A Dance to Remember
You might think that we are trying to do a dance so mesmerizing that will take your breath away. And, indeed, most of the times, we might want to create just that. But, in this particular moment, we have created a dance that struggles to be remembered. It’s a cyberfake about girls, dance and inner spaces. This short piece is a cosy chat between Kadri, an Estonian, Torino based performer and Zelda, a fake AI, that mirrors Kadri’s mind. Sometimes deep and poetic, sometimes selfironic and pragmatical, this conversation talks about the act of remembering what a movement felt like, when it was first created. In the meantime, we are deconstructing the magical and the spectacular and replacing it with an honest vizualization and verbalization of the process of creating the dance itself. We are asking ourselves what aspects from the invisible act of performing we choose to disclose to the audience. Two types of narratives emerge, linked by the way we experience time and movement. They come together to speak about co-presence, with self-awarness, passsion and humour. Technology steps in the process, either as a subtle link facilitator or as a fake maker. It’s this idea of fakeness that interests us the most and, more specifically – where does the border between the true and the fake lie, while trying to create a reality based fictional dance. Concept and choreography: Simona Deaconescu with Kadri Sirel
This work is an ongoing exploration to implement a coherent narrative on stage by combining high-tech and low-tech technologies within live dance performance. This process has been focusing on finding a balance between the technical tools of live visualisation and sound creation, combined with the compositional tasks given to the performers to create the dance. Technologically, we are using live motion capturing coupled with digital audio and video synthesis tools to create visual and sonic layers, constructing a poetic narrative in dialogue with the dance. For the movement, we are focusing on task based improvisation, where we take different awareness and sensory inputs (auditive, visual, tactile) as guides to create movement and to connect to the Other. We are playing with prioritising particular senses to articulate movement language into compositional scenes and episodes. In doing so, we have attempted to portray the power of mind and imagination, and the inherent need to be heard, seen and touched whilst searching for connectedness to others. My choreographic objective is to look at ways to layer the different elements, whereby the connection between the movements, visuals and sounds can be strengthened in order to create a narrative, whilst simultaneously allowing each element to exist through its own dramaturgical logic. Concept and choreography: Hanna Pajala-Assefa
Human navigate in spaces throughout mapping. These maps are constructed in our brain to direct and identify spatiality. Maps like landscapes, are build in the cognitive, kinetic and sensorial memory of the brain, unconsciously. They content not only physical characteristics of the spaces, but also emotional and imaginative factors, which makes the brain understand spaces. These imaginative maps are often very much different than the actual physical space is, because the imaginative maps are formed with multi-sensorial experience base and the perception is always through the body that moves in space. In this sense, hence moving body with sensorial awareness, shapes its perception of the space. The moving body is in the center of engagement and experience, as well as in-between the physical and imaginative spaces. Like Arendt (1958) describes: space exists only when body appears. Therefore all these maps are in relation to moving body that transforms the spatiality around constantly. This project examines the connection between imaginative and emotional perception, and the actual physical space throughout moving body. It researches answers to the questions about perception of realities in their characteristics. This action of sensing and mapping the space is visualized with technology like motion capturing system. It presents invisible landscapes of mind from the dancers, anticipate the movers way to create mapping of the space and reveals how to maneuvering in spatiality happens by the dancers in real architectural space as well a sin connection to their own perception. E-motional landscapes opens up the various aspects that constitutes the act of mapping like the primar human condition to direct towards light, emotional traces, forms, colors, sounds and social memories. These all together form the constantly transforming and evolving landscapes in the brain of the moving dancers. Concept and choreography: Outi Elena Valanto
(Im)possible Bodies: The Beautiful Glitch
In this particular research project, I have been interested in the image of the human body in contemporary dance performance. Considering Oskar Schlemmer’s conception of the KunstFigur, as an idyllic figure freed from the bondage of biological and biomechanical limitations, in tension with the current discourse of the Post-Dance body, digital technology and dance become relevant explorative platforms with which to re-consider normative expectations.In this work, I seek alternative artistic propositions of the image of the human body, and its kinetic capacity, which can feed and highlight different readings of the human form otherwise unseen or hidden from the conventional eye. Uncovering a selection of alternative performative visualisations of the human body triggered by the accidental digital glitch which was discovered in collaboration with the Moving Digits Team and the dancers, I ask that you, as a critical spectator, and I, as dance maker, re-consider the digitally filtered, and de-subjectified (or simply altered) Body form, as beautiful glimpses into the less familiar. By learning how to purposefully “hack” the motion capture system, so as to force the glitch by manipulating the biological input (choreographic movement patterns) and non-biological affectations (lights, clothes, colors) as hacking methods, I encountered (im)possible variations of the possible, enabled through the digital filter. Hence the Digi-logic of the system. Seeing these glitches as a positive and creative input for performance and the generation of alternative movement patterns, I have been able to reconsider the strange, awkward and uncomfortable as something aesthetically enticing, theoretically interesting, and viscerally inviting. This performative experiment, is a Digimorphed hybrid, borne of a biological nature (human dancers), whereby all of the output images are translated, adulterated and glitched through the digital system of motion capture, and some technological effect-filters. I call this performance an experiential demonstration interlinking the bio-logical Body, and its Body-Logic input of the human dancer/persons, into a digital realm. By providing a variation of three perspectives: the Latent Steps video Installation, the interdisciplinary performance demonstration, and a digitally choreographed dance film, I essentially seek to enhance and ultimately celebrate the strange, and biologically impossible Body solutions that the collaborative dialogue between technology and human intervention has proposed. The Glitch is beautiful. Concept and choreography: Sylvia Rijmer
Visuals, sound and interaction by, respectively: Stephan Jürgens, Raul Masu and Jochen Feitsch, with additional interaction by William Primett (in (Im)possible Bodies: The Beautiful Glitch) and additional visuals by André Carrilho (in A Dance to Remember).