Ad hoc. Writing Movement 2017

Ad hoc. Writing Movement 2017

Writing Movement” symposium in Gothenburg, June 14 – 17 2017

Organized by Moa M Sahlin (SE) and Sesselja G Magnusdottir (ISL) in collaboration with the micro network Writing Movement started in 2011 and NOFOD (Nordic Forum for Dance Research) conference

The main question Writing Movement will look at is – How to update as a critic?

If a critic takes seriously her/his/zirs* obligation to pass judgments—which, merely statistically, are likely to have to be negative as well as positive—her/his/zirs* sense of responsibility to those judgements and their significance has to outweigh all other considerations.(*The genderqueer community are the primary proponents of ze).

Description of the proposed activities:

“Writing Movement” in Gothenburg will include presentation round inspired by pecha kucha, roundtable discussions, one of them as part of the NOFOD conference. We will also attend other conference events as an inspiration for shaping more clearly our study group. We get inspiration from Das-Arts feedback strategy

The central aims for the feedback situations are: to empower the artist who is getting feedback on her work, to go beyond the pronouncement of judgments, to allow fundamental criticism, to create a sense of (self-) discipline for the sake of precision and clarity, and, last but not least, to increase the enjoyment of giving and receiving feedback.

The main research object / subject / backdrop / front page to reflect on updating as a critic will be a performance “SHE DANCES” created and performed by choreographer Santa Grīnfelde, set designer Krista Briģe and dance critic Inta Balode from Riga, Latvia. The performance will take place on June 14 in the black box of the University of Gothenburg (D301 Schildknechtteatern (T2) Fågelsången 1).

The activity will have 5 stages:

  1. Preparation for the laboratory workshop. The group of Writing Movement people and guests from NOFOD will read reading about the choreographer / group / context and then add a parallel variable (local, global, conceptional, political etc.) to that context.
  2. Performance “SHE DANCES”. The group will watch the performance.
  3. Instant feedback and suggestions. Straight after the performance each participant of the laboratory will prepare and give in writing some feedback about how to improve the performance. The artists will come together to discuss those and integrate into the second showing. Meanwhile the participants will publish that material in the foyer for everybody interested to read it.
  4. Performance “SHE DANCES: EDITED”. The participants will watch the performance for the second time with edits integrated by the artists in around an hour-long reflection on the feedback.
  5. Presentation of the Ad Hoc results during the NSU Summer session 2017 in Saulkrasti. Exact format we will discuss in Gothenburg depending on the outcomes of the experiment. We workshop the workshop for the Summer Session on what is interesting to share with NSU from these presentations, investigations, actions and feedback. What format is useful and interesting for whom to develop? Members of NSU are invited to see, feel, listen, write and become involved in creation of the material to be published on and other forums. This is establishing new contacts and collaborations with institutions and individuals involved in the research in humanities within the Nordic-Baltic region.

List of all collaborating partners:

Roles come from “The tyranny of structurelessness” Dansbaren a mob without a flash” published

by Dansbyrån in 2016-august-24 Gothenburg, Sweden.

  1. Artistic-coordinator: Moa M. Sahlin (SWE)
  2. Economic-coordinator: Sesselja Gudmunda Magnusdottir (IS))
  3. The Vibe facilitator: Kamma Siegumfeldt (DK)
  4. The Power inventor: Madli Presti (EST)
  5. The Time facilitator: Inta Balode (LVA)
  6. Vanessa Labanino (SWE)
  7. Benedikte Esperi (SWE)
  8. Max Ryynänen (FI)
  9. Paloma Madrid (SWE)
  10. Steinunn Ketilsdóttir (IS)
  11. Will Rawls (USA) via skype and chat from New York.

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