DOCH Master Students of Choreography
The Coming Boogie Woogie

Thu Dec 8
8pm: mychoreography “The Coming Boogie-Woogie”

Fri Dec 9
8pm: Rebecka Stillman “New Dimension of The Idea”
9.30pm: Fugazi “We are not in this together yet”

Sat Dec 10
8pm: Stina Nyberg “The Environment”
9pm: Rebecka Stillman “New Dimension of The Idea”

Sun Dec 11
4.30pm: mychoreography with Jennifer Lacey & Antonija Livingstone “Spectacle Fin D’Annee”
5.30pm: Mårten Spångberg “Powered by Emotion”
7.30pm: Amanda Apetrea, Sidney Leoni, Sebastian Lingserius, Halla Ólafsdóttir, Mårten Spångberg, Johan Thelander “Rite of Spring”

Tue Dec 13
8pm: Xavier Le Roy “Project, the Stockholm Syndrome”

Wed Dec 14
8pm: Kim Hiorthøy “Pocket”
9pm: Stina Nyberg “The Environment”

Thu Dec 15
8pm: Zoë Poluch “Example”
9pm: Uri Turkenich “After #1” & “After #2”

Fri Dec 16
8pm: Kim Hiorthøy “Pocket” & Zoë Poluch “Example”
9.30pm: Uri Turkenich “After #1” & “After #2”

Sat Dec 17
2pm: Mårten Spångberg “Powered by Emotion”
3pm: mychoreography “The Coming Boogie-Woogie”
5pm: Stina Nyberg “The Way Sounds Attack”
6pm: Food experience by Emma Kim Hagdahl
7pm: mychoreography with Jennifer Lacey & Antonija Livingstone “Spectacle Fin D’Annee”
8pm: Xavier Le Roy “Project, the Stockholm Syndrome”
10pm: Nadja Hjorton “40 Minuter”

Truth Claim #1

We create meaning and vitality when our do-ings are
self-valorized using self-determined criteria.

Truth Claim #2

We are in the same space and time and therefore fundamentally
and necessarily affect one another’s do-ings.

Truth Claim #3

The holy trinity of authorship-spectatorship-objecthood
is not a self-evident conceptual institution.

For the duration of two weeks 4 artists will co-exist during working hours in the foyer of MDT, working alone but in parallel on an experiment that responds, resists, refutes, challenges, dismisses, confirms a series of statements provided by Zoë Poluch.

This is not about public space. This is public time. Free from commodification and an economy of scarcity we inhabit public time as if  it captured a new order, any new order, yours, hers, his, ours and mine. What can we do, what will we do?

There are three rules
We do not converse about what we do

We do not leave the space

We do not use computers.

Does art-making, world-making, and specifically our do-ings, glorify being in transit, always on a way to the next, to becoming another?  Does this kill our fantasies and indignations to care about construing a work, a practice, a situation, a world with a different order? We will give life to a locality, while questioning and de-emphasizing the temporary nature of it. Well aware that there are infinite ways to build and ever infinite results of building we will commit to the as if model which is the basic logic of fiction. Our do-ings: our playing, working, making, performing, eating, thinking, being, dancing, reading, nothing, are enacted as if  they incarnated a permanently other order.

Our public time is one of discrete attentions, of simultaneous but solitary engage-ings. It is a time of common yet heterogeneous purpose. There is no transcendence. We are here, particularly and specifically and this is where we situate and produce knowledge. Do we see the aesthetics of decision making, specific to each artist or the production of a fifth entity that belongs to no one? Is this work? Is this the beginning of the future of ‘a work’, her, his, ours or my work? Is this individualist communality? Is this performance? Is this private? What is public? Can the power of naming, re-naming and un-naming what we do, thereby unhinging identity, be used as a tool to un-do what we know or where we situate this knowledge? Do you have any questions? Feel warmly welcomed to come and ask them or produce their answers from November 28 to December 10 at MDT.

(With and by: Chrisander Brun, Halla Ólafsdóttir, Zoë Poluch, Jens Strandberg.)

Let’s turn to each other just to feel it coming, and if it doesn’t that’s also alright or we do it again a bit. Open your canals, all at the same time, to the flow of intensity and listen to the doing rather than saying. Things rather than problems. The Coming Boogie Woogie is a way of being together without centre, so not a collaboration and definitely not democratic. If its anything it’s like to practice equality, if it’s not just like wearing a cap instead of something else. Not a too fancy hat, in any case – more everyday and just because because. Sometime we have a conversation, that’s when we don’t play some music or make some sounds. It’s more like doing something not to to something else than really doing it, or kind of being okay with not wanting to know some or other thing. Its gotta do somehow with libidinal economy in a way that reminds us of kiwis, like the fruit or several maybe.

(With & by: Kim Hiorthøy, Stina Nyberg, Zoë Poluch, Juli Reinartz, Mårten Spångberg, Rebecka Stillman, Uri Turkenich.)

Is not like anything you have seen, it is like everything you have seen.
Is not a mixture of what we know, it is in the middle of what we know.
Is not grey and boring, it is spectacular and anonymous.
Is looking for a physical practice hiding in-between the known ones, by arranging known physical practices in an imagined circle it is trying to get to know the space in the middle.
Is using the way we think oppositions and dichotomies to form multi-dichotomies that are opposing themselves in several ways at once; forming logics of dancing.
Is coupling two methods, that are related but not parallel or complementary, that are both asking: by setting up strict relations to the known can one force us out into the yet unknown?
Is on the mission to undermine detected methods of structuring. By thinking through and with common known ways of remembering, can it be that memory measures structure?
Is reaching for the blank spot within what we know instead of for an outside.
Is using strict relations to the known surrounding to help keeping track on where it can be situated and what it can look like.
Is looking for an image of a body with only one dimension going along a line of letting how we perceive our past change how we form and think our future.

(By: Rebecka Stillman together with Ulrika Berg, Chrisander Brun, Ludvig Daae, Eliisa Erävalo.)

If you’ve been feeling a little extra excitement in the air, an extra little tingle of anticipation that you can’t quite place it’s probably because the music of Fugazi is coming to town. Exploding on the Washington D.C scene in 1987, Fugazi is well known for their straight up and loud riffs which back bi-lingual lyrics that range from uninterpretable to brilliantly rabble rousing. If you’re the kind to judge a band by the venues they fill you might take a look at the DIY manner of Fugazi and learn that creating your stages as well as your record labels and show politics doesn’t do any harm to your reputation. Having had signed to long term hiatus, the concert is now back in town paying tribute to the everlasting device: “Really good music is not just to be heard it is almost like a hallucination you know? A concert is closer to tai chi than you ever thought.”

(Fugazi are: Linnea Martinsson, Per Sundberg, Kristoffer Grip, Emma Kim Hagdahl, Juli Reinartz.)

Welcome to the physical world and to life in general, ranging in scale from the wild to the civilized. “The Environment” is the remainder of the universe that lies outside the boundaries of the system. Here, living and non-living things interact naturally and information is exchanged. The interaction may not imply equality of social status, nevertheless, they develop a sense of solidarity; they trust and help one another. They tend to think in similar styles and patterns even when their conclusions differ. It may have the look, feel and quality of natural surroundings, but “The Environment” is a completely composed illusion.

(Choreography: Stina Nyberg with Sophie Augot, Pontus Pettersson, Tove Salmgren.)

If nature is true, then what is culture? And what if culture is not true, must not its adminstration form a kind of corruption? But what if corruption can be understood as something productive, something that undermine conventions, modes of perception and makes the ground unstable? Can this corruption, this falseness, be used as an unfocused method to explore new relations or alternative worlds? Culture and Administration is a performance proposal by Jennifer Lacey and Anthonia Livingstone extrapolated by mychoreography into an autonomous project that zones out but not as a return to nature but as a departure from organization into, something that best could be called – boogie woogie.

(With and by: Tova Gerge, Nadja Hjorton, Alejandra Pombo, Juli Reinartz, Rebecka Stillman, Stina Nyberg, Zoe Poluch, Uri Turkenich, Kim Hiorthøy.)

Powered by Emotion is a full night solo created and performed by Mårten Spångberg originating from a desire to dance and sing without having access to skill and technical capacity in relationship to the production of, on the one hand territory and on the other, perhaps more tangible, notions of identity and belonging. Starting with an interest between territory and political potentiality the choreographer explores two over-determined artistic materials Walter Verdin’s film of Steve Paxton’s dance to J.S. Bach’s Goldberg Variations and the songs of Buena Vista Social Club. Through the performers inability and nonplussed relation to the material it appears that the spectator is urged to reconsider a politics of aesthetics. What we see and hear both is and isn’t Stave Paxton dancing and Buena Vista Social Club voicing sentimental love. Powered by Emotion is utter artificiality in its most natural form.

(With & by: Mårten Spångberg.)

The way back can be long, the way back can be bumpy, the way back can be through heaven and hell, but it is necessary. After two years during which the troops have been spread over the world, they have now decided to journeyed back for a last effort to climb that mountain called “Rite of Spring”. Like Helen Mirren and Johan Malkovich mychoreography is back for a last sacrifice. They will dance and jump around, aim from the hip and utilize Kalachnicow dramaturgy and be the war machine that operates under the fearful name: mychoreography.
“Rite of Spring” was not exactly appreciated when it premiered in august 2008 but as it happened during the two first years it was the most internationally toured dance performance created in Sweden, and since then it has gained a cult status in no way short to Syd Barret. This is your one off moment to experience eternity.

(With and by: Amanda Apetrea, Sidney Leoni, Sebastian Lingserius, Halla Olavsdottir, Mårten Spångberg, Johan Thelander.)

“PROJECT, The Stockholm Syndrome” was the first performance created with and by the second generation of mychoreography. Together with a bunch of friends we now revisit this seminal work created on the basis of a performance by Xavier LeRoy from 2003, to check if something has happened with us an maybe also the work. As the title proposes this is a performance that disguises itself, produce some kind of deviation or simply falls in love with the captor. This work also addresses production of choreography through the means of disguise or camouflage. Different kinds of games has been used and misused to generate choreography, or something that doesn’t look like it.

(With and by: Andrea Csaszni Rygh, Ludvig Daae, Adele Essle, Tova Gerge, Emma Kim Hagdahl, Kim Hjorthöj, Nadja Hjorton, Rami Jawhari Jansson, Love Källman, Xavier Le Roy, Linnea Martinsson, Stina Nyberg, Stina Nyström, Pontus Petterson, Zoë Poluch, Juli Reinartz, Rebecka Stillman, Mårten Spångberg, Uri Turkenich and a bunch of other super nice dancers.)

“Pocket” is a new performance by Kim Hiorthøy. This is the text about that performance. It’s a very short text, only seven sentences long, and then with some names of the people involved at the end. It’s not a very personal text, or even very funny. On the other hand, it’s pretty straightforward and easy to understand, with no theoretical mumbo-jumbo. I’ve always wanted to end a text like this with the word “Peanut” but for some reason I can’t do it. Maybe I’m too sad, I don’t know.

(Choreography: Kim Hiorthøy with Henrik Vikman, Nadja Hjorton, Chrisander Brun, Stephen Rappaport. Thanks to: Mark Vaughn, Zoë Poluch, with an apology to Dan Graham.)

ps. Is that your penis? It looks like a peanut.

Dear ___________________,
My name is Zoë Poluch and I am a choreographer living in Stockholm. You are warmly invited to the first Dance of The Future entitled “Example”. For the past two weeks I have been working, alongside three other artists Chrisander Brun, Halla Olafsdottir and Jens Strandberg in the foyer of MDT, a venue for contemporary choreography and performance and an international co-production platform. This work is called “As If” and is done in the context of completing my Masters Degree in Choreography. I send you this letter since you are the person responsible for programming or curating the art space __________________________________.

In an attempt to activate a space or method that exists between the solitary and the collective Iinitiated a 10 day workspace situation of working alone together and together alone. We each independently pursued activities relevant to our work in parallel time and space. From Day 1 we went into partnership with each other by using the form of the contract. This put into motion diverging purpose and ensured that certain activities are performed during the working period and certain others prolong into the future. These contracts contributed to shaping a specific mutuality and interdependence that is scarce on compromise and negative obligation.

These 10 days supported the making of “Example”, which is the first embodiment of the Dance of The Future. This Future is more than a performance. It is also a proposal, a demand, a hope to prolong its life. As a Dance that is decidedly out of time, it does not yet know what it is and must reproduce its capacities to exist. I would, therefore, kindly ask you to support this possibility by inviting “As If”, the workspace situation with myself, Chrisander, Halla and Jens into your venue in the future. Is this a residency? No. It does not produce a specific and defined work but rather the possibility of work itself. Is this a performance? No. It may one day become one, or some viewers could perceive the activities in the space as such but that is not the aim. This is an effort to challenge assumptions, understanding or even qualifications of what an encounter can be and who it is that does the encountering.

This is just the beginning. The Dance of The Future is unknown and we have no choice but to go towards it. Next week, with the performance of “Example” I would very much like to meet you face to face and think into the Future.

MDT, Slupskjulsvägen 30, on stage December 15th and 16th at 20h.

RSVP zoe.poluch@gmail.com

Thank you for your time,
Zoë Poluch

(Choreography: Zoë Poluch. Performed by Zoë Poluch with Chrisander Brun, Moriah Evans, Kim Hiorthoy, Nadja Hjorton, Anders Jacobson, Martin Kilvady, Anna Koch, Efva Lilja, Stina Nyberg, Tilman O’Donnell, Halla Ólafsdóttir, Rasmus Ölme, Chrysa Parkinson, Juli Reinartz, Petra Sabisch, Mårten Spångberg, Jens Strandberg, Uri Turkenich and others.)

The pieces “After #1” and “After #2” addresses the works of the German choreographer Pina Bausch in terms of her working structures, the resulting movement material, composition choices and the genre TanzTeater. As a choreographer Bausch positioned the dancer in the place of a producer of knowledge. We continue her line of thoughts, we continue to research the work relation between the dancer and choreographer and how that reflects on knowledge production. By researching movement material created By Pina Bausch we develop a physicality informed by her tradition and furthered by our knowledge and ideologies today. In “After #1” we created a working structure in which the position of the choreographer is distributed to several people, each works alone with the performer and determines his/her own work relation to the performer. The piece is passed on from one choreographer to the other and developed by different choreographers in different stages of the work. In “After #2” we created a working structure in which each dancer has autonomy in a fluctuating hierarchy when working together as a group.

(“After #1” choreography & performed by: Uri Turkenich with Linda Blomqvist. “After #2” choreography: Alice Chauchat, Sebastian Schulz, Mårten Spångberg, Uri Turkenich. Performed by: Uri Turkenich.)

In order to be strategic we have to know the game. We start to move and the music begins to play. When the wave hits you, each of you in your own account, it bounces back and at this very moment produces a new sound. We engage in a collective activity with personal intentions. No one in this room is responsible for anyone else, yet we can’t do it alone.  “The Way Sounds Attack” is a choreography that focuses on the body’s relationship to sound and how illusions of different causalities are created through actions and reactions. The techno suggests a dance where no one depends on anyone else to do it, and no one cares about how you look when you move, but that insists on doing it together. The piece is created through a practice and performed as such, carried by the imagination and conviction of both performers and audience.

(Choreography: Stina Nyberg. Performed by: Kim Hiorthöy, Stina Nyberg, Zoë Poluch, Rebecka Stillman, Uri Turkenich.)

“40 minuter” is a piece that develops the capacities to sense and work with the reactions and relationships that performance practice brings about. The piece aims at being an open, accessible and multi-perceptive entity. By constantly, through the entire work, insisting on practicing instead of rehearsing, the focus is moved from a more traditional entrance to choreography and dance (how something looks or is interpreted) to the experience, the exploration and the potential.

(Concept: Nadja Hjorton, Chrisander Brun. Choreography: Nadja Hjorton.)

Kim Hiorthøy

Kim Hiorthøy studied art and then worked for many years as a house painter. He also works with music, which is how he somehow got involved with dance.

Stina Nyberg

Stina Nyberg has during her education taken an interest in methods and procedures, and the notion of practice. Recently, she has been working with ways of creating new truths and other logical systems. Working as a choreographer and dancer, Stina has participated in several collaborative projects within the performing and visual arts and worked with among others Anna Källblad, Sidney Leoni and at Malmö Opera. Since 2008 she has collaborated with Rosalind Goldberg and Sandra Lolax, and their latest collaboration Fake Somatic Practice was performed in September 2011 at Weld in Stockholm. She is currently working as a dancer with Andros Zins-Browne, with premiere in February 2012.

Zoë Poluch

Zoë Poluch’s latest works have been titled “Whatever”, “pushover”, “SO WHAT” and now “As If”, tracing a lexicon that harks back to the rather unserious sentiments of another decade. She danced a lot and acted a little. She started off in Canada, made her way to Belgium and is presently in Stockholm. She can be found busily unlearning and mining more and less knowledge and experience whilst finishing her masters degree in choreography. These days, she wonders how and what a local practice can be, consequently, attempting to decipher what ‘local’ and ‘practice’ really want. She does not know what comes next.

Juli Reinartz

Juli Reinartz is a performer and choreographer living in Stockholm since 2010. Before she has been working with companies and choreographers such as Two Fish, theatercombinat, Trajal Harell, Felix Ruckert and Ehud Darash in Berlin and Vienna and showing her pieces in Tanztage and Sophiensäle Berlin. Since 2009, she collaborated with the artist collective kom.post from Paris and Berlin on set ups for discoursive platforms such as festivals, conferences and libraries, e.g. Ballhaus Ost and centquatre Paris. Before her education and work as a performer, she has been studying philosophy and was engaged in diverse political activities such as book releases and conferences in Berlin.

Rebecka Stillman

Rebecka Stillman has studied at The Royal Swedish Ballet School, SEAD (Salzburg Experimental Academy of Dance) and Stockholm University. She has worked as a performer with several choreographers and as a co-maker and performer in various collaborative settings. She was part of forming the group ches:co in 2006 addressing interests such as structures of work and organization and was performing with the new collaboration Lesley latest at Bitef Teatar in Belgrade September 2011.

Uri Turkenich

Uri Turkenich has been working as a choreographer and dancer in Europe and Israel. Parallel to his current studies he continues to create performances alone and in various collaborations settings. In his works he is also concerned with the notion of change. In his works he is also concerned with the notion of change.