PHYSICAL DISOBEDIENCE 

#TAKEHEART RESIDENCE 

Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media as part of NEUSTART KULTUR.

TAKEHEART Residences hosted by Tanzhaus NRW Düsseldorf and PACT Zollverein.

with the support of the residency program Tanzatelier 0.10 in Quartier am Hafen

PHYSICAL DISOBEDIENCE 

#TAKEHEART RESIDENCE 

Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media as part of NEUSTART KULTUR.

TAKEHEART Residences hosted by Tanzhaus NRW Düsseldorf and PACT Zollverein.

with the support of the residency program Tanzatelier 0.10 in Quartier am Hafen

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(C) ISABELLE WENZEL

I - GROUP RESEARCH MARS-APRIL 2022

WITH YING YUN CHEN, ALEXANDER ERSNT, PETER HAAS AND JORDAN GIGOUT

 

PHYSICAL RESEARCH AND DEVELOPMENT OF AN IMPROVISATION TECHNIC THAT CHALLENGES THE PERFORMER'S IMPROVISATION PATTERNS BY AIMING FOR COMPLETE AND CONSTANT DISOBEDIENCE OF PHYSICAL AND MOVEMENT IMPULSIONS. 

VIDEOS OF THE PROCESS: 

"BATH NO"performed by : Jordan Gigout

"BATH NO RELAXED"performed by Céline Bellut, Ying Yun Chen & Jordan Gigout

"PUZZEL NO"performed by Yung Yun Chen, Peter Haas & Jordan Gigout

"INNER OUTER NO" - performed by Céline Bellut & Alexander Ernst 

"AWARE" - performed by Céline Bellut, Yung Yun Chen, Alexander Ernst & Peter Haas

PERSONAL REFLECTION

D O E S    M O V E M E N T    H A V E     A N    O R I G I N ?

 

Let’s first of all define the type of movement we are now talking about to reflect on this question. I am thinking about conscious, active and abstract movements, and not about the imperceptible automatic and the one necessary for life. I am thinking about movements that could be understood as dance, movements that are by nature, useless. Movement we do not need to do, but rather choose to do, movements that just exist for no other reasons than to be. With origin, I am thinking here about the impulse inside the dancer’s body to make a movement rather than another, so by origin I question now the process of impulsion mixed with decision making that generates a movement. 

Of course the term origin also includes education and habits, what my body knows already, what my body likes to do for shapes and actions and what I have learned as a dancer. I am questioning, in free improvisation where I do not look for a certain shape, state or movement quality, but where I let myself be entirely following my impulses, what is the process happening in my body that provoc a movement or another. 

 

In opposition to live’s necessary movement such as heartbeat or breathing and everyday movements such as yawning or walking, that origin seems natural and non-questionable, the origin of dancing movement stays unclear for me, I still do not know why certain movements keep reappearing over and over again even though I am not trying to reproduce any actions but rather to fund something new. I am wondering why these movements, as random and illogic as they sims (because useless and abstract) do nevertheless appear to follow a certain logic, a certain flow. 

I need first of all to acknowledge my dancing free improvisation patterns to try to answer this question. My mood of the day has of course a big influence on my way to improvise. Some days I will move really fast and sharp, others smoothly and calmly, but nevertheless a certain way of moving remains always present, such as my dancing signature or the tone of my voice. Like an accumulation of my life experience, it seems that my dancing impulsion remains always more or less similar. I am wondering how to change that. I am wondering if I can reinvent my dancing signature, or if my style is too much printed in my body that I am forever restrained to move similarly because influenced by my mood and by what my body likes or not to do. I am wondering if the origin of my movement impulses are integrated in myself so intensely that even if I am trying to bring novelty to my improvisation, I would end up always performing in a certain way. 

 

More I think about it, the less I can find answers to this question, I can feel the impulses, the drives inside me that makes me perform this movement or another, but I can’t define to what extent this origin is predefined or of my freewill. With this research we try to trick ourselves so the origin of our movement can be as open and changing as possible, and not driven only by what we know and learned.

 

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II - SOLO RESEARCH JULY-AUGUST 2022 

EMPHASISE ON THE RELATIONSHIP BETWEEN (ART) MANIFESTOS AND DISOBEDIENCE 

I have been reflecting on the idea of disobedience in art, and more particularly for this research on how the concept of disobedience has a central place in the development of new artistic movements. I had a particular interest in the meaning of formulating disobedience as a way to break from a certain establishment, therefore I worked with the act of writing Manifestos. 

 

I selected and worked with different art or art related Manifesto written between 1909 and 2010, such as: 

“Manifeste du Futurisme” by Philippo Tommaso Marinetti (1909) ; “Manifeste du Surréalisme” by André Breton (1924) ;  “Manifesto Bianco” by Lucio Fontana (1946) ; “No Manifesto” by Yvonne Rainer (1965) ; “Women's Art : A Manifesto” by Valie Export (1972) ; “Yes Manifesto” by Mette Ingvartsen (2005) ; “Manifeste pour un centre chorégraphique national” by Boris Charmatz (2008) and “Manifestos for the Future” by Hans Ulrich Obrist (2010) I also enjoyed reading some feminist Manifesto that did not directly concerned art “Feminism Manifesto” by Mina Loy (1914) ; “Scum Manifesto” by Valerie Solanas (1967) and “Cyborg Manifesto” by Donna Haraway (1985)

 

I understood these manifestos as a transformation of disobedience into creation. Even though Manifestos are mainly breaking from a certain line of thought or artistic movement, I don’t consider them as resisting or being in opposition to precedent movements, but rather as disobeying precedent movements. I indeed consider disobedience as creating and opening a new door of thoughts and concepts that allows the writer and artist to detach themselves from all rules beforehand formulated. On the other side, I consider resistance or opposition as being entangled and undetachable from the concept resisted or opposed.

With disobedience, I enjoyed the freedom of speech that the platform of Manifesto’s writing can offer. Indeed I saw in Manifestos the possibilities for the author to be fundamentally right. In their rights. As if by creating new concepts the authors don’t need to neither explain themselves nor prove anyone wrong.

 

I questioned through my process what could it bring to my artistic development to write a Manifesto myself, so how could I allow myself to disobey all what I have known about choreographing without having to be frontally resisting certain concepts. Working on formulating my manifesto that would define the artist I am today, allowed me to question in a wilder sense my interests in art making in agreement with my political beliefs and to position myself more clearly on how I want to work in the future. 

I have reflected as well on my creative tools or conception of bodies and movement, then on my political inspirations, on how to collaborate with others, or how to position my art inside an economical and political system.  

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me : © Isabelle Wenzel
tiger : © William Ocker 

III - SOLO RESEARCH SEPTEMBER- OCTOBER 2022 

"LEARNING TO OBEY" DISOBEDIENCE FROM NON HUMAN PERSPECTIVE

CHOREOGRAPHY RESEARCH ON THE PROCESS OF ANIMAL DRESSAGE 

I will research on the process of animal dressage, working with archive videos of circus and horseback riding to research on the different physicalities change on certain animals provoked by their dressage and obedience, to later integrate these physicality to a choreographic movement research.

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