ZumZum Teatre+ Quim Bigas/ HIPPOS

09/2018.

**A co-creation between Quim Bigas and Zum Zum Teatre around identity and tolerance.

**Una co-creació entre Quim Bigas i Zum Zum Teatre al voltant de la identitat i la tolerància.

**Una co-creación entre Quim Bigas y Zum Zum Teatre alrededor de la identidad y la tolerancia.

Id.: Ramon Molins // Dir. + Chor. : Quim Bigas  // Perf: Maria Mora, Carla Tobias, Miquel Rodríguez, Jordi Gilabert, Albert García.  // Aco: Margarida Troguet// Prod: Txell Burguès/ Zum Zum Teatre

 

ENG/CAT/CAST

In a world where animals and people coexist in everyday life, we approach hippos who take the middle path. Are they people disguised and camouflaged in the animal they carry or hippos who seek themselves within the human understanding? Who are they?  Let us accompany these hippos on a physical journey that could be a fable, a metaphor, the preliminary reflection for a doctoral thesis on humanity, animality and identity or, simply, a proposal for all audiences to witness and wonder.

ENG/CAT/CAST

En un món on conviuen quotidianament els animals i les persones, ens acostem a uns hipopòtams que agafen el camí del mig. Són persones disfressades i mimetitzades en l’animal que porten a sobre o bé hipopòtams que es busquen dintre les lògiques de lo humà? Acompanyem aquests hipopòtams en un recorregut físic que podria ser una faula, una metàfora, la reflexió preliminar per a una tesi doctoral sobre la humanitat,  l’animalitat i la identitat o bé, senzillament, una proposta per a tots els públics per a presenciar i fer-nos preguntes.

ENG/CAT/CAST

En un mundo donde conviven cotidianamente los animales y las personas, nos acercamos a unos hipopótamos que se salen por la tangente. ¿Son personas disfrazadas y mimetizadas en el animal que llevan encima o bien hipopótamos que se buscan dentro de las lógicas de lo humano? Acompañemos a estos hipopótamos en un recorrido físico que podría ser una fábula, una metáfora, la reflexión preliminar para una tesis doctoral sobre la humanidad, la animalidad y la identidad o, sencillamente, una propuesta para todos los públicos para presenciar y hacernos preguntas.

 

 

 

 

MOLAR

2015, A WORK by Quim Bigas

**MOLAR is a somatic (non)solo work that uses the representative and the inquiry of emotions in order to converse on the way we move and are moved.

**MOLAR és un treball somàtic (no) solitari que fa ús de la representació i la indagació de les emocions per tal de conversar sobre la forma en com ens movem i som mogudes.

**MOLAR es un (no) solo somático que usa la representación y la indagación de las emociones para conversar alrededor de la forma en como nos movemos y somos movidas.

By Quim Bigas Bassart

Assist: Søren Linding Urup

Voices:

ESP: Raquel Tomàs, Cristina Hernández Cruz + Javier Cuevas

ITA: Marta Campo, Javier Cuevas + Cristina Hernández

ENG: Marta Campo, Soren Evinson + Inés Lambisto

GER: Mag Raphael Nicholas, Max Walmeier + Micaela Kuhn

FR: Alice Pons, Nicolas Chevalier + Aina Alegre

Vid Quim Bigas (: Youtube)

TX: Diego Gil.

Tec.: Irene Ferrer.

CO-PRO: Fira Tàrrega- SUPORT A LA CREACIÓ//LABORATORIS DE MOVIMENT + El Graner. Suport: ESTRUCH-Sabadell i Ajuntament de Malgrat de Mar.

Photos: Irene Serrat, Martí Albesa, Nora Baylach, Eva Freixa, Tristan Pérez-Martín, Carmen Dorado, TNT, Veranos de la Villa.

ENG/CAT/CAST

As a first impulse and trigger for our working imaginary, the word “happiness” appears; we envision “happiness” as performative and as a state with established rules of behavior. Finally, the main idea of this proposal has been to work with images linked to states of happiness (the Coca-Cola advertising, the euphoria of a goal, some music, the excitement of a hyper-motivated person, etc.) and develop a device which (re)presents a range of images that appear and disappear and are relatable to happiness; “Special Feeling”; BE COOL. That kind of archive of images and references allows us to point at the representative aspect of emotions in our current Western society.

During the presentation of the work, there are several (re)personifications of happiness with the body as the main agent as well as some audio or visual supports which enhances even more the concept of emotional merchandise.  In this case, we have a special interest in dealing with emotions as that “thing” which is being (re)presented, is being (re)introduce, it is (re)present and is (re)shaping.

Through this ongoing process, we have worked with different sources that could present such a state in sync with music, memory and affected body. The performer, the one searching and seeking for a communal state, is committed to a score that works as a trigger of what we already have. Thus, in this show it is relevant to acknowledge and follow how the body is committed to the score in order to trigger a movement that evokes a state of comfort and happiness; a state which is not individual but necessarily belonging to the mass.

Mass mobilization and its identification with emotions are of special interest in this work. Thus the work puts on stake collective emotions as an important source of movement to today’s society. (For instance, the epic of football is a great example.) Due the current advertising procedures, we are introduced to happiness as something we can buy, we can get and we are asked to constantly keep buying and seeking for the happiness we wish for.

Finally, MOLAR is a somatic (non)solo work that uses the representative and the inquiry of emotions in order to talk about the way we move and are moved.

ENG/CAT/CAST

Com a primer impuls i disparador del nostre imaginari de treball apareix “la felicitat” com una cosa interpretada, com un estat amb normes de comportament. La idea principal ha estat la de treballar en relació a imatges vinculades a estats de felicitat (La publicitat Coca-Cola, l’eufòria d’un gol, alguns musicals, l’emoció d’una persona hiper-motivada, etc.) i desenvolupar un dispositiu que (re )presenti  un ventall d’imatges que apareguin i desapareguin i que siguin relacionables amb la felicitat; “sentir-se especial”; SER GUAI.

Durant la presentació del treball, es presenten diferents (re)personificacions de la felicitat amb el cos com a principal agent, així com algunes petites intervencions visuals que ens ajuden a qüestionar encara més la idea del comerç de les emocions. En aquest cas, tenim especial interès en afrontar les emocions com una cosa que es (re)presenta, que (re)coneixem, que (re)presentem i que ens (re)posiciona.

En el procés, hem treballat amb diferents fonts que podrien presentar aquest estat en sincronia amb la música i el que conseqüentment genera en els cossos. El cos que es mou, l’intèrpret, està generant afectes; el seu compromís i objectiu és ser un disparador del que ja tenim. D’aquesta manera, és important la forma en com el cos es compromet a l’estructura i la seva memòria per tal de disparar un moviment que evoca un estat de confort i felicitat, un estat que no és individual necessàriament però que pertany a la massa.

La mobilització de la massa i la seva identificació amb les emocions són d’especial interès en aquest treball. D’aquesta manera, planteja emocions col·lectives com una font de moviment important per a la societat actual. En aquest cas, lo èpic del futbol és un gran exemple.  D’altra banda, a causa dels nous procediments publicitaris, se’ns presenta la felicitat com una cosa que es pot comprar, que es pot aconseguir i ens demana, constantment, no deixar de consumir la felicitat que busquem.

ENG/CAT/CAST

 Como primer impulso y disparador de nuestro imaginario de trabajo aparece “la felicidad” como algo interpretado y como un estado con normas de comportamiento establecidas. La idea principal de este trabajo ha sido trabajar en relación a imágenes vinculadas a estados de felicidad (la publicidad Coca-Cola, la euforia de un gol, algunos musicales, la emoción de una persona hiper-motivada, etc.) y desarrollar un dispositivo que (re)presente un abanico de imágenes que aparezcan y desaparezcan y que sean relacionables con la felicidad; “Sentirse especial”; SER GUAY.

Durante la presentación del trabajo, se presentan diferentes (re)personificaciones de la felicidad con el cuerpo como principal agente, así como algunas pequeñas intervenciones visuales que nos ayudan a cuestionar aún más la idea del comercio de las emociones. En este caso, tenemos especial interés en afrontar las emociones como aquello que se (re)presenta, que (re)conocemos, que (re)presentamos y que nos (re)posiciona.

En el proceso, hemos trabajado con diferentes fuentes que podrían presentar este estado en sincronía con la música y lo que consecuentemente genera en los cuerpos. El cuerpo que se mueve, el intérprete, está generando afectos; su compromiso y objetivo es ser un disparador de lo que ya tenemos. De este modo, es importante la forma en cómo el cuerpo se compromete a la estructura y su memoria para disparar un movimiento que evoca un estado de confort y felicidad, un estado que no es individual necesariamente pero que pertenece a la masa.

La movilización de la masa y su identificación con las emociones son de especial interés en este trabajo. De este modo, plantea emociones colectivas como una fuente de movimiento importante para la sociedad actual. En este caso, el épico del fútbol es un gran ejemplo. Por otra parte, debido a los nuevos procedimientos publicitarios, se nos presenta la felicidad como algo que se puede comprar, que se puede conseguir y nos pide, constantemente, no dejar de consumir la felicidad que buscamos.

APPRAISERS

Ongoing Choreographic Practice by Quim Bigas since 2011.

**The project APPRAISERS explores the ramification of formats, concepts and methodologies related to information and data in real time through different production modes.

**El proyecto APPRAISERS explora la ramificación de formatos, conceptos y metodologías relacionadas con la información y los datos en tiempo real a través de diferentes estéticas de producción.

Some more videos at the bottom of this page

 

pics by Jorge Mirón 02/2016 Teatro Pradillo

 

ENG/CAST

APPRAISERS.

An appraiser (from Latin appretiare, to value), is one who sets a value upon property, real or personal (Wikipedia]

The project APPRAISERS explores the ramification of formats, concepts and methodologies that deal with information and data in the present using different modes of producing. It is a choreographic practice that is relevant and applicable to many fields. Through the development of skills and rules it aims to make visible the existence of presence as well as empowering the idea that we are “makers of our own reality”[1](Watzlawick, 1995).

Through the new information era we have gained the capacity of being prosumers.[2] So far presence as a concept is in continuous dialogue between our producing body and our environment; dealing with the capacity of staying and being able to inform yourself amongst the context that you inhabit. Due to the existence of many emerging technologies and devices that facilitates a diverse approach towards embodying presence, “just” being here-now is becoming more complex than ever. The compulsive desire and presumption to share information and experiences via social media platforms has become a routine part of daily life. The eye then becomes a filter, a discerner of what is of value. These new behavior affect our capacity to observe, behave, understand and experience. This domestication[3] of social media provides an easy di-attachment towards the physical places we inhabit.

____________________________________________________________________________

This project began in 2011 and is constantly evolving, re-adapting and re-shaping. So far, the work has had many different formats: dialogue choreography; movement structure; voice structure; cartography exposition; a solo lecture and thesaurus. The aim of the project is to keep investing in formats, ways of sharing the same idea and elicit questions that bring into focus relevant points regarding the process of making, labor, consumption and labelling. Even though this seems a broad aim, it is in fact very specific. The project concentrates on “the information that is already here”; precisely and responsibly focusing and mediating “what is already here” through our gaze to create an engrossment out of what is concrete. The work done opens up the senses by the simplicity of this task. By engagement of both outsider and/or insider, the work stimulates, becomes shareable and a dialogue develops with an inherent potential to expand.

I am curious to deepen my understanding around “value” (For example, the selection of information) and the project will explore, through disseminative platforms, the encouragement of the active and conscious witness of the contexts in which we find ourselves. In performance, the imperative is to inform, deliver, facilitate and generate certain content to an outsider. The theatre space is expected to create fictional realities. I am interested in give existence to the solid spaces we inhabit.

[1] “That we do not discover reality but rather invent it is quite shocking for many people. And the shocking part about it — according to the concept of radical constructivism — is that the only thing we can ever know about the real reality (if it even exists) is what it is not. It is only with the collapse of our constructions of reality that we first discover that the world is not the way we imagine.” Paul Watzlawick, “On the Nonsense of Sense and the Sense of Nonsense,” 1995

[2] Blend of producer and consumer, coined by futurologist Alvin Toffler in his book The Third Wave (1980). Concept based on suggestion by Marshall McLuhan and Barrington Nevitt in their 1972 book Take Today (p. 4) that consumers would take on producer roles in mass customization. (Wiktionary)

[3] “An approach in science and technology studies and media studies that describes the processes by which innovations, especially new technology is ‘tamed’ or appropriated by its users. First, technologies are integrated into everyday life and adapted to daily practices. Secondly, the user and its environment change and adapt accordingly. Thirdly, these adaptations feedback into innovation processes in industry, shaping the next generation of technologies and services. The theory was initially developed to help understand the adoption and use of new media technologies by households. (Wiki)

__________________________________________________________

An itinerary project that faces an approach towards modes of perception and consumption in artistic contexts.

We are interested in presenting the information as a motor of a continuous movement which  escapes meaning and that is constantly being re-define. Quim, considers this process a metaphor and a simplification of big part of our process of information, of selection and of archiving which enlighten our absolute “capitalism”, including the consumption of  time and the consumption of experience.

DSC_0069.JPG
APPRAISERS/Thesaurus. Festival INMEDIACIONES. Pamplona, 11/2014.

Presentations and ramifications:

  • DepARTures, Schwere Reiter, Germany. 30+31/03 2019. 3 pieces:
    • APPRAISERS/Reverberate. Together with the students of the IWANSON school of Contemporary Dance: Aurora Alicino, Angelic Amoruso, Kristina Bösl, Maria Charalambous, Paula-Nicla Falkenhagen, Alessia Iusco, Vivien Johne, Ana Maria Kovacevic, Jana Kutschma, Andrea Lanz, Johanna Mandl, Myra Mayers, Patricia Melberg, Sarah Neubacher, Adriana Papagni, Julia Schwender, Doris Teichmann, Jennie Thomasson.
    • APPRAISERS/Recite. Together with Paolo Mariangeli.
    • APPRAISERS/Retrace Together with Olivia Rivière, Max Wallmeier
  • APPRAISERS/Nombrar. In residency at CA2M+La Casa Encendida 2017. January 2018. With Ana Macdewont, Ángela Segovia, Uriel Fogué, Laura Ramirez, Paulina Chamorro, Raquel Tomàs y Javi Cruz.
  • WELD, Stockholm. 05/2017. APPRAISERS/Re-place. With the collaboration of Soren Linding Urup, Paulina Chamorro and the support of Roger Adam, Paz Rojo and Jeanine Durning.
  • Nyam nyam. Barcelona. Festival Sâlmon. With Iñaki Álvarez, Ariadna Rodríguez and Raquel Tomàs. 11/2016.
  • Dancehouse Lefkosia, Nicosia. 10/2016. APPRAISERS/Explain.
  • Teatro Pradillo. 02/2016. APPRAISERS 4 RAMIFICATIONS:
    • APPRAISERS/Papel. Together with Raquel Tomàs and Pablo Caracol.
    • APPRAISERS/Moverlo. Together with Paulina Chamorro, Helena Martos and Søren Linding Urup.
    • APPRAISERS/ Orden. Together with Aitana Cordero, Raquel Tomàs and Fernando Gandasegui.
    • APPRAISERS/ Las cosas. Together with Pablo Esbert and Roberto Fratini.
  • APPRAISERS/Aquesta conversa. Festival Sâlmon. With Raquel Tomàs. Barcelona. 12/2015.
  • APPRAISERS/Movement. Structure for 4 dancers: Raquel Tomàs, Marina Colomina, Oihana Altube and Quim Bigas. 30 minutes. Festival IN Situ, Barcelona. 12/2014.
  • APPRAISERS/an introduction on the process of naming. Presentation of 10 minutes of a naming structure. K-3 Hamburg. 11/2014.
  • APPRAISERS/Thesarus. A piece created with the concepts and the representations of the project. With Raquel Tomàs. 40 minutes. Festival Inmediaciones. 11/2014.
  • Introduction/APPRAISERS. Presentation of 15 minutes at Festival EscenaPoblenou. With Raquel Tomàs.  Barcelona. 10/2014.
  • APPRAISERS/ Meeting. Presentation based on the outcomes during the Workshop around the topics of the work. Duration: 45 minutes. This workshop was curated as part of the Festival SITIO, Sta Cruz de Tenerife. 10/2014.

    APPRAISERS (192.8) A choreographical conversation with Raquel Tomàs
    APPRAISERS (192.8) A choreographical conversation with Raquel Tomàs
  • APPRAISERS/ 0.1 A movement structure of 30 minutes for two dancers: Marina Colomina and Quim Bigas. El Graner, Barcelona. 06/2014.
  • APPRAISERS (792.8). A choreographical conversation of 30 minutes between Quim Bigas and Raquel Tomàs. El Graner, Barcelona. 06/2014.
  • APPRAISERS/This. A 10 minutes structure based on the outcomes foundt during the residency at Laboratoriscenen, Copenhagen. Hall of DanseHallerne. 10/2013.
  • Porteatring Experience. An installation of drawings made in collaboration with Simon Asencio, Nicolas Roses, Jeanine Durning and Clara Saito. Room 201 of the Amsterdam School of the Arts. 04/2011.

This project have had the collaboration and contribution of:  Simon Asencio, Nicolas Roses, Jeanine Durning, Clara Saito, Asher O’Gorman, Costas Kekis, Carolina Backman, Marina Colomina, Oihana Altube, Raquel Tomàs, Masu Fajardo, Laida Azkona, Natalia Jimènez, Sofia Asencio, Aimar Pérez Gali, Carme Torrent, Roberto Fratini, the attendance at the course in FESTIVAL SITIO, Elena Carmona, Paulina Chamorro, Aitana Cordero, Helena Martos, Søren Linding Urup, Pablo Esbert, Fernando Gandasegui and Pablo Caracol, among others.

11-_DSC8084
APPRAISERS/Re-place. 05/2017. Weld, Stockholm.

ENG/CAST

El proyecto APPRAISERS explora la ramificación de formatos, conceptos y metodologías relacionadas con la información y los datos en tiempo real a través de diferentes estéticas de producción. Para ello, navega con la idea del cuerpo como archivo o canal informativo, como reflejo del consumo y del proceso de etiquetaje. Simultáneamente, es una práctica coreográfica aplicable a muchos campos que está preparada para ser compartida en cualquier momento. A través del desarrollo de habilidades y reglas, APPRAISERS pretende dar visibilidad a lo presente, así como potenciar la idea de que somos “creadores de nuestra propia realidad”.

A partir de la “nueva” era de la información, hemos adquirido la capacidad de ser prosumidores (productores a la vez que consumidores). En cierta medida, el presente es un concepto que está en continuo diálogo entre nuestro cuerpo productor y su contexto; afrontándonos a la capacidad de quedarnos y ser capaces de informarnos dentro del contexto en el que habitamos. Debido a la existencia de muchas tecnologías y dispositivos que facilitan un enfoque distinto hacia la encarnación de la presencia, “sólo” estar “aquí y ahora” es una tarea cada vez más compleja. El deseo compulsivo y la presunción de compartir información y experiencias a través de las plataformas de medios sociales se ha convertido en parte de la rutina de la vida diaria. De forma explícita, el ojo se convierte en un filtro para discernir lo que es de valor. Este nuevo comportamiento afecta nuestra capacidad de observar, de comportarnos, de entendernos y tener experiencias. Esta domesticación social de los medios de comunicación resulta en un desapego hacia los lugares físicos que habitamos y las relaciones que generamos con nuestros cuerpos.

Este proyecto comenzó en 2011 y está en constante evolución, re-adaptación y re-configuración. Hasta ahora, el trabajo ha tenido varios formatos: diálogo coreográfico, estructura de movimiento, estructura de voz, exposición cartográfica, una conferencia en solitario, un disparador para una conversación y un Tesauro. El objetivo del proyecto es mantener la inversión en los formatos, formas de compartir la misma idea y suscitar preguntas que ponen su atención en la toma de decisiones, el trabajo, el consumo y el proceso de clasificación. A pesar de que esto parece un objetivo bastante general, es muy específico. El proyecto se centra de forma precisa en “la información que ya está aquí” utilizando la mirada para crear un engrosamiento de lo que es concreto. El trabajo se abre a los sentidos por la simplicidad de su tarea, se convierte en compartible y en una conversación que se desarrolla con potencial inherente a expandirse.

Sillas A5 acoplado
Ilustración de Pablo Caracol con estructura de Quim Bigas para APPRAISERS.Papel. Teatro Pradillo. 02/2016

Presentaciones y ramificaciones:

  • DepARTures, Schwere Reiter, Alemania 30+31/03 2019. 3 piezas:
    • APPRAISERS/Reverberate. Junto las alumnas de IWANSON school of Contemporary Dance: Aurora Alicino, Angelic Amoruso, Kristina Bösl, Maria Charalambous, Paula-Nicla Falkenhagen, Alessia Iusco, Vivien Johne, Ana Maria Kovacevic, Jana Kutschma, Andrea Lanz, Johanna Mandl, Myra Mayers, Patricia Melberg, Sarah Neubacher, Adriana Papagni, Julia Schwender, Doris Teichmann, Jennie Thomasson.
    • APPRAISERS/Recite. Junto Paolo Mariangeli.
    • APPRAISERS/Retrace. Junto Olivia Rivière, Max Wallmeier
  • APPRAISERS/Nombrar. Proyecto en residencia en CA2M+La Casa Encendida. 2017. Enero 2018.
  • WELD, Estocolmo. 05/2017. APPRAISERS/Re-place. Con al colaboración de Soren Linding Urup, Paulina Chamorro i el soporte de Roger Adam, Paz Rojo and Jeanine Durning.
  • Nyam nyam. Barcelona. Festival Sâlmon. Con Iñaki Álvarez, Ariadna Rodríguez y Raquel Tomàs. 11/2016.
  • Dancehouse Lefkosia, Nicosia. 10/2016. APPRAISERS/Explain.
  • Teatro Pradillo. 02/2016. APPRAISERS 4 RAMIFICACIONES:
    • APPRAISERS/Papel. Junto a Pablo Caracol y Raquel Tomàs.
    • APPRAISERS/Moverlo. Junto a Paulina Chamorro, Helena Martos y Søren Linding Urup.
    • APPRAISERS/ Orden. Junto a Aitana Cordero, Raquel Tomàs and Fernando Gandasegui.
    • APPRAISERS/ Las cosas. Junto a Pablo Esbert and Roberto Fratini.
  • APPRAISERS/Aquesta conversa. Festival Sâlmon. Barcelona. 12/2015.
  • APPRAISERS/Moviment. Partitura para 4 intérpretes: Raquel Tomàs, Marina Colomina, Oihana Altube and Quim Bigas.  30 minutos. Festival IN Situ, Barcelona. 12/2014.
  • APPRAISERS/una introducción al proceso de nombrar. 10 minutos. K-3 Hamburg. 11/2014.
  • APPRAISERS/Thesarus. Pieza creada con la ayuda de este lenguaje documental. Junto a Raquel Tomàs.  40 minutos. Festival Inmediaciones. 11/2014.
  • Introducción/APPRAISERS. 15 minutos para Festival EscenaPoblenou. Junto a Raquel Tomàs.  Barcelona. 11/2014.
  • APPRAISERS/ Encuentro
    20131012_153826
    Cartografía de APPRAISERS.

    . Presentación post-taller. 45 minutos. Incluído en la programación de Festival Sitio. Sta Cruz de Tenerife. 10/2014

  • APPRAISERS/ 0.1 Estructura de movimiento para dos intérpretes: Marina Colomina and Quim Bigas. El Graner, Barcelona. 06/2014.
  • APPRAISERS (792.8). Una conversación coreográfica entre Quim Bigas y Raquel Tomàs. 30 minutos.  El Graner, Barcelona. 06/2014.
  • APPRAISERS/This. Post-residéncia. 10 minutos. DanseHallerne. 10/2013.
  • Porteatring Experience. Una instalación de cartografías/dibujos con la participación de: Simon Asencio, Nicolas Roses, Jeanine Durning and Clara Saito. Amsterdam School of the Arts. 04/2011.

Hasta la fecha, el proyecto ha contado con la colaboración y contribución de: Simon Asencio, Nicolas Roses, Jeanine Durning, Clara Saito, Asher O’Gorman, Costas Kekis, Carolina Backman, Marina Colomina, Oihana Altube, Raquel Tomàs, Masu Fajardo, Laida Azkona, Natalia Jimènez, Sofia Asencio, Aimar Pérez Gali, Carme Torrent, Roberto Fratini, el grupo asistente en el FESTIVAL SITIO, Elena Carmona, Paulina Chamorro, Aitana Cordero, Helena Martos, Søren Linding Urup, Pablo Esbert, Fernando Gandasegui y Pablo Caracol, entre otres. 

The list/La Llista

A PROJECT BY QUIM BIGAS. Ongoing. First version: Terrats en Cultura- Coincidències, 07/2017

**‘The list’ is a contextual and scenic work where a list of small and great
things are recited.

**‘La llista’ és un treball contextual i escènic on es recita una llista de petites
i grans coses.

**‘La lista’ es un trabajo contextual y escénico donde se recita una lista
de pequeñas y grandes cosas.

Id + perf: Quim Bigas.

Suport drama: Raquel Tomàs.

Prod: Anna Bohigas.

+ many people and things

TX Dancehouse Leftkosia ,Ajuntament de Malgrat de Mar.

Support: Fira Tàrrega, suport a la creació 2019. 

Terrats en cultura (Barcelona) // Festival Sismògraf (Olot) // Terni Festival (Terni)// Festival Arrela’t (Malgrat de Mar) / Fira Tàrrega (Tàrrega) // La Casa Encendida (Madrid) /

 

pics: Martí Albesa, Guillem Pachecho, Rosor Rosor, Sara Navarro/La Casa Encendida, Núria Boleda, Luna Cesari.

 

ENG/CAT/CAST

‘The list’ is a contextual and scenic work where a list of small and great
things are recited. A list as a method to generate a small common
ground full of possibilities.
In this context, the body triggers a list of possibilities that are related
to how we share and how we identify ourselves and give value to
our surroundings. That way, the list is a hook to find ourselves within
an individual universe but in common with one that makes affection
possible, the sensitive fact, the ability to touch us and to be in close
attention collectively.
‘The list’ is an accumulative recital in time. During this proposal, we
will share an enumeration of words and movements in order to promote
a divergence of connections and meanings that sway in various
spheres and perspectives that refer to our personal and social space.
“The list” is a place with the potential of the encounter and everything
that it implies, which is the unexpected, the present, the individualities,
the community … *

ENG/CAT/ESP/

‘La llista’ és un treball contextual i escènic on es recita una llista de petites
i grans coses. Una llista com a manera de generar un petit terreny
comú ple de potències.
En aquest context, el cos desencadena una llista de possibilitats que
es relacionen amb com compartim i com ens identifiquem i donem
valor al nostre voltant. D’aquesta manera, la llista és una forma de
trobar-nos dins d’un univers individual però en comú, un comú que
possibilita l’afecte, el fet sensible, la capacitat de tocar-nos i d’estar
en una atenció col·lectiva.
“La llista” és un recital acumulatiu en el temps. Durant aquesta proposta,
compartirem una enumeració de paraules i moviments per tal
de potenciar una divergència de connexions i significats que basculen
en diverses esferes i perspectives que remeten a l’espai personal i a
l’espai social. D’aquesta manera, “La llista” és un lloc amb el potencial
de la trobada i tot el que això implica, que és l’imprevist, el present, les
individualitats, la comunitat…

ENG/CAT/ESP

‘La lista’ es un trabajo contextual y escénico donde se recita una lista
de pequeñas y grandes cosas. Una lista como manera de generar un
pequeño terreno común lleno de potencias.
En este contexto, el cuerpo desencadena una lista de posibilidades
que se relacionan con como compartimos y como nos identificamos y
damos valor a los que nos rodea. Así, la lista es una manera de encontrarnos
dentro de un universo individual pero en común, un común que
hace posible el afecto, lo sensible, la capacidad de tocarnos y de estar
en una atención colectiva constante.
‘La lista’ es un recital acumulativo en el tiempo. Durante esta propuesta,
compartiremos una enumeración de palabras y movimientos para
potenciar una divergencia de conexiones y significados que se mueven
por diferentes esferas y perspectiva, que remiten al espacio personal y
al espacio social. De ahí que la ‘Lista’ sea un lugar con el potencial del
encuentro y todo lo que esto implica, que es lo imprevisto, el presente,
las individualidades, la comunidad…

_____________________________________________________________________________

 

*

within an individual and the common place,

within some words and our own memories,

within value and disregard,

within uncut pieces,

within us,

within the said and the unsaid,

within past and future within this present,

within affection and within touching or being touched,

within letters,

within the walls and beyond them,

within dance and invocation,

within storytelling,

within families and communities,

within theatre and the experiences as spectator,

within me and you,

within us and we,

within us and the sky above us,

within the words in these texts and the words in other texts,

within them,

within their poems,

within the action happening,

within the within…

 

 

 

 

 

WOWOWOW (Fanclub/Quim Bigas)

2019.

WOWOWOW is a collaboration between the dancers’ collective Fanclub and choreographer Quim Bigas (ES), an investigation within and around collectivity, in close relation between performers and audience.

collective > togetherness > commoning > network > autonomy > co-presence >  composition > company > work > world > words > grouping > sharing > utopia > layering > pluralism > collaboration > inter-connectedness > placement >

Production: Fanclub
Choreography: Quim Bigas
Dance: Andrea Deres, Carolina Bäckman, Sofia Karlsson, Ellesiv V. Selseng & Quim Bigas
Technical consultant: Filip Vilhelmsson
Graphic design: Studio Jacob Grønbech Jensen
Production assistant: Gry Raaby
Support: Danish Arts Foundation, City of Copenhagen, Dansehallerne
Residency: Dansstationen, L’animal de l’esquena
Performance photos: Emilie Gregersen
Trailer: Søren Meisner

ENG/CAST

WOWOWOW is a collaboration between the dancers’ collective Fanclub and choreographer Quim Bigas (ES), an investigation within and around collectivity, in close relation between performers and audience.

WOWOWOW is space for reflection upon (the) collective. A place where a set of images appears and disappears. A collection of actions and ephemeral statements. A radical mode of being in a structure through the lenses of being present and in relation, always. You. We. Us.

WOWOWOW suggests a visualization of “our” movement as a mode to unfold an assemblage, an ecology of things, in which certain aspects of the self comes at stake as a mode to trigger different layers of relations that takes place in the moments we talk about “us”. A big, yet tiny – us.

Fanclub (DK/SE/NO) is a dancers’ collective who invite artists they find fascinating into different collaborations. In 2010 Andrea Deres, Carolina Bäckman, Ellesiv V. Selseng and Sofia Karlsson got together with a wish to challenge the working formats within the Danish dance arts. Today they see themselves as a collective in ongoing development, initiating collaborations with people from various genres with a desire to explore structures around and within the art form, as well as their role as dancers and self-producing artists. Their work range from bigger and smaller stage productions, video art, events, concerts, sharing structures and writing rituals.

ENG/CAST

WOWOWOW es una colaboración entre el colectivo de bailarinas FANCLUB y el coreógrafo Quim Bigas, una investigación dentro y alrededor de la colectividad, en estrecha relación entre los artistas y el público.

WOWOWOW es un espacio para la reflexión sobre (el) colectivo. Un lugar donde aparece y desaparece un conjunto de imágenes. Una colección de acciones y declaraciones efímeras. Un modo radical de estar en una estructura a través de las lentes de estar presente y en relación, siempre. Tú. Nosotros.

WOWOWOW sugiere una visualización de “nuestro” movimiento como un modo de desplegar un ensamblaje, una ecología de las cosas, en la que ciertos aspectos del yo están en juego como un modo de desencadenar diferentes capas de relaciones que tienen lugar en los momentos de los que hablamos “nosotros”. Un grande, pero pequeño, nosotros.

Fanclub (DK / SE / NO) es un colectivo de bailarinas que invita a artistas que encuentran fascinantes a diferentes colaboraciones. En 2010, Andrea Deres, Carolina Bäckman, Ellesiv V. Selseng y Sofia Karlsson se reunieron con el deseo de desafiar los formatos de trabajo dentro de las artes de la danza danesa. Hoy se ven a sí mismas como un colectivo en continuo desarrollo, iniciando colaboraciones con personas de varios géneros con el deseo de explorar estructuras alrededor y dentro de la forma de arte, así como su papel como bailarinas y artistas con su propia estructura de producción. Su trabajo abarca desde producciones teatrales más grandes y más pequeñas, videoarte, eventos, conciertos, estructuras para compartir y rituales de escritura.

 

 

Room 5,89A/Cap Ací (Quim Bigas + Hotel)

2019

A collaboration between the dancers collective HOTEL and Quim Bigas around directions and capacities for decision.

Una col·laboració entre el col·lectiu de ballarines HOTEL i Quim Bigas al voltant de les direccions i les capacitat de decisió. 

Una colaboración entre el colectivo de bailarines HOTEL y Quim Bigas en torno a direcciones y capacidades de decisión.

 

ENG/CAT/ESP/

Hotel, col·lectiu escènic invites Quim to create one of their rooms.

You arrive at a hotel and you’re told the directions a place which could be your room. On the way, you find yourself in a path lead by your own movement capacity and the architectural style surrounding you. Once there, the things there affect your way of moving. The etymology of direction is related to the concept “separation leading towards an action”. In all corners there are direction. Actually, very often you go from A to B to undertake an action. A path is, perhaps, an excuse. However, at the same time a path is the medium through which you will end up, or not, at B. What would happen if we could incorporate the directions that surround us? Directions understood as explicit effects on the path in which we find our body. There is a myriad of effects that address us endlessly and they lay out new challenges within the path and momentum in which we find ourselves. How do we understand the directions that we have to take? Are they our decisions of our making or the most perverse form of contamination and control? How can we recognize them?

 

Proposal: Quim Bigas

 Interpretation: Laia Duran, Roberto Gómez, Anna Hierro, Èlia López and Lorena Nogal

 

ENG/CAT/CAST

Hotel, col·lectiu escènic convidar a Quim Bigas a crear una de les seves habitacions.

Habitació 5,89A/Cap ací.

Arribes a un hotel i et donen les direccions cap a un lloc que podria ser la teva habitació. De camí, ja et trobes en una trajectòria que està dictada per la teva pròpia capacitat de moviment i el tipus d’arquitectura que t’envolta. Un cop allà, les coses que hi ha afecten la teva forma de moure’t. L’etimologia de direcció està relacionada com una “separació dirigida cap a l’acció”. Hi ha direccions a tots els racons. De fet, molt sovint, vas de A a B per a poder acabar realitzant una acció. El trajecte és una excusa però, a la vegada, és el medi pel qual acabaràs, o no, a B. 

Què passaria si poguéssim incorporar les direccions que ens envolten? Direccions enteses com a efectes tàcits i explícits sobre la trajectòria en la que el cos es troba. Existeixen un munt d’efectes que ens direccionen contínuament i ens plantegen noves metes dintre de la trajectòria i inèrcia en la que ja ens trobem. Com entenem les direccions que ens ocupen? Són decisions pròpies o la forma més perversa de contaminació i control? Com es reconeix?

 

Proposta: Quim Bigas

Interpretació: Laia Duran, Roberto Gómez, Anna Hierro, Èlia López i Lorena Nogal

ENG/CAT/ESP

Hotel, colectivo escénico invita a Quim a crear una de sus habitaciones.

Llegas a un hotel y te dan las direcciones a un lugar que podría ser tu habitación. De camino, ya te encuentras con una trayectoria que está dictada por tu propia capacidad de movimiento y el tipo de arquitectura que te rodea. Una vez allí, las cosas que hay afectan tu forma de moverte. La etimología de la dirección está relacionada como una “separación dirigida hacia una acción”. Hay direcciones en todos los rincones. De hecho, muy a menudo, vas de A a B para poder realizar una acción. El trayecto quizás es una excusa, sin embargo a la vez es el medio por el cual acabarás, o no, en B. 

¿Qué pasaría si pudiéramos incorporar las direcciones que nos rodean? Direcciones entendidas como efectos explícitos sobre la trayectoria en la cual se encuentra el cuerpo. Existen cantidad de efectos que nos dirigen continuamente y nos plantean nuevas metas dentro de la trayectoria e inercia en la cual nos encontramos. ¿Cómo entendemos las direcciones que nos ocupan? ¿Son decisiones propias o la forma más perversa de contaminación y control? ¿Cómo se reconoce?

 

Propuesta: Quim Bigas

Interpretación: Laia Duran, Roberto Gómez, Anna Hierro, Èlia López y Lorena Nogal

 

 

FCH CHT BCK

Around March 2018 Helsingør Theatre invited me to do an intervention/action on the football match between FCH and FCN inside of the Danish Main League. Through that invitation, I have engaged on an ancounter of different levels. As a way of framing the video that you will be able to see at the end of this post, I’ve had a chat with Becky Hilton  trying to go deeper on some of the interests and methods that were used for this event.
Q
Quim to Becky

Hello! 

Becky Hilton (beckyhilton64@gmail.com)

I think I’m here, lets see if it works

Q

Then, for this same chat, I can call 

So, it’s perfect

Should I wait 2 more minutes to call you?

So we start on time like super profesionals

Becky Hilton (beckyhilton64@gmail.com)

Ha

Becky s’ha perdut una trucada teva.
17 de maig 11:00

😸

Q

Well, I’m ready when you are

Do u get the system of the chat?

Becky Hilton (beckyhilton64@gmail.com)

So much for professionals!

I just keep getting the error message you try again!

Q

What do you mean? 

Becky Hilton (beckyhilton64@gmail.com)

Its says the video call encountered an error

Q

I can do it again, it seems you need to accept the call

let’s try

otherwise, we go for chat directly if that’s ok for you

Becky Hilton (beckyhilton64@gmail.com)

Now it says I am in the call but there is only a picture no you x

Q

maybe you might need to install the thing

but don’t worry

i can say hi later over skype or something

Has estat en una trucada amb Becky.
17 de maig 11:07
Becky Hilton (beckyhilton64@gmail.com)

I think it is something about my firewall. Do you wanna skype?

Q

Well… we can have the chat here (it’s easier to store it for me) and then we can have a Skype to scream at each other’s faces

Becky Hilton (beckyhilton64@gmail.com)

ok

Q

Did you watch the video?

Becky Hilton (beckyhilton64@gmail.com)

Yes, twice, when you first sent it and again just then

Q

(btw, we will have this chat for something like 30-45 minutes and then we stop wherever we are…. in case we want to, we can close it up)

Becky Hilton (beckyhilton64@gmail.com)

ok. I was thinking a lot about conventions, about what usually happens in that place (futbol) and how you used it more as a space (dance). I have been thinking alot about the definitions of space ( the physical parameters of a defined location) and place (an area that is used for a specific pupoose so that it is emdoed with menaing for a person or group) so i was watching it through that orientation.

Q

I’m assuming that, taking your definition of space as a paramaters of a location and place as what we make out of it…. i could also see a possible interruption of the place in order to practice another possibility for it. 

Practice within the parameters of what the same logistics of the institution of the FC Helsingor allowed me to…

Becky Hilton (beckyhilton64@gmail.com)

Yes, I suppose that would be making a sort of place practice? There is an interesting lag there in terms of the encounter (!) for you and the performers its a place of work of much enjoyment also for the spectators a place of strangeness but also enjoyment? I like making art in places art usually isn’t. Some would call it an intervention, I prefer interruption.

Q

I also like interruption

Also because I sense that by approching it as an interruption there is something that creates “a break” and puts into question or into consideration the protocols of the places and spaces in which we are in 

Funny that it is the BREAK of a football match. I think it’s how it is call… right? 

Becky Hilton (beckyhilton64@gmail.com)

Whoops I realise am interrupting the way I do in conversation, I have to get used to the time/ing of this conversation! I am interested in the break, what you and your collaborators made is a break in ther break, a breach of the conventions but its durational. A long break. I saw this Ranciere lecture The times that we live in, he talks about intervals and interruptions as the only two kinds of time. I’ll send you the link.

Q

Thanks! 

Becky Hilton (beckyhilton64@gmail.com)

The other things I saw in the video were things relating to scale and to systems.

Jacques Rancière / In What Time Do We Live? / as part of the lecture series ‘The State of Things’

Jacques Rancière / In What Time Do We Live? / as part of the lecture series 'The State of Things'

https://www.youtube.com/watch?v=8cjOcfZhBKs

Q

It seems that the Theater n Helsingor had an interest on crossing through a place in which there is audience and a profile of people that belongs to the town but never goes to the theatre or to their activities

The task was to do wherever I wanted and to see if I could get their attention and propose a possible sensible mode that maybe they experience less through their daily, effective life

Becky Hilton (beckyhilton64@gmail.com)

I was watching the watchers. They were watching, they were attentive, they were clapping whenever the music stopped which was interesting in terms of conditioning. I think this putting of art into spaces where other things usually happen is a serious business. It can backfire but i think the material of ‘good naturedness’ was very present, the joy. I was strucjk with the entrances and exits, the ‘human’ scale that is somehow a certain clustering and how different that is ´whem futbol is played there, the different human constellations of a dance and of football.

Q

Some people, after the interruption, could hear people asking themselves “WTF is this?” 

Also because the bodies in the field and the way they were activating, had a human element which involves possibilities of chaos in a space in which isn’t yet fully what we see… does it make sense what I’m saying? 

They had a structure which created a survival mode for a specific set of time. Failure was in the air but the action prevail and, therefore, the human element and the capacity of triggering questions on what is it that we do comes at stake. 

So, there is something in the encounter which I give lots of value to…. to ask what it does instead of what it is. 

Becky Hilton (beckyhilton64@gmail.com)

My typing is terrible. Yes, what you say makes sense. I could feel all of these encounters, a desire to meet if not to understand (is this the failure you refer to? failure to understand?)  a meeting of  everyone’s ethics/aesthetics – yours,the performers, the spectators,  the theatre, the football club. Those people fixing the pitch while the event was happening, the order of the marching band and the beautiful scruffy-ness of the teens.

It was uncertain rather than failure.

Trust uncertain things says martha Nussbaum.

Q

Uncertain is a good word 

Becky Hilton (beckyhilton64@gmail.com)

Or maybe my current fave quote (I am making a tshirt series) is appropriate – Dirt is matter out of place. Mary Douglas

Q

Dirt is matter out of place

Becky Hilton (beckyhilton64@gmail.com)

Yes. What do you think.

Q

I’m thinking….

Trying to understand the sentence a bit (my english sometimes is limited)…. 

I guess it goes towards the possibility that things belongs to places? 

Becky Hilton (beckyhilton64@gmail.com)

So, I think it about otherness, uncertainty. What we think of as dirt here, in this place, is something other, some other matter in another place.  – physical substance in general, as distinct from mind and spirit; (in physics) that which occupies space and possesses rest mass, especially as distinct from energy: the structure and properties of matter.

That was a definition of matter at the end of that sentence, I sent too soon. This process is challenging my thinking/speaking/writing habits!

Q

hahahaha…

I’m thinking that almost everything could be a different kind of matter in another place… doesn’t it? 

There is something about placing or displacing, beloging or not belonging, and breaking those conventions that everything, indeed, belongs to something an into different spheres of space, time and matter. 

What it is now and what it’s becoming already entails different trajectories and we just cross paths and maybe affect our modes of movement

Becky Hilton (beckyhilton64@gmail.com)

Yes, I think for me that sentence sort of assists me, helps me organise my ethical relationships to a place and the people in the place as sometimes different from my aesthetic relationships to the place/people. I think I am constantly trying to reconcile these things. This is a kind of mantra (which is in Sanskrit, a sieve to shake things through) for me to understand and invite the disparities.

Yes, I love becoming as a concept and a sort of abstract ethos but in reality I am constantly trying to find attachments. I need them, I am trying to practice making them light and breakable. But I think I break them, I don’t think they transform!!!!

Q

The etymology of transforming goes into two (now relevant) possible directions: 1.- changes the form or 2.- to form…. I’m thinking that goes relates to a certain idea of trajectory which accumulates on time and has a sense of direction and the other one is always breaking it and trying to find its new form on relation to the present in which it is….

I like the thought on thinking that when we meet we don’t transform but that we break….

That there is a capacity on the encounter to break, to pause, to lose form…

Becky Hilton (beckyhilton64@gmail.com)

sometimes I worry that it is only we, from this place of relative priveledge, that have any desire to break anything. But I enjoy a ruin of something as something to begin again on. Ruin. Is a verb – to destroy and a noun – a wreck of somethng.

Q

Well, i think it’s depending on where are you breaking things from…. breaking stigmas or assumptions is something humans do as our mode of living and share ours modes of living. 

When I think about breaking in this context I come to think about sharing assumptions and share them as a wonder, as a possibility in order to keep finding places in where we meet. 

What is interesting about this football match experience is that, for them, what I have done was wierd. For me, it was conventional at points. 

In either ways there has being a literal break but also a metaphorical break…. what did it happen? what did it do to me? what does it trigger?  

Becky Hilton (beckyhilton64@gmail.com)

Explain that to me some more. Who is sharing which assumptions. Oh you just answered that. I am enjoying the future and the past in this method. The prersent is weird though.

Q

and maybe is nothing but maybe there is something. 

I actually think that the break (the dissensus if we go back to Ranciere) happens on those breaks of circulation and norms. Nevertheless, I just especulate on that possibility because the reality is that I was hired to do the break of the football match. 

Becky Hilton (beckyhilton64@gmail.com)

I think it did the things you think it did. The break in time, in tradition, the strangeness, the people going home and saying they saw a weird thing today at the football. I want to ask you a bit about the way you worked with the performers. It seemed that in a way you worked with their conventions (maybe I mean their desires but maybe they are conventions) in terms of the material, but I could feel yours also? In the absurdity, the familiar with a twist, it had a rlow fi elationship to Beyonce’s halftime show at the superbowl or Coachella (!!!!!) i mean marching bands, acrobatics but  it also had classic throwing and catching following the leader etc contemprary dance practices. Very American somehow? What do you think of that?

Q

I was tempted to tell you to leave it here for today and to go for one more round at some point next week. Nevertheless, I will answer to you questions

If I can

Well, I’m having the premise that there is a capitalist practice which is based on entertainment. In that level, there is something about eficcency of the event that came to my mind at points during the process. 

I have worked with the groups in different times and just the same day of the interruption we’ve made all of us 

meet

Before, everything was scattered and extremely especulative (as it end up being) 

I would have: a group of hip hop people, a group of cheerleaders, a marching band and few dancers ….

The material was generated a bit taking into consideration where they wanted to be (hip hop dancers, cheerleaders…) but yet also taking into consideration that they are teenagers. And yes. Sometimes, if we take into consideration how they perfom themselves, it is not the same thing. 

Becky Hilton (beckyhilton64@gmail.com)

And we are back to questions of time.

Q

Then, I’ve had this wish to introduce elements from ballet. Therefore, I added into soundtrack of the thing one of the scores of “Paquita” and mashed it with “Titanium” which is a very pop song by SIA

and always was trying to introudce elements which are part of the dance environment in order to propouse a movement that was proposing a movement and a body that know i don’t know how to describe

Many of my thoughts were based on seeking for a sensitive approach to the thing. For that, representation modes were very present during my process. This is what I’m realizing now.  

Time has being all over part of it…. we’ve had 10 minutes, I’ve had a very clear timing of rehearsal, etc…

I wanted to be fun for everyone but yet that we could trigger some questions and open possibilities of breaks in places such as a football match

Becky Hilton (beckyhilton64@gmail.com)

Was it fun for you?

Q

Yes! 

I’ve realized I end up doing something which is very close to some of my recent interests

Interruption, Displacement, Structures, …

Mistery

Becky Hilton (beckyhilton64@gmail.com)

Will you keep doing it? I think exactly these kind of in public multiplicity of subjectivities projects could change the world if they had a kind of existence beyond the ‘one off’. What would happen if a community based practice was halftime entertainment for a year? It would produce a whole new convention for someone else to break! I could actually do this all day but I have to go Quim.

Q

Becky, we should stop for today. And what would be great is that we can chat some other day and keep going with this conversation. So, we leave things rest a bit and come back to it. What do u think about that?

that’s what i was going to day

say*

Becky Hilton (beckyhilton64@gmail.com)

I hate that term community based practice – everybody in the world is constantly practicing being based in a community – but you know what i mean. Yes, very good to talk about things with you Quim. Until next week. hasta luego.

Q

KISSS!!!

1 missatge nou
Becky Hilton (beckyhilton64@gmail.com)

X

Becky • 17 de maig 12:34
Link to video:
33892860_10216451193691833_3507666483171819520_n

Round table EDN: “Which kind of memory are we interested in?”

19, 20, 21… days ago I was sitting in a circle with other people that commute to the broad field of dance in Europe. From our various perspectives and realities we were having a conversation triggered by the following question:

“Which kind of memory are we interested in?”

Today I searched for the etymology of the word “memory” and this brings me back to an origin based on “recollection, awareness, consciousness”, “fame, renown, reputation” or “faculty of remembering”.

Today I have also decided to listen to a series of songs that contain the word memory as I write these lines.

And now, in this undeniable sense of touch and the motions around my body, I attempt to remember that conversation which began with the possibility of reformulating questions. Questions that are derived, that are transformed through the simple movement of wanting to understand. Maybe it was an attempt to recall a memory that is already a reformulation from she who remembers it, she who sustains it, she who suspends it or she who registers it; the memories and skills of the holder.

The question arises whether dance houses are activating a registered memory. I remember Àngels and Matildhe talking in the morning about the memory contained in the archives of CND and Mercat de les Flors (one open for consultation and the other closed) and how that archival body is taking up spaces and triggering actions within the theater and its peripheries. In some ways, memory is part of what some of us do from the beginning as we grow on time but dance houses have to be able to proceed a memory that can be displayed, that can continue generating present realities or cycles between movements of different temporalities.

We were a group of people. There was a mixture of different places. The conversation flowed, was suspended, misunderstood, reformulated, deviated, concentrated….Each person there had a different body: open, sensitive, tired, bored, attentive…….some people were leaning on the wall, some arrived later and some of us were taking notes…. My notes got lost. And now I’m trying to remember something that, as time passes by, had become more tangible. Even more present.

I return to the etymology because it helps me to intertwine those memories into something that can bring us closer to the question. Despite the digression and continuous change of topics and thoughts, I notice at least three approaches to memory as I remember us speaking: memory that wants to strengthen certain names (fame), memory that generates consciousness and memory that we recall as subjects (faculty of remembering).

One example of the memory that wants to strengthen certain names could be an archive. In the middle of our conversation, someone in the circle spoke of Derrida mentioning something like “to archive something means to kill something else”. And, in that line, we go back to the beginning of the conversation with a contribution that wondered if dance houses simply want to remember the success and the establishment of dance. Some of us wonder if what rests in dance houses is exclusively the success of something.  Is there something else further than the reputation that artists get by being part of a construction that legitimizes them? Is that the kind of memory that we want? What can we do as spaces, in relation to other narratives, to host a memory without it becoming part of the “appropriative identity” of the same institution? What form should it have?

Someone contributed to this line of thought commenting that many of the formats in which the works are documented are the audio-visual files.

The memory that generates consciousness would be, for example, the memory of something that makes you responsible in the present sense. One person spoke of social movements in countries in which the current government or the citizen movement removes or destroys certain monuments that exist in the public sphere. That movement poses a re-appropriation of public memory that allows the citizenship to be active. In that case, we can address which types of monuments, and therefor, which types of memories, we want in our streets or in public realms such as dance houses.

The memory we recall from our own experience seems to come into the conversation after talking about the archive for a while. We spoke about the subjective eye, my “own” eye, as a way of giving memory and creating history. That individual perspective can empower encounters between different visions. The accumulation of personal stories gives us a much more complex sense of memory and therefore a bigger construction takes place.

Someone mentioned Olga de Soto as an example of a dance artist who suggested subjective memory as a way to approach a shared history. A history yet to be decided….

Can we go back to practicing an approach towards history as a faculty of remembering together?

After some minutes of conversing, we found it important to remind ourselves that the body is also the architecture and the object with which certain places coexist. Memory is in sensing, which implies listening and resonance among many different entities. Buildings, walls, columns, objects… all have memories.

Recently one of the persons in that circle wrote me with the following memory: “I also briefly mentioned the theories of Rupert Sheldrake of morphic fields/resonance and memory being property of space, stored in the networks of various agents”.

Finally, and looking back, I see that none of my memories are static and that my way of remembering is still limited to how the present allows me to do so. In this case, neither the archive nor we, are static. This kind of present is a good context in which to appreciate that what we generate with our memories are possibilities for other movements yet to come. In that circle on the 16th of February, we spoke about the possibility of understanding the archive, as well as the memories it contains, as a movement that evolves with the place.  We convey that a memory makes us also responsible of what has been forgotten.

We might need to create spaces where the visible and the invisible co-exists inside and outside of institutional archives.

This memory I’m having, which is mixed with other memories, leads me to a feeling of constantly conversing. Conversing with the memories of that day and all things in between.

I thank all the people and other agencies that were there and that trigger big part of these lines.