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Johanna Nielson // Teacher
Sabina Holzer 
// Teacher
agnes schneidewind // TeacherJoana Chicau // Teacher
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After a movement session faciliated by Anouk Llaurens, we went to an automatic writing session, as describe in http://mindthedance.com/#article/56/tracing-the-invisible-writing-as-a-trace by Sabina Holzer for 15 min. from this writing the following scores where developed and put into space to engage with.
Score of the movement session facilitated by Anouk Llaurens - inspired by a warm up from Lisa Nelson
a duet , one mover, one listener
listener touches mover and listen through her hands (hands are antenas that inform listener)
listener composes herself (body and mind) in order not be in the way of mover
they both follow their interrest negociating with each other
they both starts with eyes closed
after (at least) 10 minutes mover opens her eyes
after (at least) 10 minutes listener opens her eyes
listener touches less and less with her hand and expand movers's space by taking some distance
listener does not touch with hand anymore but observe how she is still affected by mover from a distance
when they both aknowledge and end they both call "END" and change role.
during the second round Sabina introduce the notion of writting space or writting in space with the body.
at the end of the second round, Anouk opens space for moving as an individual with the resonnance of what happened in the duet and in dialogue with anyone and anything present in the whole space.
Mantras while guiding the score
breathing
following your apetite form movement and stillness
remembering stilness
paying attention to micro internal movements
tasting your sensations
The movement session transforms into a automatic writting session (no break), from which the participants are asked to develop 3 scores, led by Sabina Holzer.
Scores made from the automatic writting In random order
Give a vibration to another body.
SAY "YES", TAKE "YES" WIT YOU. GIVE "YES" TO SOMEONE. REPEAT OR NOT.
DO A DANCE OF NON-ATTACHMENT, WHEN YOU FIND YOURSELF ATTACHING TO YOUR ACTION, YOUR MOVMENET OR WHAT YOU KNOW, RE DETACH.
MAKE A DANCE THAT GOOGLES REFERENCES & FOOTNOTES # DANCE, #CONTEMPORARY DANCE # ESSAY IS A DANCE, # TECHNOLOGY IS YOUR DANCE.
SWAY, TREMBLE, SWAY, LOOK SOMEONE IN THE EE. SWAY TREMBLE, SWAY, REPEAT.
Let your hands choose a directions for your movement.
DO NOT LOOK AT THE FLOOR!!!
WRITE DOWN YOUR FAVORITE THINGS AND DANCE THEM EVERY DAY IN A DIFFERENT ORDER.
Feel your knee as one etxtra stomach and move it for a minute.
Hot chocolate, sugar cane, sparceling sand, sound waves, water falling on your skin weight.so much ... [cannot read].
I think I slept but now I want to talk.
In space sitting with your .... facing the floor and the knees looking to the ceiling. Holding this body. Touching the back between the shouldersblades with your forhead. The bellies are together. Hear here. What is it. What is this body telling you? Stand up.
SING A SONG (How, what, when is your choice.) TELL THIS SONG TO ANOTHER PERSON. (What is telling? You can decide.)
CHOOSE ONE PERSON. Ask her: what did you learn which you would like to teach.
FIND AN INTERVIEW FORMAT OR INVENT ONE. Maybe now is as good as tomorrow.
find someone to have a dialogue about birth.
rememeber the future.
memento momentum
find an end.
find something that you difficulties to find words for and try to find words for it for 5 min.
find something that you liked in a previous improvisation and try to repeat it.
walk in a cicle backwards , slowly disrobe as you walk backwards. this is a backwards walk in time.
copy paste somebody elses mind into yours agree or disagree.
TRIO SCORE: speaker, listener, witness/notes
speaker shares about today or any topic, listener listens, witness writes down key phrases.
then speaker becomes witness, witness becomes listener, listener becomes speaker. Repeat
DROP SOMETHING
two or three times a day. surprise yourself when you do it.
TALK IN RHYMES
and enjoy the rides
a square sheet of paper with some wather stains
Take a bite of something tasteful.
Chew it 30 times. Watch the bite going down your esophagus. Thank you for your attention!
practice escaping
Prepare yourself for a very hot day.
carefully protect your body with a 50 sunblocker. Dont forget your breasts! Ask someone you trust to do your back.
93 43 63
Close your eyes and imagine yourself in another shape of body
a ripped piece of a lined white paper with bluepen-scribbles in various line width, taped with a piece of cotton-tape on a pink A4 sheet
disappear. appear. a pear.
follow your line of thoughts.
think-forget-think-forget-think-forget-think-forget-think-forget-think-forget
erase what you have written down
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2019.02.17
It is so interesting reading this documentation one year after. Line by line, the text transfers me in time and space. I revisit fragments of emotions, snapshots of corporeal experiences, and echoes of sounds. It seems to connect with a certain memory of my body and myself written by another.
I clearly remember crossing the room that day, holding my notebook, writing notes, thoughts, sketches and interpreting the scores with movement up until I read the score ‘ERASE WHAT YOU HAVE WRITTEN DOWN’. I froze over it. My notebook was filled with precious (for me) information. Of course, the score was not obligatory or literal. I didn’t have to erase my documentation. However, it felt really important at that moment to just reflect on why my notes about my experiences during this workshop where a piece of paper that I was not willing to erase. As a reaction for this feeling, I stood in front of this score for over five minutes negotiating my attachment to my notes and my unwillingness to interpret metaphorically the score and use it as a trigger for movement or just skip to the next score.
Interestingly, by the time I decided that I will not erase anything I notice that the down page of the score was missing. Someone had already erased what it was written down! I was surprised. My thoughts were so deep that I didn’t saw the ¾ parts of the sheet that were missing. I ‘won’ the negotiation of keeping my documentation but at the same time I ‘lost’ the rest of the score. At that point, I began to search for the missing part of the score. I was jumping from one score to another again without actually having the will to move. Most of the scores did not look like scores anymore. The floor was filled with fragments of them. They were a part of the space now. Pieces of different scores were glued together, chewed, folded, or placed upon participants’ heads. Most of the scores were transformed into a movement, speech, dance, performance, more notes, or sketches. I step out for a minute to watch the actions around me. The scores became a bigger notion. They transformed into a living experience, an experience in becoming.
I grabbed my camera and run to this particular score. Fortunately, it was still in the same spot. I placed my feet under the score and I took a picture of this structure. I perceived my presence beneath it as a kind of a continuance. As a kind of a living archive of what was written there before me and what it was going to become after me and through me. After that, I felt that documentation, for me, is an important link between past, present and future. This web of links (literal or metaphorical) connects written thoughts with movement in relation with others in space and time creating reflections, emotions, actions and movement.
Thank you Anouk and Sabina!
This project has been funded with support from the European Commission.