Category Archives: Residents

Residency| State of excitement: research on the numinous experience |Dimitri v/d Wittenboer

31 oktober – 28 november 2019

Presentation | 28 november during the event: The Handshake ; more info about this event …

https://www.facebook.com/events/595704267837355/

I am interested in the religious experience. There are many ways how one can generate this state in different traditions, reaching from the unifying rituals of the tribal cultures, meditation or the practices of solitude in the protestant Christianity. This topic is covered in studies of anthropology, Religion studies and theology.

The anthropologists see Religion as the construction force of society. Roy Rappaport describes Religion as composed of two interrelated elements of the Sacred and the Numinous. The Sacred is a function of discourse, and the Ritual the event in which it is realised. The Sacred is what we know as institutionalised Religion with all its forms of practices. The Numinous, on the other hand, is an individual experience, an incomprehensible non-discursive element of Religion.

Otto Rudolf in his essay Das Heilige (the Holy) makes a deep analysis of the Numinous from a theologian and psychological perspective. He describes it as something which can not be expressed but only can be talked about using analogies of emotional states which are common to us. He talks about the feeling of Fear, Grace, Dependance and Ecstasy as the emotions which come close to the Numinous.

In this project, I am interested in exploring the ecstatic state. I am looking for ways how this state of euphoric excitement can be generated in a group of performers and then be transcended to the audience. To generate this state I would like to use technics of breathing, sounding and movement.

Breath

Breathing is a powerful instrument which can be used to influence the psychic states. In moments of fear, excitement or aggression our breath changes drastically. I am interested in using the variations in breath to generate the state of high excitement. In the performative research, I am planning to try different breath technics inspired by dynamic meditation (Osho), shamanic practices, pranayama and holotropic breathwork. I have experience in these fields and would like to see how this technics can be abstracted from the mentioned context and be possibly used to generate excitement.

Sound

The voice is another interesting instrument which I am interested in. Similar to breath the voice is used in various traditions to generate certain states or to create unity among a group of participants. In the chakra sound meditation, vocals are sang separately related to the chakras to trigger a certain effect. In ritualistic practices, shouts or songs are performed to create a unifying experience. Further various humming and chanting techniques are worked with in eastern traditions to elevate the state of mind. Also in this context, I would like to try to find the core elements of these techniques and see how it can be used in my work.

Movement

Finally movement. Dancing, shaking and various forms of rhythmic movement are used similarly as the voice and breath. In the Kundalini mediation shaking is an important element to generate energy in the body which is then further directed. Further movements from dance, shamanic practices and haha yoga will be a starting point.

If one takes a look at the history of avant-guard theatre then probably Jerzy Grotowski is the one who deepened the exploration of the religious state the most. In the tradition of Antonin Artaud, he was trying to elaborate on how the actor can reach a primordial state through physical action. Grotowski was aware that in our fragmented society the unifying experience of the ritual is not possible. But he believed that if the actor touches this primordial energy of the human being the audience through mere watching of it will be able to connect to it as well. However, Grotowski stoped the Theatre of Production after a few performances and focused his work more on research and the work with the actor. He saw theatre as a vehicle for the actor to reach a higher state fo being.

I think that he gave up the exploration of the possibilities to transcend the religious state to the audience a little early. As Rappaport states it, Ritual is important as it allows the audience to get in

a transcendent state without an extended preparation or training. All these elements are included in the structure of the ritual. Ritual, therefore, makes these states accessible to ordinary people.

With regard to this, I will look for a way how to incorporate the explored techniques into a performance and look for ways to engage the audience. It is important for me to fuse these abstract techniques with motives of daily life and to make them, therefore, more accessible to the contemporary audience. The question is, what is the foundation fo ritualistic actions and how can it be translated into the language of contemporary western society? This is a very important point for me because I think that the mere presentation of something from a distant culture or time or just something completely detached from the profane reality, can not create the necessary relation to the audience. As a result, the audience becomes even more distant observing it as an object of entertainment instead of being drawn into it.

I am aware that it would be easier to achieve these states in the audience by making them do a certain action. However, I think that the distance with which the people prefer to approach an artwork not necessary must be challenged through a forceful call for participation. I would like to look for a more authentic way to create a relation to the work and make the audience part of it.

Residency #2 CLOUD LAYER BY LAYER | Una Wiplinger

29 July – 10 August 2019

Presentation : 10 August 17:00

Skin as a border between the inner and the outer world. As the most intimate human cover. As the outermost envelope. As the closest contact point to our surroundings. Skin covers the many layers of the body, interwowen and engraved with memories and stories.

During my first residency at CLOUD, my research was mostly about the sensation, influence and relationship between different anatomical “layers” of the body and movement.
Now I will start working with sound and textile materials, bringing new layers and aspects to my movement researches.

After a week of exchanging ideas and experimentig with Claire Chatel (costume & stage design), the interaction between body, movement and material will get integrated in the performative process. How can textile material and movement influence each other? What kind of movement possibilities does a certain material have to offer? How does movement change the shape and meaning of a textile object? What new pictures and stories can arise during the interaction between movement and material?

Furthermore I want to start developing first compositions for voice and loop station, playing with text fragments, layering and different kind of sounds.

Long Distance Collaboration | Ludic Collective

22-28 July 2019

Ludic Collective is essentially a small community of open-minded artists of different disciplines, with members currently scattered around the planet Earth. With passion for food, playing, experimenting, dance, music, devising and generally having fun, Ludic wants to collaborate with various artists and non-artists. 

Collectively we produce: performances /workshops /soundscapes /doodles /animation /text and meals, etc.

​Ludic focuses on creating  movement-based theatre. However, things are always shifting and Ludic members work to bring in individual projects to the group and support each others’ projects.

Ludic likes to eat together, share ridiculous ideas, make stuff, create a BIG MESS and conduct many trial failures without feeling the deep fall.

In this residency they will explore ‘long distance collaboration’, where they will bring together Bucharest, London, Gothenborg in the CLOUD studio. They also invited Kate Slezak to present her workshop during their time in the studio.

Sensory Experience | Kate Slezak

3- day workshop by Kate Slezak 25-26-27 July 2019

Rendering art reflective practise & proces making

July 25

11:30- 13:30 : entering the body, thinking about normalities; – from slowness to shaking

14:30 – 17:30 : creative workshop

July 26

11:30 – 13:30 : becoming – withs in intra active spaces ; – W. ‘Lecture’

14:30 – 17:30 : creative workshop

July 27

11:30 – 13:30 : digital performance and virtual body ; – monitoring movement and the art of conversation.

14:30 – 17:30 : creative workshop.

  • Intersecting embodied practise and and social critical discourse within interdisciplinary art making practise / process.
  • Participate is solo and collective movement and choreographic based exercises.
  • Call upon and access your subjective creative abilities.
  • Engage in reflective discussion
  • move and think together.

This workshop is open to anyone interested in furthering or beginning their art making practise/ process. Each day will be structured to an according subject; participants are ree to atend any 1-6 sessions. A donation of 5 – 15 € per session is encouraged. ( please contact Kate if money is an issue)

email questions / rsvp @ kate.slezak95 @gmail.com – Or ust show up !

www.movingmoves.com/rendering-art-reflective

THE UNCONSCIOUS MOVE | Residency Sebastian Pickering Pedersen

10-21 June 2019

PRESENTATION : 21 June at 5 pm

Open Morning Labs : 11/13/15/18/20 June from 9:30 till 11:00

Sebastian Pickering Pedersen

Danish/Canadian dancer, dance-maker and musician, b. 1994, Aarhus, Denmark. He has a varied background as a dancer, classical guitarist, fencer and white water canoeist.

As a choreographer he was recently artist in Residency at Performing Arts Platform in Denmark researching photography vs. movement/choreography with his collective aNorange, with whom he is currently working towards the premiere of their first longer piece. As a dancer he will be working with Icelandic Dance Company in January and Nicole Beutler (NB Projects) later in spring.

He is currently working on his movement research concerning involuntary/unconscious movement and has a flair for floor work and physical theatre.

During 2 weeks of exploration and creation at CLOUD, I will be working with different physical, theatrical and visual aspects of unconsciousness. Building on previous research concerning “Involuntary/unconscious movement” I will be continuing to work with physical tasks aiming to provoke the body to move without the performer consciously choosing to do so. The includes working with balance (loss), manipulation of the body and provoking physical reactions. I wish to combine this with a more theatrical approach by imitating states of consciousness – how can we theatrically express being conscious or unconscious? Can we create or imitate a state of in between – eg. sleep walking, being drunk, constantly switching between loosing and gaining consciousness?

The aim of this residency is to start transforming material and tasks from a practical movement research into a more artistic direction by finding out what images and associations appear from the exploration of physical and theatrical consciousness. By working with the theme and its tasks, what references might appear? What scenes can be built? What aesthetic does it have – does it have an aesthetic at all? Does it bring a context of its own, or does it need to be put in a certain “staged” context to have a meaning?

OPEN CLASSES

To prepare ourselves for working physically throughout the day, the warm ups will be working our stamina through floor work, partnering and improvisation, but also focus on more intricate exercises in balance and adding subtle theatricality to our ways of moving.

LAYER BY LAYER | Residency Una Wiplinger

1 – 8 June 2019

Una Minou Wiplinger

BA in Eurhythmics/Music and Movement Pedagogy at the University of Music and Performing Arts, Vienna (mdw). A piano and voice pedagogue, she is also active as artist and educator in the fields of dance and theatre for children and adults. She is working as a freelance dancer, musician and eurhythmics practitioner and is a member of the Austrian dance and performance company schallundrauch agency

See the world as a mystery.

An onion with many layers.

Look beneath the surface.

Peel things to it ́s core.

Follow the threads of life.

LAYER BY LAYER is an interdisciplinary performance project. Dance, textile art and live music will fuse together. Therefore, I am collaborating with Claire Chatel, a French-Austrian textile artist and designer, as well as with two Austrian musicians.

Theme: “MULTIPLE LAYERS “

Universe- Worlds- Body- Society- Movement- Living beings- Thoughts- Materials- Emotions- Stories- Relations- Life- Textiles- Systems- Perception- Dreams- Sounds- People… are complex.

They consist of many elements, of different layers. Their structure is being shaped by time, by life. Each experience leaves marks, shaping and changing the story. Sounds, textiles and movements can be broken down into their finest fragments. They can condense and dissolve themselves. They influence and communicate, connect, separate or envelop each other. The performer plunges into different layers, atmospheres of different surroundings, and into her own inner universe.

Fields of Research & Questions:

Textiles, sounds and the anatomy of the body consist of layers, waves, and structures. We see and hear, but usually we only perceive “the whole” or rather the uppermost layers.

To what extent can a human being perceive deeper layers and differentiate between them? In more concrete terms: To what extent can we feel the structure of a fabric on our skin, feel our fascias, make out the different voices of a sound carpet or perceive the feeling that lies hidden beneath another?

FALLING IN: body, space, fragmentation | Residency Marta Worner

Marta Worner’s research exposition (13-26 May 2019)

Showing the outcome of the residency on 26 May

1st Show : 14:30 – 15:30

2nd Show : 16:30 – 17:30

Open attending sessions between 20 – 22 May

( see section “participation” for more info)

While space becomes fragmented, Marta researches around the ability of the body to become, through the simple act of falling into the unknown.

About the research

After two years of practice-led research framed within the Choreography Master program of Codarts and Fontys Universities, Marta finds herself in the final phase of her inquiry in which she will bring together her two lines of inquiry, the destructuration of the space through scenographic tools and its relation with the kinetics of the body. Below the inspirational umbrella of the idea of performing the Deleuzian concept of “becoming”, Marta addresses the dichotomy structure-destructure and its application and affections to the body.

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 act of “fall in” as a tool for de-patterning, a physical door to the unknown. The research will be presented one the one hand by an exposition of her documentation and on the other hand by an interdisciplinary movement work. The resulting interdisciplinary piece is a playful physical and spatial dialogue between controlling and “falling in”, or between balance and uncertainty that happens in a fragmented and multidimensional space. Starting from the destructuration of the space through the scenographic practice Marta uses an interactive steel construction with video projections together with sound and light design tools to build a fragmented universe that challenges the body to find its place inside that fluent setting through a process of becoming or falling in. The research has been led by an always changing, falling research question: How the fragmentation and destructuration of the space relate to the kinetic action of falling knowledge of my findings?

During the residency at CLOUD/DANSLAB

In this artistic residency at Cloud/Danslab, Marta Wörner will be experimenting on how to present her research documentation through the exposition model. Rather than create an academic paper to share her research, Marta has the aim to facilitate an experience that allows the audience to enter into the research universe she has been diving in during these years and to generate new knowledge together with the viewer’s experience and presence. For that, Marta will design an interactive space that, in coherence with her performative work, allows a nomadic experience in which the audience can access her documentation freely but guided and informed. During the residency, Marta will invite artists from different fields to allow their experiences and comments to influence her design.

Participation

If you are interested in participating, experiencing or questioning Marta’s research during the residency period, please, write an email to mwornersarabia@gmail.com with a short text explaining why would you like to attend to one of the research sessions and your availability between the 20th and 22nd of May. Moreover, there will be a showing of the outcome of the residency period during the 26th of May. If you would like to attend, please, send an email to mwornersarabia@gamail.com .The participation in both activities is free of charge, as it is thought of as an exchange. However, the inscription is necessary and the commitment to the appointment is appreciated.

About Marta Wörner

Marta Wörner is a motivated and enthusiastic interdisciplinary artist trained in modern dance in different countries and a Bachelor’s Degree in Audiovisual Communication. Throughout her career, she combines contemporary dance and audiovisual work such as projections and soundscapes for her performances. As a choreographer, she is seeking for expressive and artistic languages that can evolve from the interaction and mixture of different art fields and formats. She aims to create vocabularies that entail a transdisciplinary language.

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.

RESEARCH QUESTION FOR THE ARTISTIC RESIDENCY AT DANSLAB.

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..

RESIDENCY LO BIL

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.

ARTIST STATEMENT:

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 : lbil@rogers.com

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 : http://lo-bil.tumblr.com/ 

RESIDENCY ELIEN, DASHA & JUDITH

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.



call for participatory audience | Tatiana Kolganova

Please choose one or more days in which you will like to join

May 24, 28, 29, 31 | From 12.00-14.00.

(presentation: Thursday 5 Juli  19:00)

contact Tatiana via: tanianak@gmail.com

Tatiana Kolganova is a multimedia artist and researcher. She explores human relationships with a natural environment. Mostly her art practice focuses on the intersection of language, imagination and human senses. Working with different media Tatiana is interested in creation of an art experience with active participation of an audience.

Currently she studies master program of Fine Art at HKU, University of Art, Utrecht NL.

During her residency at Cloud, artist Tatiana Kolganova will develop a participatory performance about imaginary contact with a natural landscape.

Everyone is welcome to join in the process of work and explore the different aspects of collective and personal imagination.

We will experiment with:

-Representative elements of a landscape.

-The power of a ceremonial process

-Different layers of personal imagination.

-Collective creation of an imaginary natural environment

and others prepared and unexpected elements.

After each session we will have a short discussion about the process.

Art lab: your collective movement (work in progress)

What: a sensorial exercise for a small group of people in complete darkness
For who: open call for test audience, free entry
By who: Aisha Pagnes 


“The defensive and unfocused gaze of our time, burdened by sensory overload, may eventually open up new realms of vision and thought, freed of the implicit desire of the eye for control and power.” Juhani Pallasmaa
And perhaps by relying on our sensorial capacity and perceptual ability we can fertilise the grounds of these new realms through artistic experiences, so that we may reclaim the gaze of our whole being.

How does a darkened safe space influence the way we perceive ourselves, our environment and one another?
Over the course of one week, CLOUD/Danslab will become a completely darkened environment.

During this period, I will gently guide you through daily sessions that work toward our sense of presence, sensorial awareness and felt connection.

What does it look like:
We will move delicately in the dark through a sequence of simple movements. Each person is equipped with two light dots* for visual reference.
*(Light-dot: a 6mm magnetised dot that clips on clothing. In darkness it glows white. The glow dims naturally over time).

What will be practically explored:
– When our senses of proprioception, hearing and vision are fully activated in a darkened space, how is our perception of self and of the other influenced?

– How emergent movement is experienced meaningfully in an unconventional environment.

– How verbal variations of the same instructions influence audience participation.

– How can we effectively compose such experience? (one that is repeatable, has a clear beginning, entry, exit and quality).

What can you expect:
– To be an active part of the creative collective process, aimed at finalising a time-based perceptual composition that lends itself to a broader audience as a participatory experience.

We will brainstorm together, go through iterations of movement and sensorial exercises to improve concentration and a sense of togetherness. Your input and feedback as a creative being will shape the week’s progress.

– A warm and friendly environment, with tea, coffee and snacks. In this, a chance to experience this same environment in an expanded and evocative way.

When:
based on your availability, open from Monday 7th to Sunday 13th of May. Times to be decided.

This practice week is part of a work in progress which focuses on audience participation and interaction, whereby simple means such as absence of light and basic movements are the elements driving the poetic experience. Below an excerpt of the sequence:

Situation Body: Participants wear a light-dot on the chest (above clothing) and on the back. The room is completely dark.

Begin by standing upright and still.
As if you were a singly entity,
arrive in unison with the others to a comfortable walking pace.

[…]

Profile: Currently studying at the ArtScience Interfaculty, I set up interactive installations where audience participation is the primary concern, as a result, test audiences are key influences in the various stages of development. Non-verbal communication and sensory awareness is a recurrent theme in what I look for. http://cargocollective.com/arp

If you would like to participate or want to know more please get in touch: ryannon.aisha@gmail.com