public research presentation

folktales from the future

Independent & Collaborative Research

“This presentation deals with my relationship with computers, and in so doing probably

deals with issues that many people have with computers. My relationship is real, or

slightly real, exceptionally real, scarily real, indifferently real or not real at all. You see,

this presentation happens in an alternative timeline, a folktale from the future, a present

in which things might happen slightly different. This is a Twilight Zone, a Mulholland

Drive Rodeo, a Phillip K. Dick dimension. Then probably this presentation doesn’t deal

with real peoples’ issues with computers. Anyway, real issues can find their way to

come and confront me in any reality.

In this other reality computers has developed a very thin skin under the case, a skin

made out of a lichen, a very sensitive one, and we share with them more than just data.

We call it the Cronenberg phenomenon. And it makes you really think in advance what

you really want with your computer before engaging with it.

As a product of circumstances ambassador of this other reality, I should show to you

how it works—but don’t expect precision. What you have to understand is that we have

being dealing with issues with computers for several decades already and we have a

very particular way to deal with them...”

Why are the gadgets obsessed with the shape of my tears?

photo: Ailin Formia

agic only happens outside the

omfort zone

Collaborations: Johanne Merke (costume/set design), Kai Evans (dramaturgy),

Claire V. Sobottke (improv. coach), Ailin Formia (photo and video)

Mentors: Federica Fiore, Katja Münker, Sophia New.

Tutor: Ric Allsopp

Idea and performance: Alejandro Karasik




photos: Ailin Formia

Public performance

Machine of Grace

I want to show you —yes, you— the perfect exuberance of my object and fix your

attention to its rounded brightness (until it pulverizes your eyes).

photo: Marion Borriss

o not make decisions from fear

“I am always reminded of how small changes in the details of a digital design can have profound unforeseen

effects on the experiences of the humans who are playing with it. The slightest change in something as seemingly

trivial as the ease of use of a button can sometimes completely alter behavior patterns.” [Jaron Laniers] I feel that

my interaction with computers has shaped my self, my sleep, my movement, my dancing, my imagination, my

dreams, my relationships. I attempt in Machine of Grace to reimagine the bond between the computer and me.

In this performance, the sensual edges of my Macbook welcome me softly, inviting silky smooth intoxication. We

cohabitate in a shared fantasy of narcissism and nourishing dependence, and partake in divine cannibalism.

Choreographic Collaborations: Valentina Aviani, Marcelo Bizzarri, Lea Kieffer, Camila Malenchini, Dasniya Sommer

Light design: Annegret Schalke.

Mentor: Sophia New

Voice trainning: Ulrike Sowodniok, Johanna Peine

Idea, performance and costume: Alejandro Karasik

photos: Roberto Tarin

Fragments of written production

Machine of typing

Editing and some ideas are contributions from Kai Evans. Author: Alejandro Karasik

‘We will work for free’:

captured users in the digital social media net (essay)

Facebook exists only by virtue of the emotional bonds and drives of the people

using it. Without these bonds and drives and their digital manifestations, Facebook

would be reduced to empty white boxes on a screen. This movement of

transforming the “raw material” of the experience or self-definition into digital

representation not only implies the sharing of these experiences (at least the

representation of them) with others but, furthermore, this movement comprises

a commodification of personal experience, subject to be sold for targeted

advertising or other purposes. It then becomes clear that, while social media

companies employ several thousands of wage laborers to design and administrate

their websites, the unwaged laborers (i.e. the users) number billions.

(Oct. 2016)

“Learn as if you were to learn forever...”

Robots and Artificial Intelligences that

Learn Like Humans. (essay)

A new breed of robots and artificial intelligence systems (AI) is presently

touring the world. These robots and AI systems are, unlike their predecessors,

self-learning machines. The mechanisms by which they operate are based

on models of human cognitive development— In other words, humans are

recently creating robots and AI by applying models of human developmental

learning processes. The application of state of the art knowledge about human

cognition to robotics and AI constitutes a structural correspondence between

the human perception of itself and its “human-like” creations.

Robots and AIs with “embodied” intelligence is both paradoxical and consistent

with the current times. The paradoxical aspect is that while humans are

becoming more virtual, robots are becoming more “real”.

While humanity worries about continuously feeding a virtually constructed self

through social media and interaction in virtual spaces, and the whole financial

system lives in a cloud of virtual exchanges; robots are learning, observing,

interacting and actioning with real things in the real world. What represents

a consistency is that in creating robots and AI that are more human-like, we

shorten the distance between the human and the non-human, we ease and

soften the gradation, so that the exchange between human and artificial life

becomes more fluent. If the computer or robot thinks like you and acts like

you, it becomes much more familiar: The more the robots and the computers

become similar to the way humans see themselves, the easier the assimilation

between them becomes. Afterall, someone or something has to tend the food

on the stove while we are completely absorbed with uploading our last photos

onto instagram.

(Apr. 2017)

•Grace against the Machine. An authorial reflection

on the piece Machine of Grace. (Framing Statement)

I perform an animal, who has the distinctive characteristic that the computer’s

charger hangs from his penis like large testicles or a tail, tied with a BDSM

knot. Both scenes, the faun and the animal, appeal to a mythical and archaic

past which is intertwined with our technology through the presence of the

cable around my body and/or the computer. I feel that after every technological

breakthrough some part of humanity tends to perceive itself as conditioned

by technology, and to melancholically attempt to escape to times past. These

mythical past times—pretechnological times—are perceived as categorically

better: paradise, primitive origins, the communion with nature, the animalistic

archaic, etc. The fact that I evoke references to a mythical or primitive past

while entangled in technology is intentional. In the conception of the mythic or

primitive past, being in paradise or returning to an animalistic existence implies

having access to all pleasures one desires, without limitation or guilt. I think in

our neoliberal times, thanks to the abundant accessibility that digital devices

provide, these fabled conditions of the mythical past are already fearfully

reproduced in the present.

(Feb. 2018 )

photo: Marion Borriss

he numbers are numbers

Saori Hara

Da Daa Dada

e a solo

1 Introduction

The performance “Da Dad Dada” is a solo dance project

which is examining the relationship between a successful

musical dancer in the 1960’s, Ken Hara, and me, his daughter

Saori Hala. We were related by blood, but never familiar.

After his death, I started to dive into his personal life through

the archives of him as a dancer, so that I could know about

him not only as a father but also as a dancer. In this project,

I dealt with his career archive as a dancer collected over the

last two and a half years, culminating with an audio recording

of our reunion, 3 weeks before his death.

The biggest purpose of this research is to distill and decompose

several elements and constructs of autobiographical narrative,

in order to share it with an observer in an abstract way.

My general research question since I started to work with

the body is “how do we read the context of the environment

and find motives to make our own actions?”. This was born

from my perspective as a dancer with a background in


2 Concept and strategy based on “Affordance”

All steps of strategy in this project are based on the concept

“affordance” that was proposed by an American psychologist

James Gibson in 1930’s. Affordance originally means

“all possibilities of an animal’s action which are recalled by

an object or an environment”. In 1988, Donard Norman took

this word “affordance” to mean the possibilities of the action

that humans can perceive from an object or an environment,

within the cognitive psychology field. Nowadays, the word

“affordance” has even spread into the design scene. I was

first introduced to this word during my studies in design. To

explain the definition of “affordance” by Norman, leading the

action of the hand is often used as an example. When you

find a flat plate on the door, you can understand that you

should push the door to open it. Or when you find a handle

on a cup, you can intuitively see which part of the cup you

should hold.

As the first study to understand this thought, I performed an

practice to read the “affordance” from specific objects.

I put out two types of chairs. One with a back(chair), and

one with no back(stool). The question was “how do people

find an “affordance reason” that shapes interaction with

these chairs?” The chair with back showed the direction that

people should sit. And the chair without back does not. But if

that chair has a square seat on the legs, it help for people to

imagine four directions to seat. But in case of a circular seat,

it doesn’t matter which direction people sit practically. These

hints to make actions are thought of the affordance that

Norman proposed. But strictly speaking that is different from

original proposal by Gibson. The original “affordance” by him

is not the specific possibility of leading that an object/environment

show to a human. It should be the all the possibilities

of the relationship between an object/environment and

an animal. Therefore, even if people do no correctly read the

context of the chairs and use it in wrong way, for example,

to sit facing the back, this relationship between an object

and an animal could be “affordance”. It is all the possibilities

which include concrete hints that an object/environment

shows an animal’s intention of reading the context. It doesn’t

matter if it is right or wrong, if it is purpose or not. Meanings

and activities themselves are forms of affordance.

Over the last several years, I was wondering if I could divert

both thoughts of affordance to my current research as I was

shifting my interest in study from design to performance and

movement. The process of that is to transform the context

that I read from the environment and the motives behind

specific action when I place myself in relation to the space.

This in an example of one of the simplest exercises that

I did to explore the relationship between space and the

body in my study and practice : First, I stand on the center

of a square room. And I perceive the 8 points in the room

the 4 corners on the floor and the 4 on the ceiling. Then I

point to one of those corner randomly with my right hand,

and the left as well. Next is legs. The right foot should step

toward one of the corners, and the left as well. The situation

should be like the game of twister. 4 actions and 8 points

in the room would make specific conditions and shape the

body belonging to it. I can also add the direction of face and

gaze(eyes), and also other points that are not only the end

of arms or legs, but also elbow, knee, pelvis etc. Eventually

even two-dimensional elements like back, belly, the nape of

the neck could be connected to the eight points in the room.

I am motivating specific action from materialistic conditions

and in doing so, looking for more complicated shapes within

the of body.

To observe the relationship which has affordance between

“space and body” and “body and body” as further step of the

practice was one of larger purpose were served by 15 people

that I invited to this piece, even though I call this “solo

piece”. I dealt with them as objects on the stage and shared

this thought with them at the first meeting. It means their

existence is the same as chairs and tables on the stage.

Another purpose was served by this these fifteen “staged

objects” was to make them become one of abstract elements

that I could compose on stage as figuration. They

became dancers, observers, staff members, storytellers,

as well as serving as a projection screen. During the whole

piece, they were asked not to express their personal emotions

and impulses to do something.

Initially I would describe the first purpose. The situation with

more than 2 bodies in the room seems complicated but it

could be possible to use the same process if they deal with

each other in a practical and materialistic way as well. But as

the fact, when we practiced to learn “affordance” between

bodies, we found the moment that bodies found the motive

to do action from not only practical but also socio-psychological

ways. Then I felt big potential to develop it, and

made 3 groups each with 5 people in order to observe their

improvisations. Eventually I took this work as the actual

element of the piece.

Some concrete instruction that I gave them:

- to understand exactly the situation of your body

moment by moment

- to observe thoroughly the situation around you,

choose the concrete reason to move, and react instantly

- to leave your motivation of moving to the environment

or other body

- not to act, dance, or have personal or emotional motives

behind doing something on stage

Additionally, I shared with them the thought of “This body is

not mine.” with giving some example like the moon reflects the

light of the sun, and the mirror reflects the light in front of it.

On the instructions that I gave, they tried to take the motive

from the materialistic situation of each other : distance,

position, height, speed etc, and look that they understand

the positions of themselves in the space and construct the

relationship with each other. As the single unit of movement

narrowed, sometimes I came to see theatrical elements

more than what I wanted and I suspended them. So I suggest

new task that they should also deal with themselves

as object more intentionally. For example, to look doubtful

with your neck is the action looks like “I have no idea” in the

context of social communication. But you can’t do this action

to act “I have no idea”, you can only do the action of “to lean

your head to one side 20-30 degrees” with materialistic

consciousness. This should not be acting to indicate one’s

intention. As another example, you can also make yourself

smile, but you have to know which degree you lift the corner

of the mouth and which direction and how long seconds you

look at. I instructed them to concern the environment with

knowing concrete shape and situation of their body as if

they control themselves by programming.

I brought all those thought that I shared with them to actual

scenes. What I needed then was the relationship that 16

bodies including me are dealing with ike sampling, understanding

the situation of the space, and leaving motive and

identity of the movement to each other. I believe that this

situation embodies affordance exactly as proposed by Gibson

all possibilities of the relationship between environment

and body.

As the second, the specific role that I gave fifteen objects,

was to be the metaphor of my father, as symbol of his job,

and the cultural and historical situation surrounding his prime

years in 1960’s concerned national character of Japan, scene

by scene. I took the method of collective actions like unison

dance, flock, procession etc. to articulate my critical perspective

regarding the present situation of my country.

Recently in the european contemporary dance scene, the

use of unison is often avoided from several perspective.

However in Japan, it is still being used widely, even by front

line artists. I insist that this is the result of the education and

the body in Japan since before the WWⅡ. Not only in the

university for dancers but also in standard primary school,

all students are required to learn the traditional health

gymnastics (which is called “radio taiso”) developed in the

now what you do not know

show what you can not do on stage

1920’s. The government directed all people towards this

gymnastic exercise in order to promote their physical health

and well-being.

This movement was influenced by calisthenic radio broadcasting

in U.S and also by the Sokol movement - an all-age

gymnastics organization first founded in Prague in the Czech

region of Austria-Hungary in 1862. Japanese radio gymnastics

started across the whole nation in 1929, and was “perfected”

in 1951. The same song and movement is still widely

used since then and is common knowledge for all ages. It

says that Sokol movement emphasized the systematics and

aesthetics, actions leading nationalism in 1920’s. So I argue

that the wide spread use of the radio gymnastics in Japan is

still affecting the national characters on levels of nationalism

and education as well. I contemplate that the Japanese

peoples’ organized character comes from “Muga”(※) which

is one of thought of Buddhism the Japanese have taken in

deeply and unconsciously. It played a big part in realizing the

meticulous national reconstruction after the war. All people

were in step and sent out with the same power in the same

direction and motivation. Consequently, Japan, which was

reduced to burnt-out ruins, could revitalize itself into one

of the strongest economies in just under 20 years after the

war. Eventually it became a host country for the Olympics -

the first in Asia - and showed off their national power. It conjured

up negative effects as well, like a leaning towards the

totalitarianism and militarism of the previous era. National

power and social conservatism increased rapidly due to two

happenings in the following 30 years : burst of economic

bubble (The age around the 60-80s was called “The bubble

economy”, because shortly after revitalization it collapsed

suddenly, as if the bubble breaks. ) in 1980’s, an Tohoku/

Fukushima’s earthquake and tsunami in 2011. Also some

behavior of the old nation including the gymnastic education

still remains. As irony would have it, Tokyo will become a

host country for Olympics again in 2020. We should see the

contrast between recent age of Japan and prime age when it

was a host country for Olympics for the first time more clearly.

So I tried to refer to those two different ages, and to claim

not only critical perspective but also a sense of crisis about

that through the method of collective actions as metaphors.

The doctrine of “non-self”, that there is no unchanging,

permanent self, soul or essence in living beings.

3. Practice of “absence”

We also realised that we could find and use “absence” as the

one of elements in the space. That is a new perspective to

embody the thought of affordance.

Here are concrete examples, I consider three patterns of

motives when we move(do) between point A and point B.

1 to create “existence” at point B

2 to create “absence” at point A

3 both of 1 and 2

We aim to deal with “absence” as the same element with

“existence”. This practice about “absence” is research to

visualise reactions summoned by absence/death/separation

etc. it means experiment “to touch nothing”. This

is different from the skills of a pantomime. I was trying to

make “nothing” be visible, this is the most biggest difference

with Pantomime. Because it is a skill of illusion that makes

people imagine existence even if there is nothing. It is not

reaction to “nothing”. My interest was what people would do

when they touch the things that they perceive as “absence”

in an epistemological way.

4. Documentation regarding “action and absence”

As the preliminary step towards materialistic “absence” as

personal research, I was collecting documentations about

“caring about death by human and animals, such as funeral

ritual, and views on life and death, in terms of body expression.

Various funeral are still taking place among human realm

over the world. Some practical and hygienic issues are always

following those ritual in terms of body treatment methods.

There are burial, cremation, open-air burial, water burial,

bird burial, scattering of ashes etc. Also cosmos burial is in

development nowadays. In Japan, there is some evidence of

people practicing the ritual for caring about their dead since

B.C. The history of the funeral went through many unique

transitions with the influence of various religions’, cultures’

views of life and death. Not only ways of treating the body,

but also the style of the ritual and grave are different in each

age. But this funeral culture could be found not only in human

beings but also in some animals.

Some research has shown that Neanderthals, a now extinct

species or subspecies of humans, may have performed funeral

rites by placing flowers with the dead. In the 1950s and 60s

in modern day Iraq, researchers discovered fossils of pollen

and flowers at a Neanderthal burial site in Shanidar Cave.

Research into mourning practices has extended to the animal

kingdom as well. Several species of animals, wide-ranging

from penguins and birds to horses and elephants, have

been reported to exhibit surprising actions as a response

to grief. Visual documentation has shown that elephants,

during the loss of a family member, have been known to

make a line in front of the dead body and stroke it carefully.

Some not leaving its side for several days. Another docu-

mentation shows a bird’s funeral where they make a circle

around a dead body for a long time. Though no one is sure if

the action is recalled by the emotion of grief yet, it should be

recalled by death at least. Even if humans and some animals

are taking different ways of mourning, what is very important

is the fact that such as universal sense is shared across

different attributes.

I personally felt a fact about separation by death through my

father’s funeral. That was “It’s extremely hard to feel reality of

absence as compared to feel existence”. That’s why lives are

at a loss and can’t look at the fact come together, and make

a ritual in order to share the fact “This body is already dead

and he/she is not here any longer”. Then live bodies surround

the dead body, look at the dead face, offering flowers,

and check the bones before/after burned. They try to make

sure of one’s death by pointing out step by step. It’s rather

impossible to keep our minds on the thought of absence.

I also realised that ”sharing absence” needs a thorough

contextualisation as I was researching that with 15 people.

We have to share the fact of existence before we share

the sense of absence. Otherwise no one could recognize

this loss. But this absence could be a very strong motive

when we would consider it as one of the elements in the

environment, however, that is not an easy task. The nature

of absence means that it is much harder to share, show, or

claim it. Being is much simpler.”

If I could say that the actions of mourning by humans and

some animals are reaction to the sense of absence, I could

say also that this phenomenon is related to affordance, as

one of possibilities of the actions are recalled by “absence”

as part of environment.

5 “Affordance” as the perspective to look at the world

I tried to divert this thought “Affordance” as also motive to

create this piece. I view human life, also Ken Hara’s personal

life, as the collectivity of action and choice that stems from

the concrete. It means that personal history comes with

a background - be it cultural, social, familial, personal, or

instinctive. I analysed my father’s life through its different

contexts as it appeared under my lens. As stated previously,

I realised that this particular temporal context would be a

defining element in my research as it was the golden age

of my father’s career in the thick of Japan’s recovery from

damages suffered in World War II. It was a greedy, joyful

and energetic age. Also, a great flood of American culture

happened and the cultural situation was changed a lot. At

the beginning, those creations were just like imitation or

homage, but it was getting originality towards 1980’s.

The film “Asphalt girl” that my father appeared was one

of example of that and it’s like a fossilized remains of the

age that Japan was a country influenced by America . As

he testified, this was created as a homage to “West Side

Story”. Unfortunately it wasn’t a good quality film and failed

at the box office. However, this is very important evidence

to show the situation of the specific age. Even though my

father was one of many easily replaceable chorus dancers in

a commercial film, he held great value in his experience that

would be deeply valued during those times as the evidence

of the age.

As I followed the Japanese situation behind my father’s

personal life and this line of research to Europe, I was uncovering

another layer, one greater than him and the sociopolitical

situation in Japan: a sensational age worldwide. For

example, the start of Vietnam War in 1960, the installation

of the Berlin Wall in 1961, the first manned space flight by

the Soviet Union and the Cuban Missile Crisis in 1962, the

assassination of JFK in 1963, NASA’s first moon landing

in 1969...the continuing impact of The Beatles and the

rising cultural phenomenons of Bob Dylan and The Rolling

Stones...all years during The Cold War. Those political,

cultural, historical happenings should affect personal being

and its life in various ways. Simultaneously, we are then also

covered in an even larger layer, beyond the sociopolitical

and cultural, one related to the “mission” and “purpose” of

existence, such as life and death, age, legacy, to name a few.

Each country has its own culture and history but each of

those small contexts are always covered with a bigger layer.

Exploring the personal allows me entry into multiple layers

and those different levels.

Thus in the world that has multiple layers, various narratives

were born day by day, those elements make thinner layers,

and personal beings and its lives are composed. And each

personal beings are giving effect, and those activities make

the world over and over. The presence of the world has no

identity, or motive.

6 Conclusion

The thought of “affordance” proposed by Gibson, means all

possibilities of animal’s action is recalled by an object(environment)

worked as one of perspective to understand the

world for me, and helped the research of examining my father’s

personal life and the relationship between he and I. And

I developed my study of body motion through using “affordance”

as an axis, from the perspective as a dancer who has

a background in design. This “Da Dad Dada” is not a theater

piece, it’s the result of study and viewing the structure of the

world and body motion. I also believe that to create and play

this piece is my reaction to my father’s death, which means

bemusement from absence, and action to keep the fact in my

mind. So I am just like one of birds that was making a circle

around a dead body in the documentation.

be kind to yourself

Yaron Maïm

The previous page contains imprints of

the lovers’ tongues.

Interrogating the conditions and

processes of art making is a driving

force in my work, which is an

interdisciplinary research in live

drawing performance, print media,

textile, video, education and selforganization

of workshops. I trigger

my body, that I perceive as an

artistic tool, via two complementary

practices: live drawing performances

and intersectional feminist art

interventions. I wish to experiment,

challenge the idea of art as knowledge,

as well as question its methods and

validation. My work seeks to identify

the reproduction of structural racism,

transphobia, ableism and classism in

artistic contexts, and imagine other


How does the work extend the idea

of the physical, virtual and conceptual

page as a performance space?

How does the work complicate

conventional notions of


How does the work engage a critique

of its institutional context, production

and dissemination; and what is the

effect of this on the form and trajectory

of the work?

The MA SODA program was my

first institutional encounter with

performance art, where art and life


ABGTTABT MFS NOTLDD UDIWO is the title of my thesis book, that can be read here:

The complete title is A Beginner’s Guide to Triggering a Bodytool: Material for Solometrics. Night of the Living-Dead Drawing. UnDo-It-With-Others.

Material for Solometrics - Night of the Living-Dead Drawing is a performance and exhibition (12.2017, Uferstudios Berlin), made in collaboration

with: kAZ (performer & critical conversant). Fu (music composer – Krisjanis Rijnieks (creative technologist – Yaron Maïm (author, performer & costume designer –

Image 1 (& 3 background): Drawing by Yaron Maïm. Print by ‘We make it’. Image 2: Photo by Janine Iten. Image 3: Zine UnDo-It-With-Others I by

Yaron Maïm, and invited guests ( Image 4: Photo by Marion Borriss.

Yaron Maïm is a live drawing performer, artist book- and video maker, self-taught fashion designer, and art educator.

10 billions of bacteria, Audience, Agata Siniarska, Alejandro Karasik, Alejandro Pereyra, Aleksandar Rapaić, Aleksandra Janeva Imfeld, Alessio Castellacci,

Alice Chauchat, Alice Heyward, Ambra Fiorenza, Ana Maria Doria Medina, André Uerba, Ania Nowak, Antonia Baehr, Arturo Lugo, Barbara

Boeck-Viebig, Belén Resnikowski, Benjamin Schälike, Benoît Lachambre, Boyan Manchev, Britta Wirthmüller, Carla Rimola, Carlos Pereyra, Catalina

Fernandez, Cecilia Vilca, Christa Flaige-Isaac, Csilla, Daniela Schwartz, Deva Schubert, Diego Pereyra, Elsa Goulko, Emily Besa, Enrico D Wey, Erika

Wagner, Eva Meyer-Keller, Evgenia Chetvertkova, Felix Buenaventura, Felix Ofosu Dompreh, Florian Feigl, Florian T M Zeisig, Franziska Dieterich,

Frederike Doffin, Gabriel Becak, Gabriel Greca, Georgi Tomov Georgiev, Gerardo Laffitte, Gisela Müller, Grace Mendonça, Grėtė Šmitaitė, Grgur Navojec,

Gustavo Maggi, Hanna Kritten Tangsoo, Hikaru Suzuki, Hrvoje Jelinčić - hrwo E, Ivan Lušičić – Lik, Jan Michele, Jan Rozman, Janez Janša, Janine

Iten, Jasna L. Vinovrski, Jeannine Osayande, Jelena Alempijević, Jonas Wentritt, Jorge Villaseca, Juan Felipe Amaya Gonzalez, Juan Luis Pereyra, Judith

Brueckmann, Judith Förster, Julek Kreutzer, Julia Keren Turbahn, Julia Rodriguez, Julian Weber, Kaita Otome, Kaj Kotsia, Kaori Furuhara, Katharina

Anna Wieser, Katharina Deparade, Katherine Evans, Kevin S. Morrison, Kritten Tangsoo, Laia Ribera, Lara Anais Martinez Wiesselmann, Larisa Navojec,

Liadain Speranza Herriott, Liselotte Singer, Litó Walkey, Lucia Bertone, Lyllie Rouviere, Magali Auzier, Magali Karasik, Magdalena Meindl, Mariana

Vieira, Marion Borriss, Martin Nachbar, Mateusz Szymanówka, Maque Pereyra, Maximilian Stelzl, Michelle Moura, Michiko K, Michiyasu Furutani, Mila

Pavićević, Miloš Vujković, Miriam Jacob, Mmakgosi Kgabi, Mohamad Alhalabi, Mora Grinblat, my Father, Natalia Tencer, Natsuko Mizushima, Nevenka

Lipovac, Nicola Van Straaten, Nik Haffner, Nikola Pieper, Nina Kurtela, Oliver Connew, Olivia McGregor, Paula Isla, Pauline Canavesio, Pauline Payen,

Pavlica Bajsic Brazzoduro, Prof. F.Nii-Yartey, Rebecka Ekholm, Rhys Martin, Ric Allsopp, Rocío Marano, Sabine Trautwein, Sandra Noeth, Sanja Gergorić,

Santiago Torricelli, Saori Hala, Sharón Mercado, Sheena McGrandles, Siegmar Zacharias, Silke Bake, Simone Gisela Weber, SODA 2015-17, SODA

2017-19, Sofia Brito, Sofía Calizaya, Soledad Gutierrez, Sonia Fernandez Paz, Sonja Pregrad, Sophia New, Stefan Krause-Isermann, Stephan Kostropetsch,

Stephan Müller, Stephanie Soleansky, Tanja Watoro, Taylor Kendall, Tomomi Oda, Tsuji Fumie, Vera Laube, Verena Melgarejo, Vice Rossini, Victor

Karasik, Viktorija Illioska, Willem Miličević, William “Bilwa” Costa, Xica Lisboa, Yamila De Pico, Yamila Macías, Yaron Maïm, Yolanda Kleiner, Yuebing Luo,

Yumi Tapia, Zabo Chabiland.



Publisher: HZT Hochschulübergreifendes Zentrum Tanz Berlin, Uferstraße 23, 13357 Berlin, Germany / Concept and Authors: Agata Siniarska,

Alejandro Karasik, Felix Ofosu Dompreh, Janine Iten, Jan Rozman, María Eugenia Pereyra Doria Medina, Larisa Navojec, Pauline Payen, Saori Hara,

Yaron Maïm / Pictures: all rigths by the authors of the projects if not mentioned otherwise / MA SODA Staff: Prof. Rhys Martin, Prof. Dr. Ric Allsopp and

Litó Walkey / Graphic Design: / © HZT Berlin 2018 Hochschulübergreifendes Zentrum Tanz Berlin / / Artistic Director: Prof. Nik Haffner / Administration: Sabine Trautwein / Technical Director: Maximilian Stelzl

The links are being provided for informational purposes only.

HZT bears no responsibility for the accuracy, legality or content of the external site or for that of subsequent links.

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, a network of the professional dance scene.



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