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 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.


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oDA <strong>2018</strong><br />

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

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

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

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

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

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<br />

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

a matter of adjusting the object to your choices. The amount of changes is limitless.<br />

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

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

transform their practice and their understanding of arts practice through practical, theoretical and critical enquiry.<br />

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

driven education in contemporary dance, choreography and performance.

f it‘s not sharp,<br />

t won‘t cut

ove is healing<br />

TaypiMami // footnotes to myself<br />

‘feel how what I have to tell you vibrates’<br />

maque pereyra

pleasure is<br />

empowerment<br />

TaypiMami is a hyper existential, deeply<br />

spiritual dialogue with<br />

the real/imagined selves I was/am<br />

and the ones I will be.<br />

Decolonial aesthetics and notions,<br />

personal stories,states of mind-body-soul-spirit,<br />

and movement practices, gather at<br />

the intersection with identity,<br />

memory, healing strategies,<br />

rituals, and the agency of love,<br />

sensuality and sexuality.<br />

It draws into the idea of<br />

the circularity of time and that<br />

healing the present can change the<br />

past and the future.

In my work I deal with personal material as means for engaging with<br />

a wider understanding and production of practice, knowledge and<br />

theory in order to connect with a broader social frame full of colonial<br />

woundings in which the enjoyment, growth and sharing of oneself in<br />

body-mind-soul-spirit, the exercise of memory, the practice of rituals,<br />

the awakening of consciousness, the embracement of sexuality,<br />

sensuality, emotions, sensations, affections and intuitions and the notion<br />

of deserving love and pleasure, are constantly diminished and/or<br />

threatened and therefore I see them as modes of resistance, knowledge<br />

production and a healing decolonial rebellion facing the different<br />

oppressive structures.<br />

Self healing through self reflection is one of the decolonial strategies<br />

I use in my creative processes. Gloria Anzaldúa says that achieving<br />

consciousness means to go deep into oneself and then expanding out<br />

into the world. Healing oneself is a way to consciousness and it also<br />

means healing others following the idea of the personal as political.<br />

For being able to do that I took the idea of juxtaposing different times<br />

of my life, inviting my past, future, real and imagined selves to a ritual<br />

here and now.<br />

The juxtaposition of times, images, dances, texts I produce are directly<br />

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

identity, according to Gloria Anzaldúa.<br />

These identities exist at the cracks between worlds, they are fluid and<br />

constituted out of different worldviews, different influences that are<br />

many times contradictory and exactly this contradictions produces the<br />

necessary tension that will enable them to exist. I embrace my ch’ixi<br />

and nepantlera identity knowing there is no ‘pure’ identity where to<br />

‘come back to’ after a long process of colonization.<br />

trust your intuitions<br />

The aymara word ‘taypi’ means the gathering of the opposites. I see<br />

this liminal place as a healing space where feelings, emotions, sensations,<br />

desires, loves, thoughts, memories, negotiate with themselves<br />

and find their ways to be expressed, transformed, enhanced, comforted,<br />

forgiven and accepted, acknowledging the empowerment that will<br />

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

I invited my beloved ones to send me their chants, letters, videos,<br />

music, thoughts, I invoked their presence to feel they were with me all<br />

the time.<br />

I celebrate my process of self healing with them<br />

and to expand the possibility of generating loving<br />

connections through this work, I dedicate this<br />

to my brother Diego.

sensuality is empowerment<br />

pleasure is empowerment<br />

love is empowerment<br />

love is healing<br />

respect is love<br />

love is trust<br />

intuition is knowledge<br />

loving sex is empowering<br />

vibration is healing<br />

open your heart<br />

shake your womb<br />

love your vagina<br />

invoke your guardian spirits<br />

take time<br />

practice YOGGATON<br />

trust your intuitions<br />

talk to yourself<br />

pray for those you love<br />

find yourself<br />

sweat cowardice off<br />

because life asks you to be brave<br />

find yourself

Agata Siniarska<br />

ngest and digest it!<br />


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

and by intermingling within many political dimensions.<br />

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

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

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

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

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

adhered to.

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

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

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

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<br />

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

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

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?<br />

Specifically, one human?<br />

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

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

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

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

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

Let’s hold this question for a moment.<br />

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

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

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

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

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

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

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

moves the borders of our primary ecosystem.<br />

e-monster-ate!<br />

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

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

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

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

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

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

ean the thing!<br />

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

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

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

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

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

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<br />

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

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

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

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

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

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

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

cultivates them and allows them to interfere with and influence her own ecosystem.<br />

Some symbionts help digest food, some symbionts help digest ideas. Some new microbes are random residents, some<br />

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

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

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<br />

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

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

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

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

that create conditions in the body in which microbes can thrive.<br />

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

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

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

Meningcoque, others..., editing by Alice Heyward and a hundred trillion microbes and others...<br />

Find another point of entrance!<br />

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

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

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

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

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

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

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

Janine Iten<br />

ow to balance and interlink the personal,<br />

olitical and poetic?<br />

photo: Kaj Kotsia<br />

I just wanted to dream in concrete ways.<br />

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.<br />

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<br />

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

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

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

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<br />

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

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

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

can be found within.

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

principles in myself and my surroundings.<br />

Taking these processes out of their context helps me understand my reality.<br />

lace yourself where time is undefined.

nhabit the negative<br />

pace.<br />

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

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

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

States of transition<br />

performative installation<br />

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

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

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

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

of having a fluid notion of gender identity to a space in constant transition.<br />

cargocollective.com/JanineIten<br />

photo: Marion Borriss<br />

Welcome the audience to experience.

photo: Marion Borriss<br />

Felix Ofosu Dompreh<br />

llow the hand to be the window<br />

o your mind.<br />


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

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

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

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

seriousness of the forefathers and mothers of Afrofuturism touched them, and the accountability they exhibited<br />

towards the not-yet, towards the becoming. Inspired by Kodwo Eshun<br />

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

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

and high levels of hostile projection of the broken net.<br />

photo: Marion Borriss<br />

You can reveal to conceal.

econfigure the history<br />

ith your imagination.<br />

photo:<br />

Marion Borriss

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

remote server, moving from the antagonistic period into the future.<br />

photo: Marion Borriss<br />

ost performance interventions.<br />

Can modus operandi of labour and corporality be considered as art?<br />

My performance work deals with the transformative potentials in traditional manual labour gestures and patterns<br />

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

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

The basis of my work consists of field research as tangible social investigations of documenting labour engagements<br />

in the contrasting environments in Africa and Europe.<br />

The poetics of the performance employs time to facilitate a gradual transformation of the labour patterns through<br />

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

Pauline Payen<br />

photo: Yamila de Pico<br />

A Very Unique Gift<br />

Something sticky is stuck<br />

l<br />

She once told me:<br />

“I often dream of the endless party<br />

The one where everyone gets caught in a trance<br />

And you wonder if you are the only one who feels like leaving<br />

You know what I mean?<br />

And the more you feel like leaving, the more it feels like a repetitive torture<br />

to stay<br />

Like... Marguerite with the devil!<br />

Or eating bar-food for dinner<br />

The sensation of forced containment…<br />

To avoid getting kicked out of The Society<br />

Dancing like chewing gum<br />

And singing like it’s the only thing to do<br />

There is an idiotic, dark cabaret<br />

And a cinematographic sliding diva<br />

A frame around conversations...<br />

A word above the absence of sight.<br />

And elevator music, gently whispering.”

photo: Pauline Payen<br />

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

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

is what creates a ‘world’ for the general performance.<br />

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

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

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

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

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

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

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

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

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

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

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.<br />

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

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

photo: Hanna Kritten Tangsoo<br />

photo: Yamila de Pico<br />

erhaps it is my heart. Still

t keeps on rolling. Ashes<br />

to<br />

photo series: Pauline Payen<br />

“Pauline is a powerful and versatile performer. In the work<br />

I accompanied she sets the architecture, the sound (often<br />

based on contemporary objets trouvés), her body and those of<br />

the spectators in constellations that create critical and visceral<br />

tension and humor. I was personally interested in her take on<br />

questions related to feminist Performance Art, expanding its<br />

concerns to contemporary issues related to the representation<br />

of bodies and subjectivi ties through the internet in late capitalist<br />

western societies”<br />

Antonia Baehr<br />

“Pauline is a dedicated, self-motorized investigator of movement.<br />

I had the pleasure of accompanying her work as a<br />

mentor for 6 months, which were so exciting that I had to say<br />

yes when she asked me to perform in her diploma work, so<br />

thanks to Pauline I became a dance-tor. Her work is funny,<br />

dark, irreverent and very powerful. She activates images that<br />

we know, and makes them uncanny. Pauline is also an intense<br />

and sometimes worryingly strange performer.”<br />

Alice Chauchat (Extracts from ‘Recommendation Letter’,<br />

December 2017.)<br />

photo series: Hikaru Suzuk

“Shadows, secrets, assistants, casts, curtain-guards, rolling<br />

movements, heard voices, stereotypes, images... I am<br />

working with a family of things and concepts that have a<br />

slippery quality. Similar to haunting: never graspable, always<br />

present. Their presence manifests through transformation<br />

and projection...<br />

Concept, choreography, performance: Pauline Payen<br />

Performance and artistic accomplices: Jelena Alempijević and Alice Chauchat<br />

Dramaturgy/external eye: Katherine Evans and Siegmar Zacharias<br />

Light and set design: Hanna Kritten Tangsoo<br />

Performance coaching: Xica Lisboa<br />

Mentors: Alice Chauchat, Siegmar Zacharias<br />

This work is dedicated to the loving memory of Jens Seidler<br />

photo: Marion Boriss<br />

photo: Marion Boriss<br />

photo: Evgenia Chertvertkova<br />

... The chewing gum interests me in the sense that it is an<br />

object that manifests an idea of independence (the laidback,<br />

cool or blasé attitude it confers) and at the same time<br />

has an addictive ‘more-ish’ quality. Because the chewing<br />

gum fulfills its task only temporarily (it cannot be swallowed<br />

and it loses its taste after few minutes) it is a surplus.<br />

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

more’. I also find chewing-gums interesting because it is<br />

something that goes inside the body yet remains in a transitional<br />

space, on the threshold of the digestive system.<br />

It is not organic, yet it has an intimate relationship with<br />

the organic: it is chewed, transformed by the body, taking<br />

the shape of the inside of the mouth. When spat out, the<br />

chewed gums are like small casts, each of them uniquely<br />

imprinted by teeth and saliva.”<br />

Pauline Payen<br />

paulinepayen.net<br />

photo: Yamila de Pico<br />

photo: Pauline Payen<br />

ashes, persona to persona

photo: Anze Kokalj<br />

Jan Rozman<br />

Nothing, nothing, nothing,<br />

bare nothingness.<br />

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

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

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

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

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

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

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

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

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

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


A g a p is a mysterious space between spaces, a space in-between<br />

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

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

between. There is not one single g a p.<br />

Many different gaps exist. A g a p is a space of the poetic, a space<br />

between the form and the content, a space between the “how” and the<br />

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

between the essence and appearance of a thing. It is between a thing<br />

and another thing. Between you and me, for example; as the complete<br />

change of perspective and experience and as a spatiotemporal break.<br />

It is a space between the physical and the imaginary. The elusive now<br />

is also a g a p, a black hole of the moment, separating the past from the<br />

future.<br />

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

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

can tap into it, activate it, even if only on the surface to understand its<br />

reverberating effects in the surrounding spaces.<br />

In the accelerated world of the globalized webbed 21st century we are<br />

living a drastic increase in the density of information and perceivable<br />

shrinkage of time, forming a saturated experience of being. Saturation is<br />

a lack of gaps with no space for playfulness. No space for comprehension.<br />

Saturation is being too close to the situation to see it properly. The<br />

senseless pursuit of profit promoted by the current dominant political<br />

agenda is a pathological societal condition, a saturation of society’s<br />

body with LDL, the bad cholesterol. Saturation is the cause of a clogged<br />

vein – a gap is a diluent.<br />

Interrupt the space!<br />

By working with gaps we can achieve pieces of magic interruption, we<br />

can pull saturated mental and physical space apart and activate a space<br />

of poetic. Using gaps is a way of stimulating the audience, activating<br />

both imaginary space and fostering physical body involvement. In my<br />

practice I employ gaps to destabilize the state of saturation where things<br />

stick to each other in numbing inertia. I use them to introduce friction;<br />

destabilizing the common perception of the world we tend to (mistakenly)<br />

take for granted. Working with gaps is a practice of disruption,<br />

questioning and dilution. It is an attempt of deconstructing dualities,<br />

establishing performative spaces as places of meetings in-between,<br />

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

e primitive in all types of operations!<br />

photo: Philipp Weinrich

Will none of these creatures be<br />

flesh-and-blood humans?<br />

photos: Philip Weinreich<br />

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

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<br />

imaginary. Crossing the borders of voice, objects, images, light, music.<br />

And fog.<br />


ART<br />

NO<br />

Larisa Navojec<br />


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

redefining artistic methodologies, delivering presentations and following assessment requests, I discovered the joy of<br />

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

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

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

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

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

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

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

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

chronographie.<br />

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

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

choreography: structure, dynamic, rhythm, movement research, vocabulary.<br />

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

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

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

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

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

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

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

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

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

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

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

a chain reaction. Collective action becomes the engine that activates the piece.<br />

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

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

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

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

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

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

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

construct through my biography something that reflects part of themselves.<br />

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

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

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

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

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

It became the core of me. It became my dance.<br />

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

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

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

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

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

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

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

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

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

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


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

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

ways within a theatrical environment?”


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

a choreography of the community. What happens if we think about political<br />

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

How can we become choreography?”

a solo together<br />

a solo to get there<br />

a solo to get her<br />

a solo to gather<br />

a solo<br />

together<br />

Author / performer: Larisa Navojec<br />

Dramaturge: Pavlica Bajsic Brazzoduro<br />

Video artist: Aleksandar Rapaić<br />

Sound designer and engineer: Hrvoje Jelinčić / DJ hrwo E<br />

Light designer: Sanja Gergorić<br />

Hostess: Pauline Payen<br />

Artistic advisor: Jasna L. Vinovrski<br />

Mentor: Aleksandra Janeva Imfeld<br />

Tutors: Rhys Martin and Ric Allsopp<br />

Photo credit: Hrvoje Jelinčić<br />

Production: HZT, Uferstudios<br />

photo: Marion Borriss<br />

UT<br />

O A LACK OF CONNECTIONS (Jacques Ranciere)<br />

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


Alejandro Karasik<br />

oy is the risk<br />

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

myself initially but from all the small choices, negotiations, transitions, limitations that the work<br />

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

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

go there.<br />

In my processes I wait for the moment of combustion. In this catalytic moment the initial ideas of<br />

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

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

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

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

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

of combustion.<br />

I have addressed in my work diverse issues like obstetric violence, perception, family dynamics,<br />

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

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

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

experience a physical interaction which is playful and associative. A playfulness which sometimes,<br />

through exaggeration, overflows into humour or satire of the problematic it addresses. The<br />

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

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

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

Public research presentation<br />

folktales from the future<br />

Independent & Collaborative Research<br />

“This presentation deals with my relationship with computers, and in so doing probably<br />

deals with issues that many people have with computers. My relationship is real, or<br />

slightly real, exceptionally real, scarily real, indifferently real or not real at all. You see,<br />

this presentation happens in an alternative timeline, a folktale from the future, a present<br />

in which things might happen slightly different. This is a Twilight Zone, a Mulholland<br />

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

with real peoples’ issues with computers. Anyway, real issues can find their way to<br />

come and confront me in any reality.<br />

In this other reality computers has developed a very thin skin under the case, a skin<br />

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

We call it the Cronenberg phenomenon. And it makes you really think in advance what<br />

you really want with your computer before engaging with it.<br />

As a product of circumstances ambassador of this other reality, I should show to you<br />

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

being dealing with issues with computers for several decades already and we have a<br />

very particular way to deal with them...”<br />

Why are the gadgets obsessed with the shape of my tears?<br />

photo: Ailin Formia<br />

agic only happens outside the<br />

omfort zone<br />

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

Claire V. Sobottke (improv. coach), Ailin Formia (photo and video)<br />

Mentors: Federica Fiore, Katja Münker, Sophia New.<br />

Tutor: Ric Allsopp<br />

Idea and performance: Alejandro Karasik<br />

#connected<br />

rounded#<br />

sel#ves<br />

photos: Ailin Formia

Public performance<br />

Machine of Grace<br />

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

attention to its rounded brightness (until it pulverizes your eyes).<br />

photo: Marion Borriss<br />

o not make decisions from fear<br />

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

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

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

my interaction with computers has shaped my self, my sleep, my movement, my dancing, my imagination, my<br />

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

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

cohabitate in a shared fantasy of narcissism and nourishing dependence, and partake in divine cannibalism.<br />

Choreographic Collaborations: Valentina Aviani, Marcelo Bizzarri, Lea Kieffer, Camila Malenchini, Dasniya Sommer<br />

Light design: Annegret Schalke.<br />

Mentor: Sophia New<br />

Voice trainning: Ulrike Sowodniok, Johanna Peine<br />

Idea, performance and costume: Alejandro Karasik<br />

photos: Roberto Tarin

Fragments of written production<br />

Machine of typing<br />

Editing and some ideas are contributions from Kai Evans. Author: Alejandro Karasik<br />

‘We will work for free’:<br />

captured users in the digital social media net (essay)<br />

Facebook exists only by virtue of the emotional bonds and drives of the people<br />

using it. Without these bonds and drives and their digital manifestations, Facebook<br />

would be reduced to empty white boxes on a screen. This movement of<br />

transforming the “raw material” of the experience or self-definition into digital<br />

representation not only implies the sharing of these experiences (at least the<br />

representation of them) with others but, furthermore, this movement comprises<br />

a commodification of personal experience, subject to be sold for targeted<br />

advertising or other purposes. It then becomes clear that, while social media<br />

companies employ several thousands of wage laborers to design and administrate<br />

their websites, the unwaged laborers (i.e. the users) number billions.<br />

(Oct. 2016)<br />

“Learn as if you were to learn forever...”<br />

Robots and Artificial Intelligences that<br />

Learn Like Humans. (essay)<br />

A new breed of robots and artificial intelligence systems (AI) is presently<br />

touring the world. These robots and AI systems are, unlike their predecessors,<br />

self-learning machines. The mechanisms by which they operate are based<br />

on models of human cognitive development— In other words, humans are<br />

recently creating robots and AI by applying models of human developmental<br />

learning processes. The application of state of the art knowledge about human<br />

cognition to robotics and AI constitutes a structural correspondence between<br />

the human perception of itself and its “human-like” creations.<br />

Robots and AIs with “embodied” intelligence is both paradoxical and consistent<br />

with the current times. The paradoxical aspect is that while humans are<br />

becoming more virtual, robots are becoming more “real”.<br />

While humanity worries about continuously feeding a virtually constructed self<br />

through social media and interaction in virtual spaces, and the whole financial<br />

system lives in a cloud of virtual exchanges; robots are learning, observing,<br />

interacting and actioning with real things in the real world. What represents<br />

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

shorten the distance between the human and the non-human, we ease and<br />

soften the gradation, so that the exchange between human and artificial life<br />

becomes more fluent. If the computer or robot thinks like you and acts like<br />

you, it becomes much more familiar: The more the robots and the computers<br />

become similar to the way humans see themselves, the easier the assimilation<br />

between them becomes. Afterall, someone or something has to tend the food<br />

on the stove while we are completely absorbed with uploading our last photos<br />

onto instagram.<br />

(Apr. 2017)<br />

•Grace against the Machine. An authorial reflection<br />

on the piece Machine of Grace. (Framing Statement)<br />

I perform an animal, who has the distinctive characteristic that the computer’s<br />

charger hangs from his penis like large testicles or a tail, tied with a BDSM<br />

knot. Both scenes, the faun and the animal, appeal to a mythical and archaic<br />

past which is intertwined with our technology through the presence of the<br />

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

breakthrough some part of humanity tends to perceive itself as conditioned<br />

by technology, and to melancholically attempt to escape to times past. These<br />

mythical past times—pretechnological times—are perceived as categorically<br />

better: paradise, primitive origins, the communion with nature, the animalistic<br />

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

while entangled in technology is intentional. In the conception of the mythic or<br />

primitive past, being in paradise or returning to an animalistic existence implies<br />

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

our neoliberal times, thanks to the abundant accessibility that digital devices<br />

provide, these fabled conditions of the mythical past are already fearfully<br />

reproduced in the present.<br />

(Feb. <strong>2018</strong> )<br />

photo: Marion Borriss<br />

he numbers are numbers

Saori Hara<br />

Da Daa Dada<br />

e a solo<br />

1 Introduction<br />

The performance “Da Dad Dada” is a solo dance project<br />

which is examining the relationship between a successful<br />

musical dancer in the 1960’s, Ken Hara, and me, his daughter<br />

Saori Hala. We were related by blood, but never familiar.<br />

After his death, I started to dive into his personal life through<br />

the archives of him as a dancer, so that I could know about<br />

him not only as a father but also as a dancer. In this project,<br />

I dealt with his career archive as a dancer collected over the<br />

last two and a half years, culminating with an audio recording<br />

of our reunion, 3 weeks before his death.<br />

The biggest purpose of this research is to distill and decompose<br />

several elements and constructs of autobiographical narrative,<br />

in order to share it with an observer in an abstract way.<br />

My general research question since I started to work with<br />

the body is “how do we read the context of the environment<br />

and find motives to make our own actions?”. This was born<br />

from my perspective as a dancer with a background in<br />

design.<br />

2 Concept and strategy based on “Affordance”<br />

All steps of strategy in this project are based on the concept<br />

“affordance” that was proposed by an American psychologist<br />

James Gibson in 1930’s. Affordance originally means<br />

“all possibilities of an animal’s action which are recalled by<br />

an object or an environment”. In 1988, Donard Norman took<br />

this word “affordance” to mean the possibilities of the action<br />

that humans can perceive from an object or an environment,<br />

within the cognitive psychology field. Nowadays, the word<br />

“affordance” has even spread into the design scene. I was<br />

first introduced to this word during my studies in design. To<br />

explain the definition of “affordance” by Norman, leading the<br />

action of the hand is often used as an example. When you<br />

find a flat plate on the door, you can understand that you<br />

should push the door to open it. Or when you find a handle<br />

on a cup, you can intuitively see which part of the cup you<br />

should hold.<br />

As the first study to understand this thought, I performed an<br />

practice to read the “affordance” from specific objects.<br />

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

one with no back(stool). The question was “how do people<br />

find an “affordance reason” that shapes interaction with<br />

these chairs?” The chair with back showed the direction that<br />

people should sit. And the chair without back does not. But if<br />

that chair has a square seat on the legs, it help for people to<br />

imagine four directions to seat. But in case of a circular seat,<br />

it doesn’t matter which direction people sit practically. These<br />

hints to make actions are thought of the affordance that<br />

Norman proposed. But strictly speaking that is different from<br />

original proposal by Gibson. The original “affordance” by him<br />

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

show to a human. It should be the all the possibilities<br />

of the relationship between an object/environment and<br />

an animal. Therefore, even if people do no correctly read the<br />

context of the chairs and use it in wrong way, for example,<br />

to sit facing the back, this relationship between an object<br />

and an animal could be “affordance”. It is all the possibilities<br />

which include concrete hints that an object/environment<br />

shows an animal’s intention of reading the context. It doesn’t<br />

matter if it is right or wrong, if it is purpose or not. Meanings<br />

and activities themselves are forms of affordance.<br />

Over the last several years, I was wondering if I could divert<br />

both thoughts of affordance to my current research as I was<br />

shifting my interest in study from design to performance and<br />

movement. The process of that is to transform the context<br />

that I read from the environment and the motives behind<br />

specific action when I place myself in relation to the space.<br />

This in an example of one of the simplest exercises that<br />

I did to explore the relationship between space and the<br />

body in my study and practice : First, I stand on the center<br />

of a square room. And I perceive the 8 points in the room<br />

the 4 corners on the floor and the 4 on the ceiling. Then I<br />

point to one of those corner randomly with my right hand,<br />

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<br />

should be like the game of twister. 4 actions and 8 points<br />

in the room would make specific conditions and shape the<br />

body belonging to it. I can also add the direction of face and<br />

gaze(eyes), and also other points that are not only the end<br />

of arms or legs, but also elbow, knee, pelvis etc. Eventually<br />

even two-dimensional elements like back, belly, the nape of<br />

the neck could be connected to the eight points in the room.<br />

I am motivating specific action from materialistic conditions<br />

and in doing so, looking for more complicated shapes within<br />

the of body.<br />

To observe the relationship which has affordance between<br />

“space and body” and “body and body” as further step of the<br />

practice was one of larger purpose were served by 15 people<br />

that I invited to this piece, even though I call this “solo<br />

piece”. I dealt with them as objects on the stage and shared<br />

this thought with them at the first meeting. It means their<br />

existence is the same as chairs and tables on the stage.<br />

Another purpose was served by this these fifteen “staged<br />

objects” was to make them become one of abstract elements<br />

that I could compose on stage as figuration. They<br />

became dancers, observers, staff members, storytellers,<br />

as well as serving as a projection screen. During the whole<br />

piece, they were asked not to express their personal emotions<br />

and impulses to do something.<br />

Initially I would describe the first purpose. The situation with<br />

more than 2 bodies in the room seems complicated but it<br />

could be possible to use the same process if they deal with<br />

each other in a practical and materialistic way as well. But as<br />

the fact, when we practiced to learn “affordance” between<br />

bodies, we found the moment that bodies found the motive<br />

to do action from not only practical but also socio-psychological<br />

ways. Then I felt big potential to develop it, and<br />

made 3 groups each with 5 people in order to observe their<br />

improvisations. Eventually I took this work as the actual<br />

element of the piece.<br />

Some concrete instruction that I gave them:<br />

- to understand exactly the situation of your body<br />

moment by moment<br />

- to observe thoroughly the situation around you,<br />

choose the concrete reason to move, and react instantly<br />

- to leave your motivation of moving to the environment<br />

or other body<br />

- not to act, dance, or have personal or emotional motives<br />

behind doing something on stage<br />

Additionally, I shared with them the thought of “This body is<br />

not mine.” with giving some example like the moon reflects the<br />

light of the sun, and the mirror reflects the light in front of it.<br />

On the instructions that I gave, they tried to take the motive<br />

from the materialistic situation of each other : distance,<br />

position, height, speed etc, and look that they understand<br />

the positions of themselves in the space and construct the<br />

relationship with each other. As the single unit of movement<br />

narrowed, sometimes I came to see theatrical elements<br />

more than what I wanted and I suspended them. So I suggest<br />

new task that they should also deal with themselves<br />

as object more intentionally. For example, to look doubtful<br />

with your neck is the action looks like “I have no idea” in the<br />

context of social communication. But you can’t do this action<br />

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

your head to one side 20-30 degrees” with materialistic<br />

consciousness. This should not be acting to indicate one’s<br />

intention. As another example, you can also make yourself<br />

smile, but you have to know which degree you lift the corner<br />

of the mouth and which direction and how long seconds you<br />

look at. I instructed them to concern the environment with<br />

knowing concrete shape and situation of their body as if<br />

they control themselves by programming.<br />

I brought all those thought that I shared with them to actual<br />

scenes. What I needed then was the relationship that 16<br />

bodies including me are dealing with ike sampling, understanding<br />

the situation of the space, and leaving motive and<br />

identity of the movement to each other. I believe that this<br />

situation embodies affordance exactly as proposed by Gibson<br />

all possibilities of the relationship between environment<br />

and body.<br />

As the second, the specific role that I gave fifteen objects,<br />

was to be the metaphor of my father, as symbol of his job,<br />

and the cultural and historical situation surrounding his prime<br />

years in 1960’s concerned national character of Japan, scene<br />

by scene. I took the method of collective actions like unison<br />

dance, flock, procession etc. to articulate my critical perspective<br />

regarding the present situation of my country.<br />

Recently in the european contemporary dance scene, the<br />

use of unison is often avoided from several perspective.<br />

However in Japan, it is still being used widely, even by front<br />

line artists. I insist that this is the result of the education and<br />

the body in Japan since before the WWⅡ. Not only in the<br />

university for dancers but also in standard primary school,<br />

all students are required to learn the traditional health<br />

gymnastics (which is called “radio taiso”) developed in the<br />

now what you do not know

show what you can not do on stage<br />

1920’s. The government directed all people towards this<br />

gymnastic exercise in order to promote their physical health<br />

and well-being.<br />

This movement was influenced by calisthenic radio broadcasting<br />

in U.S and also by the Sokol movement - an all-age<br />

gymnastics organization first founded in Prague in the Czech<br />

region of Austria-Hungary in 1862. Japanese radio gymnastics<br />

started across the whole nation in 1929, and was “perfected”<br />

in 1951. The same song and movement is still widely<br />

used since then and is common knowledge for all ages. It<br />

says that Sokol movement emphasized the systematics and<br />

aesthetics, actions leading nationalism in 1920’s. So I argue<br />

that the wide spread use of the radio gymnastics in Japan is<br />

still affecting the national characters on levels of nationalism<br />

and education as well. I contemplate that the Japanese<br />

peoples’ organized character comes from “Muga”(※) which<br />

is one of thought of Buddhism the Japanese have taken in<br />

deeply and unconsciously. It played a big part in realizing the<br />

meticulous national reconstruction after the war. All people<br />

were in step and sent out with the same power in the same<br />

direction and motivation. Consequently, Japan, which was<br />

reduced to burnt-out ruins, could revitalize itself into one<br />

of the strongest economies in just under 20 years after the<br />

war. Eventually it became a host country for the Olympics -<br />

the first in Asia - and showed off their national power. It conjured<br />

up negative effects as well, like a leaning towards the<br />

totalitarianism and militarism of the previous era. National<br />

power and social conservatism increased rapidly due to two<br />

happenings in the following 30 years : burst of economic<br />

bubble (The age around the 60-80s was called “The bubble<br />

economy”, because shortly after revitalization it collapsed<br />

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

Fukushima’s earthquake and tsunami in 2011. Also some<br />

behavior of the old nation including the gymnastic education<br />

still remains. As irony would have it, Tokyo will become a<br />

host country for Olympics again in 2020. We should see the<br />

contrast between recent age of Japan and prime age when it<br />

was a host country for Olympics for the first time more clearly.<br />

So I tried to refer to those two different ages, and to claim<br />

not only critical perspective but also a sense of crisis about<br />

that through the method of collective actions as metaphors.<br />

The doctrine of “non-self”, that there is no unchanging,<br />

permanent self, soul or essence in living beings.<br />

3. Practice of “absence”<br />

We also realised that we could find and use “absence” as the<br />

one of elements in the space. That is a new perspective to<br />

embody the thought of affordance.<br />

Here are concrete examples, I consider three patterns of<br />

motives when we move(do) between point A and point B.<br />

1 to create “existence” at point B<br />

2 to create “absence” at point A<br />

3 both of 1 and 2<br />

We aim to deal with “absence” as the same element with<br />

“existence”. This practice about “absence” is research to<br />

visualise reactions summoned by absence/death/separation<br />

etc. it means experiment “to touch nothing”. This<br />

is different from the skills of a pantomime. I was trying to<br />

make “nothing” be visible, this is the most biggest difference<br />

with Pantomime. Because it is a skill of illusion that makes<br />

people imagine existence even if there is nothing. It is not<br />

reaction to “nothing”. My interest was what people would do<br />

when they touch the things that they perceive as “absence”<br />

in an epistemological way.<br />

4. Documentation regarding “action and absence”<br />

As the preliminary step towards materialistic “absence” as<br />

personal research, I was collecting documentations about<br />

“caring about death by human and animals, such as funeral<br />

ritual, and views on life and death, in terms of body expression.<br />

Various funeral are still taking place among human realm<br />

over the world. Some practical and hygienic issues are always<br />

following those ritual in terms of body treatment methods.<br />

There are burial, cremation, open-air burial, water burial,<br />

bird burial, scattering of ashes etc. Also cosmos burial is in<br />

development nowadays. In Japan, there is some evidence of<br />

people practicing the ritual for caring about their dead since<br />

B.C. The history of the funeral went through many unique<br />

transitions with the influence of various religions’, cultures’<br />

views of life and death. Not only ways of treating the body,<br />

but also the style of the ritual and grave are different in each<br />

age. But this funeral culture could be found not only in human<br />

beings but also in some animals.<br />

Some research has shown that Neanderthals, a now extinct<br />

species or subspecies of humans, may have performed funeral<br />

rites by placing flowers with the dead. In the 1950s and 60s<br />

in modern day Iraq, researchers discovered fossils of pollen<br />

and flowers at a Neanderthal burial site in Shanidar Cave.<br />

Research into mourning practices has extended to the animal<br />

kingdom as well. Several species of animals, wide-ranging<br />

from penguins and birds to horses and elephants, have<br />

been reported to exhibit surprising actions as a response<br />

to grief. Visual documentation has shown that elephants,<br />

during the loss of a family member, have been known to<br />

make a line in front of the dead body and stroke it carefully.<br />

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

mentation shows a bird’s funeral where they make a circle<br />

around a dead body for a long time. Though no one is sure if<br />

the action is recalled by the emotion of grief yet, it should be<br />

recalled by death at least. Even if humans and some animals<br />

are taking different ways of mourning, what is very important<br />

is the fact that such as universal sense is shared across<br />

different attributes.<br />

I personally felt a fact about separation by death through my<br />

father’s funeral. That was “It’s extremely hard to feel reality of<br />

absence as compared to feel existence”. That’s why lives are<br />

at a loss and can’t look at the fact come together, and make<br />

a ritual in order to share the fact “This body is already dead<br />

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

the dead body, look at the dead face, offering flowers,<br />

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

sure of one’s death by pointing out step by step. It’s rather<br />

impossible to keep our minds on the thought of absence.<br />

I also realised that ”sharing absence” needs a thorough<br />

contextualisation as I was researching that with 15 people.<br />

We have to share the fact of existence before we share<br />

the sense of absence. Otherwise no one could recognize<br />

this loss. But this absence could be a very strong motive<br />

when we would consider it as one of the elements in the<br />

environment, however, that is not an easy task. The nature<br />

of absence means that it is much harder to share, show, or<br />

claim it. Being is much simpler.”<br />

If I could say that the actions of mourning by humans and<br />

some animals are reaction to the sense of absence, I could<br />

say also that this phenomenon is related to affordance, as<br />

one of possibilities of the actions are recalled by “absence”<br />

as part of environment.<br />

5 “Affordance” as the perspective to look at the world<br />

I tried to divert this thought “Affordance” as also motive to<br />

create this piece. I view human life, also Ken Hara’s personal<br />

life, as the collectivity of action and choice that stems from<br />

the concrete. It means that personal history comes with<br />

a background - be it cultural, social, familial, personal, or<br />

instinctive. I analysed my father’s life through its different<br />

contexts as it appeared under my lens. As stated previously,<br />

I realised that this particular temporal context would be a<br />

defining element in my research as it was the golden age<br />

of my father’s career in the thick of Japan’s recovery from<br />

damages suffered in World War II. It was a greedy, joyful<br />

and energetic age. Also, a great flood of American culture<br />

happened and the cultural situation was changed a lot. At<br />

the beginning, those creations were just like imitation or<br />

homage, but it was getting originality towards 1980’s.<br />

The film “Asphalt girl” that my father appeared was one<br />

of example of that and it’s like a fossilized remains of the<br />

age that Japan was a country influenced by America . As<br />

he testified, this was created as a homage to “West Side<br />

Story”. Unfortunately it wasn’t a good quality film and failed<br />

at the box office. However, this is very important evidence<br />

to show the situation of the specific age. Even though my<br />

father was one of many easily replaceable chorus dancers in<br />

a commercial film, he held great value in his experience that<br />

would be deeply valued during those times as the evidence<br />

of the age.<br />

As I followed the Japanese situation behind my father’s<br />

personal life and this line of research to Europe, I was uncovering<br />

another layer, one greater than him and the sociopolitical<br />

situation in Japan: a sensational age worldwide. For<br />

example, the start of Vietnam War in 1960, the installation<br />

of the Berlin Wall in 1961, the first manned space flight by<br />

the Soviet Union and the Cuban Missile Crisis in 1962, the<br />

assassination of JFK in 1963, NASA’s first moon landing<br />

in 1969...the continuing impact of The Beatles and the<br />

rising cultural phenomenons of Bob Dylan and The Rolling<br />

Stones...all years during The Cold War. Those political,<br />

cultural, historical happenings should affect personal being<br />

and its life in various ways. Simultaneously, we are then also<br />

covered in an even larger layer, beyond the sociopolitical<br />

and cultural, one related to the “mission” and “purpose” of<br />

existence, such as life and death, age, legacy, to name a few.<br />

Each country has its own culture and history but each of<br />

those small contexts are always covered with a bigger layer.<br />

Exploring the personal allows me entry into multiple layers<br />

and those different levels.<br />

Thus in the world that has multiple layers, various narratives<br />

were born day by day, those elements make thinner layers,<br />

and personal beings and its lives are composed. And each<br />

personal beings are giving effect, and those activities make<br />

the world over and over. The presence of the world has no<br />

identity, or motive.<br />

6 Conclusion<br />

The thought of “affordance” proposed by Gibson, means all<br />

possibilities of animal’s action is recalled by an object(environment)<br />

worked as one of perspective to understand the<br />

world for me, and helped the research of examining my father’s<br />

personal life and the relationship between he and I. And<br />

I developed my study of body motion through using “affordance”<br />

as an axis, from the perspective as a dancer who has<br />

a background in design. This “Da Dad Dada” is not a theater<br />

piece, it’s the result of study and viewing the structure of the<br />

world and body motion. I also believe that to create and play<br />

this piece is my reaction to my father’s death, which means<br />

bemusement from absence, and action to keep the fact in my<br />

mind. So I am just like one of birds that was making a circle<br />

around a dead body in the documentation.<br />

be kind to yourself

Yaron Maïm

The previous page contains imprints of<br />

the lovers’ tongues.<br />

Interrogating the conditions and<br />

processes of art making is a driving<br />

force in my work, which is an<br />

interdisciplinary research in live<br />

drawing performance, print media,<br />

textile, video, education and selforganization<br />

of workshops. I trigger<br />

my body, that I perceive as an<br />

artistic tool, via two complementary<br />

practices: live drawing performances<br />

and intersectional feminist art<br />

interventions. I wish to experiment,<br />

challenge the idea of art as knowledge,<br />

as well as question its methods and<br />

validation. My work seeks to identify<br />

the reproduction of structural racism,<br />

transphobia, ableism and classism in<br />

artistic contexts, and imagine other<br />

alternatives.<br />

How does the work extend the idea<br />

of the physical, virtual and conceptual<br />

page as a performance space?<br />

How does the work complicate<br />

conventional notions of<br />

documentation?<br />

How does the work engage a critique<br />

of its institutional context, production<br />

and dissemination; and what is the<br />

effect of this on the form and trajectory<br />

of the work?<br />

The MA <strong>SODA</strong> program was my<br />

first institutional encounter with<br />

performance art, where art and life<br />


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

https://issuu.com/baadbaad/docs/thesisbook_26janvier18<br />

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.<br />

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

with: kAZ (performer & critical conversant). Fu (music composer – https://fumusic5.bandcamp.com). Krisjanis Rijnieks (creative technologist –<br />

https://rijnieks.com). Yaron Maïm (author, performer & costume designer – http://yayamaim.com).<br />

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<br />

Yaron Maïm, and invited guests (https://issuu.com/baadbaad/docs/udiwo1). Image 4: Photo by Marion Borriss.<br />

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Yumi Tapia, Zabo Chabiland.<br />


mprint<br />

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

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

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

Litó Walkey / Graphic Design: milchhof.net / © HZT Berlin <strong>2018</strong> Hochschulübergreifendes Zentrum Tanz Berlin www.hzt-berlin.de /<br />

office@hzt-berlin.de / Artistic Director: Prof. Nik Haffner / Administration: Sabine Trautwein / Technical Director: Maximilian Stelzl<br />

The links are being provided for informational purposes only.<br />

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

HZT – Inter-University Centre for Dance Berlin is the joint responsibility of the Berlin University of the Arts (UdK) and the Hochschule<br />

für Schauspielkunst “Ernst Busch“ (HfS) in cooperation with TanzRaumBerlin, a network of the professional dance scene.

hochschul<br />

übergreifendes<br />

zentrum tanz berlin

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