Category Archives: CLOUD

FALLING IN | Marta Wörner

pre- Residency Workshop: 

26 & 28 Feb 16:30 – 19:30 / 2 & 9 March 10:30 – 13:30/ 3&10 March 13:00 – 16:00

Fee​: 15 euros* for the whole workshop.
*The symbolic fee of the workshop is meant to cover the cost of the space. However, if any participant has a firm wish to attend but an honest economical impediment, the participant can communicate the situation to the organization and not be charged

In this workshop, we will explore the physical, psychical and sensorial implications of the action of “falling in”.
Inspired by the Deleuzian concept of “becoming” (coming from the Latin verb “devenire” which means “coming down, falling in, arriving to”) Marta Wörner proposes the inquire of the fall as a physical door to the unknown. Understanding “falling in” as an uncontrolled abandoning the body to the force of gravity and embracing its implication on the mental state of the performer, we will focus in the re-organization of the body in between moments of physical balance.
It is a play between controlling and “falling in” in which the participants will inquire the potential of their articulated movement, the openness of the body worked through the relaxation and conscious use of the core, and the awareness of the space.

The kinetics of the human body and its ability to reorganize itself to become another thrives me. As a maker, Marta is interested in exploring its interaction with other structures that do not change or move that way, as the established structures in the city or fundamental building blocks of our thoughts and beliefs.

The workshop also has the aim to invite a selection of participants to the following artistic residency of Marta Wörner at CLOUD DansLab, in which she will continue developing her artistic research.

Defining the body as a natural structure, she always wanted to learn from it. With the firm thought that the body has an inherent valuable knowledge that I can not name yet, but intuit it, I always moved.
Her other fascination is the deconstruction of the space through the scenographic tools and the dramaturgical possibilities of it.
The goal with this research is to build a space between the theatre and the street through the deconstruction of space and scenographic dramaturgy as tools, which allowed me to explore the dichotomy solid-fluent/structure-destructure and its application and affections to the body, all below the inspirational umbrella of the idea of performing the concept of “becoming” and reflecting on it.


The artistic residency at CLOUD DansLab will start with the workshop FALLING between 26 Feb- 10 March , the reserach stage of the residency will be carried out between the 13th and 26th of May.
In this two weeks residency at CLOUD DansLab, Marta wants to explore the implications of transferring my findings on the embodiment of the Deleuzian concept of becoming as a tool for material creation to other dancers/performers..


Sunday 27th @ 8:00 pm we will host our fourth screening.

Dancer In The Dark by Lars von Triers.

And a 1981 visual ethnographic documentary of a supposedly Nepalese tribe narrated by a distanced American presenter male voice.

To join please sign up.

As Nocturnals is a recurring event where ArtScience students screen films/docus/movies relevant to our thesis/graduating research.

All people welcome.

AS DIURNAL – aisha pagnes

What insights can we gather regarding the habit of vision through blind exercises?

Sunday 27th @ 5:00 pm will be dedicated to our feet’s sense of touch. Various materials and textures will delineate a path in the studio to walk on. We will have a short warm up, blind practice followed up by time for reflection. 

email Aisha to join!

“I’m testing this method out as a way to find the most suited structure, so it is kept open specifically for this reason. If this seems like something that could interest you please do join! Your support would help me structure the coming sessions better. “

Some tests:

2 weeks blind
floating tank
scuba diving at night
running blind

with people:
ways of not seeing: extensions, googles white, black, lenses, blur  resting in darkness: breathing and listening
running blind
blind walks
rear-view eyes – no eye contact possible, only mirror view
feet for eyes – barefoot walking
experimental blind dinner 24 h
blind writing
on trust – socialising blind in a room full of people

~ attention to: B4 M2 ArtScience
In light of our graduation we are setting up the AS DIURNALS/NOCTURNALS: a temporary platform for the mutual support of our development. We will use the Modular Mondays as well as other suited locations (CLOUD, beach, walks, etc.) to gather the feedback needed. Think of it as group studio practice. Given the participatory nature of most of our works, it is important that we can rely on each other for testing our ideas.


18 – 24 March 2019

workshop & presentation | 23 March 19:00 -21:00

lo bil is a York University Interdisciplinary Masters student creating body-based performance art using cross-disciplinary methodologies to correlate research into process, pleasure, vulnerability, an aesthetics of feeling, and the impacts of a social location on identity. Through non-repeated performance gestures, lo generates intuitive research into academic concepts by using physical improvisation, spontaneous utterance, impulse- based scores, object manipulation, and inter relational proposals with audience. Her work has been called “raw”, “amusing”, “transparent”, and often involves creating a feedback loop with the audience.

I am developing a performance-research practice of “dropping” questions into the body, aiming for “non-repeatability” and moving on intuition as a method for understanding philosophical texts.

Encouraging myself to move into states of intoxication through movement provides an entry-point into my unconscious image life, connecting abstract physical impulses to sublimated content by letting speech effect movements and movements affect speech. Making this physical practice into a performative one, layers on an interrelational complication, to notice how the body responds to itself while being seen by others – in this state of hyper-awareness and “felt knowing” – thoughts surface differently.

I become aware of “habits” or psycho-physical patterns of movement and related thought sequences from memory. I try to identify, deconstruct and reorder these habitual patterns into non-repeatable forms, disrupting psychic material that surfaces. I want to interrogate habits that are blocking my ability to create new ways of thinking. I will prepare with texts by Butler, Nancy, Deleuze and Guttari, Ranciere and Agamben.


I am a Performance Artist. I write with images – sourcing my work from my own identity transparently and investigating my philosophical problems with improvisatory actions and object relationships. I offer audience situations and provocations to dream around. I offer a context for people to think of their own questions and notice their own desires.

I practice for months, but in the moment before the performance, I let go of what I want to happen or expect to do. I ask, “How can I be in front of this audience in an attentive and receptive way and what is moving to me about the topic at hand right now?” I do this action. This first mark on the canvas is an offer that I follow through to the end of the composition. I use body memory as a generative source of possible exchange and inquiry. In this way, I am researching my knowledge and lack of knowledge; I am accepting the reality of my body, the reality of my economic state, the reality of my class, my gender and all unknown aspects of my history.

This performance style is a DIY strategy where in body and thought I am ready to perform at any moment in alignment with my own integrity and the nature and energy of the people present. The “currency” of this methodology is the responsiveness to context – information can be immediately incorporated into the texture, movement, and conversation with the audience – thus the work allows us to unpack questions in a collective way.

I am also researching what it is that elevates my consciousness in the moment of performance – that energetic flow that allows meaning to emerge that I could not have realized if I had not made the performance. This question has come from my constant radical doubt around: why perform at all? I keep performing because actually it is in the moment of performance that I don’t know where I’m going, that I can look back at and say: I know where I am going now, thanks to this performance. As crazy or wild as the performative state can be, it leads me into knowledge.

I would love to have conversations with local artists to help generate more context for the performance proposals and for my thesis writing.
If you are interested please contact me :

The workshop presentation of 23 March

“I propose an open studio performance and workshop.  I will show you what I have been working on in the intersection between movement and philosophy and then I will make some proposals for audience to engage in. No pressure to participate but I hope you will be curious enough to join us for this mini workshop that aims to generate pleasure, connection and interesting things to think about. “

Blog : 


25 Feb – 10 March 2019

1st workshop / sharing 1 March 19:30

2nd presentation & workshop 8 March 19:30

About the residents

Elien Hanselaer (Belgium) works as an actor and theatre-maker in Belgium and United Kingdom. She has worked with international companies such as Dash Theatre and Odin Teatret. Elien focusses in her work on the feminine aspect of theatre, seeking spirituality and community in her work. The actors create from communal work in an empathic methodology setting, which is radically changing. Elien started an artistic, practise-based research on actor-actor connection in September 2018.

Dasha : My research is focused on communication through touch. I am gathering tools that enrich human tactile sensuality, drawing from all possible sources ranging from academic research to Argentinian Tango dancing. The more fine-tuned our senses are, the richer our tactile communication can be, and the more pleasure and knowledge we can derive from this experience. Skin is out biggest organ. Touch is the first language all of us have used to communicate before we learned to talk. Whether we are aware of it or not, much of our information exchange still flows through our skin. I think it is a language worth mastering.

Judith is an interdisciplinary artist and movement researcher. The body, in its whole existence, is her biggest fascination. Her research focuses on our movement patterns / habits and how we can learn to recognize them and therefore have the possibility to bend /change them . As an artist she has been busy with this with her theater collective of mutli disciplinary artists and friends LUDIC COLLECTIV. As a scholar she is in her 2nd year of Feldenkrais teacher training, where she is learning  about Awareness Through Movement & Functional Integration.

In the last twenty years, the performing arts have spend a great deal of time researching ‘how the artist can get into total interconnectedness (comparable to the psychological concept ‘flow’), seen as the ideal state for an actor or musician to perform. The core concept leading to total interconnectedness is, according to theatre theoreticians, the interconnectedness between the actor and co-actor. In contemporary a acting (training), which has become more and more based on the individual, actors today struggle to connect to the co-actor or practise on-stage empathic listening. In a culture whose already classical dilemma is het hypertrophy of the intellect at the expense of energy and sensual capability, Western theatre today is shaped by theoretical paradigms such as semiotics, deconstruction, psychology, and post-structuralism instead of the empathy, connection and coming together it so desperately needs.
The experiment we are proposing is to look at how performers connect and how they can connect better. We will be researching this through a mixture of theatre, Argentinian Tango and Feldenkrais technique. The experiment functions as an inspiration for the development of dialogical and trans-individual theatre and approach of theatre making that reflects the many dimensions of our humanity, society and potential back to us.


SOUL#3 CO-CREATION,  the new work

The creative hubs exchange is an opportunity to witness a process and to share ideas about the future of an art work: a dance performance

With this new part of the SOUL serie Jerome and Isabelle question the concept of co-creation in the context of dance theater performance and see the role that play such approach in the making of and in the result of the performance self.

With the SOUL project they are engaging reflection about audience’s freedom and free will, about identity and the act of engaging or not engaging in the course of an action.

With Meyer and Chaffaud’s statement – the audience, the performers and the makers as active co-creator force, how far can we go together to create an intellectually engaged work as well as an immersive unique experience?

When: 23 January
Where: CLOUD/danslab

We start at 19:00
A free soup will be served from 18:30

Expect ending at 20:30
Reserve here:
More info about the dance company here

Facebook event is here

AS nocturnals – drawing restraint

Saturday 12 January 17:00 – Screening Drawing Restraint 9 (Matthew Barney – Björk)

Image result for drawing restraint 9

For our third event we will screen a pick by Sophia Bulgakova.
Some crunchy food and pillows will set the stage for an informal discussion around the film and Sophia’s thesis (on limitations as a catalyst for creativity).

To join please sign up with:
Doors close at 17.00 pm sharp 

As Nocturnals is a recurring event where we ArtScience graduates come together to develop art pieces and exercises through mutual support.
Films/docus etc. relevant to our thesis/graduating research will be projected at Cloud on a regular basis.

No preparation or introduction needed.
Donations welcome.

Do-in yoga 7.12.18 cancelled

Dear Cloudies and beyond, unfortunately the Do-In class by Laura DeGaspari won’t happen tomorrow (Saturday 7.12.18)

Classes will resume with Oriental Dance Techniques with Aisha at 11.15 am. Hope to see you there! 

Dancing Inside Collective- Workshops-

 Dancing Inside Collective – workshops

How do we use our range of emotions to relate to ourselves and other?

Dancing Inside offer a series of workshops where we explore the emotional content behind our ways of moving and relating. 

The focus will be on unfolding and translating the metaphorical dance experience into a support in the everyday life. 

Dates and Times:

20.1. Giving: moving oneself toward the other.

27.1. Getting: moving other toward oneself.

3.2.  Removing: moving other away from oneself.

10.2. Escaping: moving oneself away from other.

Time: 16.-18.00

We will explore these actions not only from the functional, but also from the emotional and relational perspective to gain a deeper understanding of how we embody, express and interpret them. Using movement improvisation and verbal reflection we try to integrate our thinking, feeling and doing bodies.

Throughout the workshops we hope to discover the body as a source of information. We hope to offer an opportunity for participants to learn more about themselves through movement.

Cloud DansLAB 

De Constant Rebecqueplein 20b

2518 RA Den Haag


Four encounters: €100

Reduced rate: €60

Max. Number of participants: 15

Sign up:

Claudia:  (tel. 06 10 10 06 71)

Meri: (tel. 06 38 72 09 51)

About Dancing Inside Collective:

Claudia and Meri met during their studies at Codarts. Since then they have collaborated on experimenting and creating methodologies based on movement improvisation exercises that allow emotional content to arise. Dancing Inside Collective offers a creative platform for curious people to learn more about themselves through dance and movement. 

Claudia Scaringella: First class BA honour in Choreography and Dance (UK) and student of Master of Arts Therapies (dance movement therapy), Codarts, Rotterdam. Dance improvisation teacher and dancer.

Meri Erkkila: First class BA honour in Performing Arts (UK); student of Master of Arts Therapies (dance movement therapy), Codarts, Rotterdam. Ashtanga yoga teacher.

December Residency 10th-21st Fernando Troya

Born in Madrid, 1989 Fernando Troya has a classical dance background. He is a former dancer at NDT II. He is and independent artist since the end of 2015. He is thoroughly trying to develop a practice that brings him to new places. Talking about subject that matter to him in a personal way.

In his research he is inspired by departing or arriving from images, characters, emotions or situations given by Goya’s works.
This time he is back in the studio to explore more the acting and comical side of emotions that arise from the artist works.

Reminiscente: is a new production by Fernando Troya to be created as a series of chapters in the form of short pieces. These chapters may be performed independently and/or combined (adapting to the needs of the venue), and ultimately culminate in a full length performance.

The chapters will be connected through the concept, aesthetics and structural basis: Francisco Goya: prestigious oeuvre is the main source of inspiration for the aesthetic appearance and content of this new creation.

In Goya’s work mixing dreams, historical events around his time and popular fears and myths; witches, demons, anthropomorphised
animals; nightmares become real in a world where the limits of different dimensions become very fine and seem to permeate one another.

He will be using Goya oeuvre to fuel the physical research. He will not stick to one particular phase of his work, but extending the study to his entire life. Using the wide range of imagery we bring to life a new journey of our own.


Dance whatever is there. Dance does not have to be nice. No judgement.
Only expression of what is.
Dance is a medicine, what we give to ourselves by ourselves.
So let me be your guide, so that you can become your own Guru!
And lets our journey to the light begin now and here.
Breathe in and out and move.
I am thrilled with enthusiasm. Ohh yes, really!
I am falling in love with Holland. Why? Because I’m taking over Saryo´s
I invite you on this journey through body, mind and soul, through emotions and 
the cosmic boat of imagination. I choose my music in the moment and follow the
energy and the invitation is to explore different life topics. We follow the same structure of how Saryo gave the evenings, I only add my flavour to it.  Also, my
goal is the same – to experience the deepness of our heart & soul and become 
more conscious and compassionate human beings. The taste of the evenings will be different because I am a woman, wild and soft and sometimes a witch, but always
with a sense of humour.
My music is not one style, not one rhythm. Like in life or during the day, we
move through lots of stories, cycles and waves and during our dance, we do as well.
So for this, we need a lot of diversity in the music. Ahhh – and no, I am not
5Rhythms or Open floor teacher.
I am a theatermaker, long term dancer of these great techniques and in the last
several years I develop, explore and fine tune my own technique, where I connect
Dance, Ritual and Theater with a taste of Martial arts. It is called “STEP OUT OF
THE STORY“.  As a theatermaker,  I can direct a play on the stage, I can
write one and I can dance the Story of it.
Wednesday 19 December

The Reading Room #30 at CLOUD

The edges of the voice

8th and 9th of December

Guest Readers: Aurélie Nyirabikali Lierman and Amelia Groom

Texts by: Anne Carson and Eduardo Kohn

In this cluster we will be delving into texts and practices that explore the limits and potentials of vocal expression. We will be looking at two texts that approach questions of voice and silence/ing through very different entry points; that of the non-human semiotic worlds of the rainforest, and that of the gendered politics inherent in determining how and whether voices are heard. Departing from their respective practices dealing with the question of the voice, Aurélie Nyirabikali Lierman and Amelia Groom will guide us through experimental and in-depth discourses that may broaden our perceptions of where we hear voices, when we speak up, and when we deliberately deploy silence.

The second part of the cluster is a workshop led by artist/vocalist Aurélie Nyirabikali Lierman, in which we will explore the texts and our many voices, by assembling an experimental “non-human choir”. Aurélie will guide us through physical and vocal exercises focusing on onomatopoeia, non-linguistic sounds, and the untapped possibilities within the repertoires of our non-adult and non-human voices (baby, animal, spirits, etc.). The workshop is suitable for complete beginners as well as professionals in the fields of vocal practice, and is open to participants of any age.

Note from the curators

There are a limited number of spaces available for this event. As this is a discussion, you are expected to have read the provided texts before attending. Please reserve a spot by sending an email to We will also provide you with a copy of the texts once you have RSVP’d.

The Reading Room is organised by Jonathan Reus, Sissel Marie Tonn and Flora Reznik. With thanks to support from Stroom Den Haag and the Dutch Creative Industries Fund, and our production partner the Instrument Inventors Initiative.

Invited Guests

Amelia Groom is a Berlin-based writer, and currently a postdoctoral research fellow at ICI Berlin Institute for Cultural Inquiry, where she is working on an art historical project about stones. Since 2014 she has taught on the Critical Studies MA at the Sandberg Institute in Amsterdam, and she was also the theory tutor for the Master of Voice programme at the Sandberg (2016-2018).

Aurélie Nyirabikali Lierman’s oeuvre balances between radio, installation, performance, vocal art and composition, with her extensive collection of unique field recordings and soundscapes from rural and urban East-Africa serving as the common denominator. Soundbite by soundbite she transforms and molds all those sounds into something she describes as “Afrique Concrète”. In addition to this, she constantly premieres new music by emerging young composers from around the globe in a multiplicity of styles. Lierman is a former radio maker and host at the national Belgian broadcasting corporation and co-created two Nurse With Wound albums.