MORNING MOVEMENT PRACTICE
PERMISSION TO DANCE
aka REAL DANCE CLASS FOR FAKE DANCERS
with shannon stewart
At it’s core, PERMISSION TO DANCE/REAL DANCE CLASS FOR FAKE DANCERS/QUEERNIQUE is just a dance class with a warm up, some exercises and even a little bit of choreography. It celebrates the ritual of coming together to be in our bodies learning things. It takes inspiration from queer theory and feminism to make sense of the practices we do or can do. It’s meant to challenge you physically and engage you intellectually, while keeping it light so that you are prepared to face the rest of the day’s work and research.
SHANNON STEWART BIO
Shannon Stewart is a choreographic artist who splits her time between New Orleans and Europe. Her company Screaming Traps explores the intersection of dance practices, embodied identities and social choreographies. For Shannon, the body’s participation in everyday life, social systems, and how we know ourselves is an opportunity for choreographic research. Simultaneously, the practice of dance rituals is a potential for untraining, retraining, making and unmaking. Shannon has interpreted the work of Tino Seghal, Joan Jonas, and Deborah Hay and performed with tEEth, zoe | juniper, Kathleen Hermesdorf and many others. Shannon has trained, taught, and performed internationally. Along with years of ballet, yoga, and somatic forms, she has studied gaga, Forsythe improvisation, Skinner Releasing and CounterTechnique intensively. Shannon is certified in four formats of Gyrokinesis® and is a Gyrotonic® Instructor and as a Teaching Artist with Dance for People with Parkinson’s Disease. She has taught in universities, festivals and contemporary dance centers in the United States, Canada and Europe. She has a BA in Urban Design from the University of Washington and an MFA in Interdisciplinary Dance Performance from Tulane University.
AFTERNOON THEMATIC WORKSHOP
OPENING WEEK :
PROMISCUITY OF PRACTICES
WITH DIEGO AGULLó
The Opening Week serves as a space to introduce all participants into a framework of research, in which we will investigate the potentiality of artistic practices to provide conditions, strategies and methodologies that stimulate the poetic meaning of our everyday life.
The starting point is to make a diagnostic of the participant's own practice and to get familiar with what kind of artistic processes the practice leads to. We will immerse in an intensive collective process with the purpose of encountering and mixing with alterity and, through that, to stimulate the emergence of something new. We will practice promiscuity, understood as the mixed or disordered confusion of different things tending to mutual exchange. We will entangle our practices and by creating set of exercises we will confront ourselves with fundamental questions such as: What is the research behind your practice? How to articulate in a set of exercises the main questions of your research? How much do you risk in the process of art making and researching? How much chaos can your practice deal with?
The process consists in the following parts:
Diagnostics: we will choose which individual practices we want to bring into the process and we will formulate what are the main fundamental research questions behind them.
Creating an exercise from your practice: the participants will translate their own practice or artistic material into an exercise to be done with a partner. After having engaged on each other´s practices each group will create a common practice emerging from the encounter of two initial practices. This common practice will be exercised by the entire group.
Reformulation: after a feedback sessions each group will reformulate each common practice.
Experimenting in the art of living: by creating a laboratory of everyday life actions, we will expand each artistic practice into a way of living in order to investigate the role of the body. Getting awareness of what are you legitimizing with your practice. What are the ideologies, value systems, ideas, worldview, politics, ethics implied in your practice. Which world does your practice create?
DIEGO AGULLÓ BIO
Diego Agulló is an independent researcher and a dilettante artist intervening mainly in the field of contemporary dance and performance investigating the affinity between Body and Event. His work covers different media such as dance, performance, essay writing, publishing books, video art, laboratories for research, the organization of participatory events as well as the creation of contexts to continue practicing and investigating the relation between the body and the event.
Diego´s frame of research is called Theoros , and it is dedicated to create contexts for learning and investigating the affinity between Event, Body and Theory in the frame of an artistic practice. It deals with the intersection between education and art, dilettantism and professionalism. In this light, the artistic practice becomes a way of practicing philosophy. The workshops are facilitated frames for a temporary collective body to engage in the process of dancing and choreographing a series of practical problems using the methodology of cyclic interval oscillation, a practice that seeks to keep open the relation to alterity.
He is the editor of the Circadian press where he has published Dangerous Dances (2015) in which he analyzes the intimate affinity between dance, the problem, the devil and ballistics, and Betraying Ambition (2017) where he displays a critique to the ideological implications of ambition in the art world. Diego teaches workshops and laboratories internationally and in Berlin he collaborates regularly in educational contexts such as the HZT University, Smash / Roar platform and Affect at Agora collective. During 2016 and 2017 he carried out an interview project under the name Measuring the Temperature of Dance, analyzing the ethical and political conditions of the dance context in Berlin. He is also co-founder of Pinpoint Tv, an online platform for the dissemination and investigation of contemporary dance.
Photography: Sarrah Danziger, Derin Cankaya, Diego Agulló