A one day performance context
November 8, 6-9 pm
Other Ways is a one day context that will start with Dinis Machado’s group performance Cyborg Sunday, a work unfolding from the tangible consubstantiation of a fictional prosthetic memory of an utopic Future.
Other Ways will follow with the 5 performers of this group work performing their own artistic work. This artist have in common the fact that their artistic practices do not correspond to a generic (or normative) idea of dancer but build a specific physical practice with, around and through their specific bodies and identities.
Cyborg Sunday lives quite invisibly of the embodied dialectics of this performers negotiation with a normative world and artistic field and how they relate to Machado’s own queer struggle in this negotiation. Therefore it seemed relevant to unfold in a curatorial context how these artists voice themselves their relation to this issues, also revealing different diplomatics, discourses and artistic materialisations of it.
Other Ways invites also the special participation of Fatima Moallim with her performance Flyktinglandet.
Flyktinglandet, a performance by Fatima Moallim
Drawing is the basis of her performance acts, in which Fatima Moallim’s and the audience’s energies merge into one. It flows out through her hand in abstract works where the pen’s movements express what she is experiencing in the space.
Cyborg Sunday, a performance by Dinis Machado (SE/PT)
performed by Anna Koch (SE), Vicky Malin (UK), Odete Ferreira (PT),
Nikolas Kasinos (CY/DE) and Mandi Tiukkanen (FI/SE)
development collaboration Catherine Long (UK)
and with Pedro Machado (BR/UK) as outside eye
Dinis Machado’s Cyborg sunday starts with four people remembering out loud a story which will still happen. The story, about a day in the life of a group of people who live together in harmony, is told through the performers’ impressions, their filtered recollections and individual sensibilities. As they strive for accuracy their memories trigger physical sensations that fleet form whilst keeping their intention. Slowly their actions get more fragmented, loosing not only meaning but physical substance. But this is no chaos, no free for all. Instead everything is ultra considerate and as their social masks fall we are guided into an imaginatively rich world, something as personal as it is ephemeral. Even when they try each other’s hairs, the more practical and mundane of their actions, this is done not for effect, not for impact, they do it simply because they can do it. They can be each other without ceasing to be themselves. After all, reality seems to be the fiction they create and share, they are in control.
As the story unfolds, it’s characters, including Dinis himself, cohabit intimately. They sleep, cook and eat, and film themselves while the movement from the performers becomes more and more tenuous so that even direct references, to a hamburger for instance, loose their literal impact, perhaps movements are also being ‘unmasked’. The only thing that seems to matter is how the diverse cast remembers and relates to the story, their personal perspective united by an external reference. If the story is the frame of the piece it is the performers who hold everything together through the possible representations that never take place.
‘Cyborg sunday’ works like a seductive labyrinth where Ariadne’s thread leads one not to the exit but deep inside a dense intangible world. [Pedro Machado]
Developed in residency at ImPulsTanz (Vienna), Dance4 (Nottingham) and Weld (Stockholm)
Coproduced by Corp. and Dance4
With the support of ImPulsTanz in the framework of Life Long Burning supported by the Culture 2013-2018 Programme of the European Union.
Developed with the grant for the arts from the Arts Council England.
by Nikolas Kasinos (CY/DE)
by Anna Koch (SE)
Ρέβ [Rêve] is a day within a life, re-lived through fragmented memories. Loneliness, abandonment and regret are prevailing themes within cycles of reflection and contradiction. The consequence of time through the fragility of memory. A sense of self trapped within materiality and delusion.
About Working Hands: The hands you see are moving in-between states. They are tracking, supporting, making rhythms in order to fill out gaps. They search, balance or emphasize words. Helping the uncivilized to be civilized and articulated? Or negotiating which story to be told? Some gestures are made for nothing, some to make sense. The hands you see are hands moving while talking about work. Through a conversation they are reflecting their own genealogical past. How does the working body write itself through history from within the actual physically executed work? Even if we have been talking for many decades about machines taking over manual labour it is now it is happening. The focus has been to look at the body beyond today’s production forms and efficiency, to let the hands reveal traces of a very close by past.
a project by Vicky Malin (UK)
A specific solo practice that deepens my knowledge of this work through curiosity, action and reflection upon my own embodied experiences. Focusing primarily on the movement of my hands, I continue to challenge my own assumptions of my body and sense of self. This practical and theoretical research allows me to engage with my own experience in relation to the knowledge of others, such as time spent with artists or researchers within the field of neurology. The initial sharing of this research suggested it has the ability to resonate with the thoughts and experiences of other people (Vicky Malin)
Historia ish rexaping my boudy
by Odete Ferreira (PT)
Self proclaimed myth
Alive after generations of pain
Dramatic utters covered with rice powder
Blush of a princess torn between several gracious lovers
She is not real – she has been seen
Footage of her diving in the lock ness
Combing my hair as a ritual to cast away evil spirits one hair at a time
De tangling old traumas
Self loving – AH