3 April 2016, 14.00–18.15. Free admission, no booking required
A choreographed reading circle is an investigation into how methods for dance can meet methods for group readings.
We propose that reading together can be to dance together, and how we dance is structured by a choreographer every session. The choreographers choose text, methods and format for the experiment according to their own artistic interests. Taking part in a choreographed reading circle involves asking yourself what an event like this is and can be. We all participate with our curiosity, our eyes, our bodies, our voices and our thoughts. Everybody who wants to join is welcome, no preparation is needed. It is always possible to participate as a spectator/listener/witness or as reader/dancer.
The circles are held in Swedish or English. Participants are welcome to use the language they are most comfortable with. We help to translate when needed.
A different artist is invited every session, with the commission to answer with their eyes, their ears, their hands or thought to the reading circle, with a material that can be printed on paper. The invited artist participates on the same conditions as other participants; as spectator/listener/witness or as reader/dancer. The document that the artist creates will be published at the following Sunday Circle. Frida Sandström is invited to document the first reading cirlce.
Manon Santkin (BE) is a free-lance artist and she works between Brussels and Stockholm. Within the field of the Performing Arts, she operates as a dancer, choreographer, artistic advisor, process assistant and writer. She graduated from P.a.r.t.s. in 2004 and recently finished a Master in News Performative Practices at Doch in Stockholm. Manon regularly takes part in the processes of other artists as a mentor, advisor or dramaturge and sees her role as an interpreter morphing into that of a facilitator of collaborative processes. She has been collaborating with choreographers Mette Ingvartsen, Salva Sanchis, Xavier Leroy, Sidney Leoni, Eleanor Bauer, Cecilia Lisa Eliceche, Daniel Linehan and Leslie Mannès. She also develops projects with sound artist Peter Lenaerts and with designer Nicolas Couturier. In her current works Manon revisits the notion of ‘interpretation’ in terms of an ecology of practices and intelligences, selforganization and interactive agencies.
Frida Sandström is an artist, writer and critic based in Stockholm. With a BA in Journalism from the University of Gothenbur, she is currently enrolled in the Master’s program in New Performative Practices at Stockholm University of the arts. She is the producer of art collective MYCKET and part of the editorial board of Paletten Art Journal. She writes currently for Feministiskt perspektiv and for Kunstkritikk and she is currently guest editor for an issue of the magazine Kritiker, focusing on movement, togehter with Moa Franzén and Caroline Taracci Nilsson. Frida works within the collaboration Neshast, togehter with writer Samira Motazedi, and she is involved in the unruly conversation Kapoff – likecommentshare together with artist Angelica Falkeling. sandstromfrida.tumblr.com
Right now, we are sitting on the first row in a big square room with black surfaces aimed for different performances. In the middle of the room there is a white curtain with long lines painted on it. The curtain moves in a slow and dreamy way, as if there was a slight wind on stage. A soft light lit the floor and the first three rows. Those who are seated in the back row sometimes wonder what I am talking about here in the front. I am here to interpret a dance performance for you, a story about what takes place on stage but also a story in itself.
“Shapes of States” traces the historical and political writing of the body by connecting Swedish public health ideologies from the 1920’s with contemporary training ideals. Seeing the body as malleable material, which are the means through which we sculpt it? And what is the daily shaping of the body doing to the way we shape society? With a starting point in Meyerhold’s biomechanics the dancers in “Shapes of States” develop a movement vocabulary far from any idea of natural behaviour. In a series of dances they tell the broken story of a human belief in the disciplining of the flesh.
The performance will be visual descripted, offering various perspectives on how to perceive the form and content of dance. The visual description will be performed by the dancers and will interpret what is happening on stage, what is happering in the world and what is happening in fantasy. You are welcome to take part of this, whether you have a visual impairement or not. To book visual description, send an e-mail to email@example.com. An introduction for audience with visual impairment takes place 15 minutes before the performance.
Stina Nyberg lives in Sweden where she makes and performs choreography. Her departure point is always a feminist approach to the body; its social and political construction and ability to move. She is educated as a dancer and holds an MA in choreography from DOCH in Stockholm. Stina has presented several independent works on the relation between sound and movement, as well as investigations of the polical history of the body. She choreographed the Shaking the habitual show with the Swedish band The Knife and performed on tour in Europe and US between 2012–14. Last year, she choreographed a new work for the Cullberg Ballet. Together with the choreographers Amanda Apetrea, Nadja Hjorton, Halla Ólafsdóttir and Zoë Poluch she forms the group Samlingen – a collaboration that deals with the history and herstory of dance. www.1200m.org/stina
Choreography: Stina Nyberg. Performers: Andrea Svensson, Sandra Lolax, Sindri Runudde and Stina Nyberg. Set design: Tove Edlund Dreiman. Costume: Tove Edlund Dreiman and Sandra Leandersson. Lighting design: Josefin Hinders. Dramaturgical adviser: Manon Santkin. Producer: Sara Bergsmark. Administration: Interim Kultur AB. Production: MDT, Inkonst, Norrlandsoperan and wpZimmer. Supported by: The Swedish Arts Council, The Swedish Arts Grants Committee, The Municipality of Stockholm and The City of Stockholm. This presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission.