Working with sound and movement, collaborators Last Yearz Interesting Negro and Rowdy SS facilitate a workshop sharing their converging practices. This workshop will be an experimental space exploring silence and stillness in relation to noise and dancing; reflecting on the dynamic potential of intimacy and boundaries – psychic, spatial and physiological – and how we might (de/re)construct realities in performance to shift our relationship to/understandings of control, entanglement and care.
with Fernanda Muñoz-Newsome
Unruly bodies for unruly times, Organisms probing emergent space/s inside and outside skin/language that communicates new feeling not historical meaning, we mobilise our intelligent nosey body-minds to create space and rupture flow in the everyday. We access unruliness in our thinking bodies of water to make choice, sensation and pleasure political gesture within the bodies we want to be breathing in. What if our bodies spoke without censoring information? I am so bored and tired but I am alive and only a bit sick so…What if on a cellular level we are able to make patriarchy die a miserable death through investing imagination in the unruly beautiful mess of our bodies?Priming, disturbing (perceived) boundaries between choreographic, social, verbal and intimate space What if our speaking/ mumbling/ voicing bodies found power inside mess and the unformed/ non namable? I think about it like the time when someone said in a rehearsal “THIS IS NOT A DANCE, IT’S A THREAT” – yes. How and where do our bodies find and create intimacy, what are the conditions, what and how do we classify friendships? what is here already and how do we greet/meet that speaking, mobilising simultaneous agency, oiling the cogs of this girl-machine body-machine earth-machine this fragile oracle practices divination, let’s listen widening and wet. moving in the dark to feel what can be accessed and harnessed by a performing body leaky, leaking into choices about moving and seeing in general. What creates liveness, and what sense of liveness are we interested in living/ exploring?
Tanzhaus, Zurich 2018
workshops terrify me. i don’t want to learn anything – i feel too old to be able to let anything in because after a few decades of being alive i have been exposed too much to the dubious power-relations in rooms supposedly for education and learning, i have realised that a lot of what i have learned has been some training in obedience and subliminal correction. maybe i am just another neurotic londoner, woke just enough to make some stylistic statements of resistance and passive just enough to get jobs and get by in this world that establishes and feeds off of my ‘otherness’.
point being: techno-meditations on states of being and coping with being and bodies and other people and all that mad energy i.e. some dancing, to some music, with some words to encourage, to ignore, to suggest, to convince, to seduce, to say a daily prayer that is a manifesto that is a fuck you that is whatever it needs to be
Tramway, Glasgow, June 2018 / Groundwork Pro, Cardiff, March 2018 / Independent Dance 21 March 2018 / Zodiak, Helsinki 14/15 November 2017 / TripSpace, 2016
what are you waiting for, the apocalypse?
with Adriano Jensen
Critique is so last year: consolidating positions, rendering opinion into currency and rhetorics into power. At the same time conviviality, ‘all inclusive’ and everything goes ain’t gonna change a thing.
And movement is inevitable, whether we like it or not. How do we deal with this?
This intensive offers some time and space to exorcise constipating pseudo-agreements, perform opinionated and judgemental analysis of performances, indulge in abstract movement practices and try not to fear the impact of collision.
ImPulsTanz, Vienna, July 2017
immigrants and animals’ unprofessional class
for the self-proclaimed dancer who doesn’t give a fuck about being professional and just wants to keep dancing. this class is the most vague performance practice score. we are practicing being present. we are practicing existing. the idea is to share an ‘alternative’ practice that isn’t about getting better at anything other than being present and dancing as you want and we create a space that enables that.
come share in our practice which is basically fucking about for ages in a room, getting tired and calling it work. most likely there’ll be some karaoke.
we don’t believe that we have anything to teach but we would like to share the space with you. maybe we learn by keeping on going. work it out.
we will start at a later time than professional class usually does. there will be loud music and constant dancing – also some singing.
we would encourage non-professional people who want to dance to come also.
statement of intent/anti-professional manifesto
we think being a professional mover-abouter in-front of other people is brilliant and weird and ridiculous. we remain dancers for hobby not only dancers for money. we are unprofessional dancers. not leaving our lives at the door of the studio and becoming clean dancing machines, but bringing our shit inside and getting dirty. we think nine or ten in the morning is far too early to go to class, that dressing in all navy blue brings good qi to the studio and that dancing on a stage need not look different to dancing in a club or a kitchen.
we think of dancing as something that we both do and enjoy and also as a space, and at the same time a tool, for working out our positions and continuing our conversations. rather than exploring our ideas through a specific kind of movement, or our work being an investigation into movement itself, we work on framing our conversations and our dancing in ways that have a theatrical intent, or a level of artifice that intends to produce a state of being in both the watchers and the doers. we are interested in what our performance does rather than what the dancing might look like.
DIY with LADA and Tate, London 2016 / Juncture festival, curated by Gillie Kleiman with Yorkshire Dance, Leeds 2016 / TripSpace, London 2015
Can working with video create new ways of seeing bodies, articulating subjectivities and accessing cyber-virtuosity in movement that can begin to re-articulate assumptions of dance in relation to liveness, labour and intimacy?
Is there some potential in the friction between the immediate and ephemeral act of movement and the manipulations of recording, compositing, editing and effects?
Working with video as something other than documentation that fetishises liveness, is there space for physical urgency and spontaneity equal to that of live performance? Can the camera get rid of the problem of seduction in the moment of performance?
What is it to prioritise the camera eye as audience – and its contrasting, non-human inclinations – in terms of staging, light, backdrop or proximity?
What is the process of depersonalisation that takes place between you and your body once it becomes material on a screen, and how can this be a useful tool for getting over and into yourself?
A workshop designed to explore relations between movement and digital moving image placing emphasis on style, surface and intuition rather than narrative or meaning production – considering fragmentation as a place of meeting and obscurity as hope for seeing another way through.
– workshop with David Panos, ImPulsTanz, Vienna 2016
with immigrants and animals
took place in peckham in september 2015.
a week-long alternative artists’ discussion.
SEX is an anti-festival and 24 hour artist retreat, a day-long working holiday. We want to make time to spend thinking about making art. The politics of presentation are something we constantly negotiate as freelance makers and instead of being public, performing, presenting or networking bodies we would like to invite other artists to spend time with us in a more intimate setting for discussing making, doing and being.
This is a call out for five artists to each spend one day and a night with us in a London flat from noon til noon to talk and think about doing, making and being. The project will take place over a period of six days. We want to undo the professional body with everyday ‘realness’ and small intimacies by hosting the discussion in an apartment, cooking meals together, having a sleepover, sharing food, stories, grievances and questions for 24 hours.
SEX is our third proposition in a series of things (events/happenings/workshops) that seek to undo what being ‘professional artists’ seems to demand from us as we feel this often compromises how we want to work, what we want to do and how we want to be in the world.