Dates: 04 + 05 April 2020
Saturday: 13:00 – 17:00
Sunday: 13:00 – 18:00
Fee: early bird (payment until 24th of March) 85 EUR, after 100 EUR.
For further questions and registration: firstname.lastname@example.org
DOCK 11 – Saal 2, Kastanienallee 79, 10435 Berlin
Sculpting Dance in Co-agency is a workshop for exercising a dance with an ecosystemic approach. Valuing the betweenness of things, how things are co-determined by relations, and revealing the co-authorship imbued in everything. A dance to engage with movement, time, space, senses and meanings as raw materials and to explore different modes of control and layers of composition.
Sculpting Dance in Co-agency is a proposal for a context to study, research and practice dance. It is based upon performance and choreography research developed within Grupo Cena 11 in the last 10 years and on personal artistic interests and philosophical quests.
The workshop is a context to think about space as something alive and active. Focused on waking up our dorment sight on the materialities that surround us and the materialities of our own bodies; to awaken the perception of movement co-authorship and to exercise making it apparent; to research a dance which determines, and is determined by, its existence context; and to reveal what’s in the underground of our gestures and imaginaries.
The uttermost aim is to engage in a dance with an ecosystemic approach. Recognizing dance not just as a body phenomenon but as something that happens in the betweenness of things, such as weaving. An interlaced agency between bodies, space, senses, materialities, narratives, etc. And by this, to experience dance as a way in which our perceptual habits are put in motion and destabilized of its current ways of organizing thoughts.
It is important to say that there is no intention to teach a way of dancing, based on the idea of movement vocabulary, but on offering tools to observe what and how we create and do. I position myself as a mediator of the information which can only make sense if experienced and if it offers contexts for exercising autonomy and appropriation (to make it one’s own). The focus is not on one specific thing we can learn, but on improving the awareness of our learning skills related to movement. For doing it, the fundamental basis of the practice lays on calling attention to the variety of modes of control, to the spread causality imbued in it and the co-authorship implicit in everything we do. While practicing, we will try to assume willingness to listen, more than to show; to reveal, instead of producing and composing through feedback, leaving aside the “having great ideas way” altogether.
The following topics are guidelines of the technical approach and perspective:
– Modes of attention / Mental states
– Body matter / Immateriality of movement
– Think thing / Generous listening
– Fiction and Singularity
– Pregnant nothingness
Mariana Romagnani (1984 / BR) is a dance artist recently based in Berlin. She is interested in a dance that creates friction and goes beyond its institutionalized limits partnering with other art forms. Mariana was an integrant of Grupo Cena 11( www.cena11.com.br ) for sixteen years, working as a performer and director assistant. During this period, she joined all of Cena 11’s productions, presentations, and workshops. There were fifteen dance pieces which were presented in the Brazillian territory and abroad. During twelve years, she was, together with Alejandro Ahmed, responsible for the guidance of the Company’s workshop – Percepção Física e Composição Generativa. Workshops were taught at Grupo Cena 11 studio, in dance and theater festivals, art institutions, Federal and State Universities in Brazil and internationally. In artistic residency contexts, she was involved in creative processes shared with artists such as Lia Rodrigues (BR), Hooman Sharifi (NO), Luis Garay (AR), Michelle Moura (BR), Eduardo Fukushima (BR), and the dance groups Laboratório Punto D and Makina de Turing (MX). Working solo, she was granted by the “Artistic Diving Program: Dance RESEARCH 2014” of Oficina Cultural Oswald de Andrade São Paulo/ Brazil for “Morphodynamics Studies”. Created the participatory performance “Jenipapo”(2017) at Santa Catarina Art Museum. And produced and curated the workshop event “ENTRE: movimento e transitoriedade”(2012) at Florianópolis / Brazil. She co-created the piece “Estudo Para Certezas de Incompletude”(2013) together with Luis Garay, Alejandro Ahmed, Florencia Vecino and Roberto Freitas. She holds a degree in Philosophy, concluded at the Federal University of Santa Catarina (Brazil) with a writing under the subject of dance, presence and the boundaries of the concept.