What is it that we write, when we write dance?
What is it do we dance when we write dance?
What is it do we write when we dance?
The combination of four essays produced over this topic meander through the practice and writing of dance, whether it is a dance-writing, a writing-dance or a writing on/of/about/ dance.
Can dance write? or Do writings dance?
To investigate further these questions I decided to choreographically scramble the writings and see what sort of dance could come out of it. Or the other way around.
The composition that came out of this rests on the paper, as a writing; rests in my body as memory and in the photos as archive.
With strategies of watching, writing and the fragmentation of watching and writing I brought the initial questions into life as dance: dancing with papers, words, scissors, glue and camera. Dancing inside, dancing outside. Although the answer is not written anywhere in these pages of written memories, it rests in the action that is done by the reader of engaging with so many words, images (imagined), phrases, thoughts and questions. So answers come from the reading.
Images of the “Dancing your inner self” workshop given at OZ festival in Brazil, 2017.
This is a beautiful practice that combines different types of therapeutic dancing styles and methods, all towards awakening the inner dance of each participant and accompanied by live DJ.
…Dancing your inner-self workshop…
Images from the transdisciplinar multi-media workshop METABODY (www.metabody.eu) with Jaime del Val (www.reverso.org)
At the Red Bull Station in São Paulo, Brazil
In search for the amorphous expression on the body, on the space, on the video, on the sound…
Although Jaime is looking for amorphous forms… could we really have an amorphous body? An unpredictable body? Even on his programming of softwares there was a predictability for certain interpretations of the information captured by the sensors… It was perhaps the viewer who could not predict as the information gets confused as many variables come to play together in his experiments.
Anyway I don’t agree with Jaime’s concept that what he is achieving is amorphous states of body, space, projection and sound… and I believe that what he is seeking is a dynamic-form, one that is not fixed to a specific shape. So perhaps what he really seeks are shapeless things and not amorphous…
This is what I spent five years working on… in between life dancing stories…
Rudolf Laban in the 21st Century: A Brazilian Perspective
This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field.
As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world. Thus my research is shaped by an investigation into the experience of the field’s practitioners, and how their activities shape the materialisation of Laban’s discourse nowadays. In this sense, not only their experience but also my own (as a Laban-practitioner myself) were the main materials and sources for my investigation.
From this material I asked questions regarding the landscape of Laban practices in Brazil and the contemporaneity of Laban’s discourse. To develop this study I initiated an oral history project (collecting narratives from Brazilian practitioners), which evolved into an ethnography of the international and Brazilian field of Laban studies. In fact my intense participation and individual exploration of Laban praxis shaped my methods to articulate an embodied debate of the field. As a ‘history of the present’ based on individual and collective experiences, this study draws on Foucault to drive a critical perspective on the material and to finally debate the authorship of Laban’s discourse.
This thesis thus starts with an overview of Laban studies. It then narrows down to consider the scape of Laban practices in Brazil, detailing the work of three local artists. While submerging myself in the field’s practices and theories and the lives of the Brazilian Laban- practitioners, I found that the work that is developed outside the United-States and European circle of practice and research may provide clues for a valuable understanding of the materiality of Laban’s discourse in the twenty-first century. Thus, this study proposes that practitioners who are engaged with the (constant) development of Laban studies can potentially be considered as (co-)authors of Laban praxis as it emerges in Brazil and worldwide.
In the process of writing a biographical statement of my artistic and professional/academic life I have been coming across many different things about my career that have been lost around daily life agenda.
Onde of them is this album launched my two musician-composers who I have been friends with and collaborating since 2003.
Apart from having them compose music for my choreographies, we have also shared the stage in different performances involving our own projects, such as the multimedia installation of Corpos Urbanos and Chá (with Mario Del Nunzio) and in the group Hipgnik & os Pripoginistas (with Del Nunzio and Henrique Iwao, among other dancers, composers, musicians, video artists, sociologists, and etc.)
To remember a bit this collaboration and make an homage to my dear composer-collaborators here is the album that they launched, which contains three compositions which were directed at collaborations with myself.
The description of the musician-composers are really interesting and explain a bit the process of our collaboration. All tracks are available for download.
attuning with the Swedish islands… and dancing their northern rhythms