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(C) ISABELLE WENDEN

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

 

I - GROUP RESEARCH MARS-APRIL 2022

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

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.

II - DISOBEDIENCE & ART MANIFESTOS

SOLO RESEARCH JULY-AUGUST 2022

 

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