DV- Entrar-se. Archivo de la Porta 1992-2012

Propuesta de re-abrir el archivo de La Porta y generar varias prácticas alrededor de sus latencias. El ejercicio girará alrededor del encuentro entre diferentes visiones que vienen de la archivística, el realismo especulativo, los lenguajes documentales o la edición gráfica todo a través del filtro del lenguaje coreográfico. El encuentro tendrá lugar entre personas que han estado vinculadas con La Porta y La Poderosa y artistas de varias disciplinas. En este caso, el material del archivo se convierte en disparador de lugares (situaciones) para compartir, y también crea nuevos territorios que se sobreponen a aquello que sigue pasando.

Se trata de abrir la posibilidad de reflexionar sobre las maneras de organización de este archivo y sumergirse en una práctica donde el orden y el sentido de la disponibilidad nos ofrecerá la posibilidad de intervención alrededor del ciclo.

El taller contribuyó al contendio de la conferencia performativa “Desplega Visions

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.

Grec 18/24. Agost Produccions & Quim Bigas

2017

**¿Qué es un teatro?

**¿Què és un teatre?

**What is a theatre?

Amb: RODRIGO AGUILAR, ALEXANDRA BANOIU, MIQUEL BRASÓ, SANDRA REINA,
ALBA FIGUERES, ELISABET GINER, MERITXELL GINER, HELENA GÓMEZ,
LAURA GUILLÉN, ÈRIC PONS, ALFONS DEL POZO, BÀRBARA MISERENDINO,
CARLA TOVIAS, MARÍA ZAYAS I JOSÉ ALBERTO ZAPATA.

fotos taller grec 2017 assaig 8 b

 

CAST/CAT/ENG

¿Qué es un teatro ? y ¿qué se puede hacer en un teatro? Con estas preguntas como punto de partida, Agost Produccions y Quim Bigas se proponen activar las preocupaciones de un grupo de personas de entre 18 y 24 años, reunidas durante el mes de julio para ver cuatro obras de teatro y un taller conjunto en el marco del festival Grec.
Los participantes han construido su escala de valores a partir de los contextos en los que han estado. Cada una de estas personas tiene una relación con el acto escénico diferente. Los hay que no habían estado en un teatro, o de otros que han visto teatro en centros cívicos. Hay personas que están cursando los primeros años de sus estudios escénicos, y los hay que hacen otras carreras mientras desean poder hacer teatro. Hay que provienen de la danza, de las corales, del musical, de la performance, o de trabajar en una pastelería …
En lugar de buscar una cohesión, nos embarcamos en la posibilidad de accionar desde la multiplicación y la dispersión. ¿Qué nos agrupa? ¿Qué nos separa? ¿Cuál es el espacio para hacer oír nuestras voces? ¿Y si tenemos que dejar hablar a quien tiene algo que decir? ¿Y si las palabras ya han perdido todo el sentido y necesitamos invocar el cuerpo para hacer sentir nuestro discurso? ¿Qué nos hace personas arriba de un escenario?
Esta activación escénica no es más que la puesta en común de estos encuentros. Es un momento de apertura para compartir sus preocupaciones, con la ambición que también puedan ser las suyas. 

CAST/CAT/ENG

Què és un teatre?, i què es pot fer en un teatre? Amb aquestes preguntes com a punt de partida, Agost Produccions i Quim Bigas es proposen activar les preocupacions d’un grup de persones d’entre 18 i 24 anys, reunides durant el mes de juliol per veure quatre obres de teatre i fer un taller conjunt en el marc del festival Grec.
Els participants han construït la seva escala de valors a partir dels contextos en els quals han estat. Cadascuna d’aquestes persones té una relació amb l’acte escènic diferent. N’hi ha que no havien estat mai en un teatre, o d’altres que han vist teatre a centres cívics. Hi ha persones que estan cursant els primers anys dels seus estudis escènics, i n’hi ha que fan altres carreres mentre desitgen poder fer teatre. N’hi ha que provenen de la dansa, de les corals, del musical, de la performance, o de treballar en una pastisseria…
Enlloc de buscar una cohesió, ens embarquem en la possibilitat d’accionar des de la multiplicació i la dispersió. Què ens agrupa? Què ens separa? Quin és l’espai per fer sentir les nostres veus? I si hem de deixar parlar a qui té coses a dir? I si les paraules ja han perdut tot el sentit i necessitem invocar el cos per fer sentir el nostre discurs? Què ens fa persones dalt d’un escenari?
Aquesta activació escènica no és més que la posada en comú d’aquestes trobades. És un moment d’obertura per compartir les seves preocupacions, amb l’ambició que també puguin ser les vostres.

fotos taller grec 2017 assaig 53 b

CAST/CAT/ENG

What is a theater? What can be done in a theater? With these questions as a starting point, Agost Produccions and Quim Bigas intend to activate the concerns of a group of
people between 18 and 24 years old, gathered during the month of July to see four plays and to do a workshop as one of the parallel activites of Grec festival (Barcelona).
The participants have built their scale of values from the contexts in which they have been part of. Each of these individuals have a diverse relationship with the scenic act. There is people that had never been in a theater, others who had seen theater at civic centers and other that had never been in a theatre. There are people who are studying their first years at acting studies, and there are other people that are studying other subjects while wanting to be able to study and do theater. They come from dance, choirs,  musical, performance, or from working at a pastry shop …
Instead of searching for cohesion, we embark on the possibility to drive from multiplication and dispersion. What makes us a group? What separates us? What is the space for the individual voices? What if we might give space to the ones that has things to say? What if the words have already lost all the relevancy and we need to invoke the body to make it speechfull? What makes people in a scenario to be actors?
This scenic activation is nothing more than a result of this encounters. It’s a moment of openness to share our concerns, with the ambition that they can be yours too.

 

Conference How to make dance relevant 4 · Analysis of best practices ·

25 cases were included in a catalogue that might face, in one way or the other, the topic of relevance in dance. Then, 25 cases talks implicitly about their way of dealing with a certain urgency with dance as one of its main agents. 25 cases are talking implicitly about institutions, responsibility and relevancy in very distinctive ways. Despite all, perhaps it’s interesting to look at the commonality of those projects and less on the singularity of those.

Being invited by the European Dancehouse Network and independent agents Mònica Pérez and Steriani Tsintziloni, I attempted to lead a session that had as a main focus the analysis and the indexation of the information that each of the cases were given. By the use of quantitative methods, we might be able to talk about the relation between those projects and the current dance policies in Europe. The session was meant to exist through an accumulation of questions as well as pointing out how the representative aspects of those cases might be playing a crucial role in the way we activate in the European dance scene.  By seeing what those cases generate in common, maybe we can…. Read more here.

Teaching/Facilitating

“From Z to      and from   to the further left corner and everything in between” Description ENG here

“De Z a        i de      a la cantonada dreta (i tot allò entremig)” Description CAT here

“RE-“ Description ESP here

“ the floor is yours/ a whole class in a low level”.  Description ENG here

Moving through cooperation Description ENG here

 

La Visiva / Cicle Lupa - Quim Bigas ©Tristan Perez-Martin
Picture by Tristán Pérez-Martin

Start his work as a teacher in 2005 in Catalonia. During the last years Quim has facilitate technical classes and sessions at Copenhagen Contemporary Dance School,  Descalzinha Danza (Madrid), Profesional training at DanseHallerne (Copenhagen), European Dancehouse Network, Dance House Leftkosia- Cyprus, Apropa Dansa Catalunya, Festival Sismògraf-Olot, La Visiva-Lupa (Barcelona), Festival INTACTO (Vitoria), Art Directors Club of Graphic Design and Catalan Council of the Arts.Quim is a resident teacher at Copenhagen-Contemporary school (Copenhagen-Denmark). Teaching: technique, movement research and composition. He also has been mentoring the Resident Artist at Dancehouse Leftkosia, Cyprus for 2016 and 2017.

He is also following up the projects of Helena and Julia Martos, Magí Serra, Aina Alegre, ZumZum Teatre and Sónia Gómez, Pere Jou and David Climent.