A letter from Quim Bigas to Materiais Diversos

Since the beginning of april I have been talking with Elisabete Paiva and Sofia Matos from the festival “Materiais Diversos“. We’ve had, and we are still having, many great conversations that are enriching and inspiring.
At some point, they’ve asked me to send some text to them and, during that period, I was a bit bored and not motivated to write staring at a screen… Felt I need it, and I still do, get in touch with things and still feel that my touch is involved in certain thingies. At the time I was talking to them, I was also pretty much into being on the void of collaging and the whole displacement of images and imaginations.

Finally, I’ve decided to handwrite the text and to send it via post.
The whole handwriting thing was very engaging. First, I wrote several drafts, then I pretended to pass some of the text into the final version… then, need it to get rid of some stuff or find out of a big mistake and need to start again the page… My body was caring for my words and trying to make them readable. My wrist was tired at times and my neck was, as I say in the text, holding some tension…. During the process, I thought about some images, out of context, little cuts which also increase the holder’s experience. In order to read the text, you need it to move the images…
It was a great process of understanding the process of my body within this context as well as projecting myself into a future. The letter arrived a month later and they have transcribed and translated (available in Portugueses and “my” English) the content.

Materiais Diversos put the letter in their site and I am happy to leave the link here so you can read it or take a look at it.
I also encourage you to follow up “O tempo das cerezas” as the other contributions are full of value and reflective input.

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.

A POSSIBLE MANIFESTO ON DOCUMENTING AND DOCUMENTATION.

A POSSIBLE MANIFESTO ON DOCUMENTING AND DOCUMENTATION.
1. DOCUMENTING AND DOCUMENTATION ARE NOT THE SAME.

2. A DOCUMENT HAS POTENTIAL. DOCUMENTATION HOSTS POTENTIAL.

3. YOU DOCUMENT.
3.1. YOU CAN DOCUMENT SOMETHING THAT BECOMES DOCUMENTATION.

4. DOCUMENTATION IS A CONSEQUENCE OF THE PRACTICE OF DOCUMENTING.
4.1. DON’T GIVE FOR GRANTED THAT IF YOU DOCUMENT YOU HAVE DOCUMENTATION.
4.1.1. DON’T CALL DOCUMENTATION ALL THE PICTURES YOU HAVE IN YOUR COMPUTER.

5. DOCUMENTING IS THE ACTION OF WANTING TO TELL A PERSPECTIVE WHICH IS TRUE.

6. DOCUMENTATION EMPOWERS OR DESTROYS THE NOTION OF TRUTH BY ITS OWN ACCUMULATION AND TRANSFORMATION.

7. DOCUMENTATION IS NOT STATIC. IT IS TRANSFORMING AND BEING AFFECTED.

8. DOCUMENTATION GOES FURTHER THAN THE REALMS OF UTILITY.
8.1. DOCUMENTATION CAN BE USEFUL.
8.2. DOCUMENTATION CAN BE USELESS.

9. DOCUMENTATION CAN BECOME MORE IMPORTANT THAN THE WORK ITSELF.

10. DOCUMENTATION IS NOT BRANDING EVEN THOUGH YOU CAN DOCUMENT FOR MARKETING PORPOUSES.

11. DOCUMENTATION CAN (SHOULD) BE OUT OF YOURSELF.

12. DOCUMENTATION IS AN ENTITY OUT OF YOURSELF.

13. DOCUMENTATION IS THE ACTION OF PROVING AND BEING AVAILABLE AS A SUBJECT. THE DOCUMENTS ARE AVAILABLE BUT NOT THE WORK ITSELF.

14. DOCUMENTATION GOES FURTHER THAN THE REPRESENTATIVE. EVEN FURTHER THAN THE DOCUMENT.

15. DOCUMENTATION MIGHT BE A TOOL TO EMPOWER CERTAIN NOTIONS ON CIRCULAR TEMPORALITY.

16. DOCUMENTATION CAN BE DISJOINTED FROM HISTORY OR LEGACY.

17. DOCUMENTATION ALLOWS SIMULTANEITY TO EMERGE. THEREFORE, TIME IT’S BEING PERCEIVED IN A DIFFERENT MANNER.

18. MIGHT BE IMPORTANT TO KNOW WHERE YOU ARE DOCUMENTING FROM.
18.1. YOU CAN DOCUMENT FROM MANY DIFFERENT PERSPECTIVES.

19. THE WAY WE DOCUMENT TELLS ABOUT THE WAY WE SEE AT THINGS AND THE VALUE WE ARE GIVING TO IT.

20. EACH WORK/PROJECT/PRACTICE MIGHT NEED DIFFERENT MODES OF DOCUMENTING.

21. DOCUMENTATION MIGHT BE A PLATFORM WHERE TO HAVE A CONVERSATION FROM.

22. ACCESSIBILITY IS A MUST IN THE REALM OF DOCUMENTATION.

23. DOCUMENTATION IS A TRIGGER FOR ACTIONS.

24. TO DOCUMENT IS TO DEAL WITH THE VISIBLE REALM. DOCUMENTATION GIVES SPACE FOR GAPS BETWEEN DOCUMENTS WHICH ARE INVISIBLE.

25. DOCUMENTING IS AN AFFIRMATIVE ACT TOWARDS WHAT HAD HAPPEN. DOCUMENTATION CAN QUESTION WHAT HAPPENED.

26. IT IS DANGEROUS TO GIVE DOCUMENTATION FOR GRANTED. HAS TO BE REVISITED AND UPDATED CONSTANTLY.

Self-interview on APPRAISERS

**

Hello Quim

-Hi Quim

-Could you introduce us a bit into your last project?

-Well, I’m still not sure if I could call it a project. I have the feeling that I’m generating a project inside another project and, in terms of terminology, it is a bit confusing to talk about it. Although I’m dealing with an “ongoing project”, I have the suspicion that the project in itself (meaning the action or the format that keeps me busy at the moment) is also a project with its own logics of productions, communication and, of course, decision-making. So, the project unfolds into different layers which crystalizes into different formats that are hosted by this “ongoing project”.

In general terms, if I’m interested in “the project” idea it’s because, one of its meanings, it refers to the idea of going forward. So, there is something very interesting about the idea that the project is moving me forward too. Opposite to that, I’m not interested in the project approach regarding achievement, goals and other forms which are, from my perspective, a bit too aim oriented.

Going back to your question, I have been working on a context which could be a trigger for a conversation between the visitors and the artists involved. It is actually a commission from Graner, a residency space in Barcelona inside Sâlmon Festival which they also organize. As a starting point there was a wish to generate a dialogue between audience and artists while giving visibility to my artistic process.  The process they were referring to is APPRAISERS an “ongoing project” which is becoming many things and that started in 2011.

So, “APPRAISERS/this conversation” ended up being a trigger for a conversation. Even though we were working around the idea of dialogue, I found the whole approach of having a conversation much more enriching than the idea of establishing two active positions from the beginning.

-Who are “we”? Are you working with a team?

-From my perspective, there is a sense of team. But that team is not fixed or closed. It is actually a bit more dynamic. Maybe is not a team as such, I don’t know…

What I do know is that APPRAISERS have had many contributors and that they have contributed to different stages of the work. Some parts of those stages have been shared and others not. I believe their contribution is essential for the project to keep moving forward and to the notion of network and affection that I’m interested in.

I presume that having contributors or being in a constant conversation with some people comes as a consequence of my own resources. In fact, I have never applied for any kind of funding. Then, my strategies have to change in connection to my current possibilities and the contexts and I’m in dialogue with. Nonetheless, I have been very lucky to find Raquel Tomàs since she is a supporter and a continuum of the project. She has been involved in many of the formats I have generated. At the beginning, she was involved as a dramaturge but she ended up being an active part of it further than the role of the dramaturge. In fact, we just realized that the dramaturgy of this project is much more on the idea of affects and encounters rather than trying to found tools or strategies for drama. In most of the works we have generated “things looks as they already are”. By that, we explode its own mean of representation as well as its own potentiality for the properties that it already has. At least, that’s something we came out with.

Aside of Raquel there are other people that have been involved in different formats of APPRAISERS. For “APPRAISERS/this conversation” the team of Graner was an active part during the whole process. There was something very interesting on the idea of having a conversation between institution and artist which informed many aspects of the work and some of the decisions that were made. With them, we’ve had meetings more scheduled, they had their questions, I will have mine and then we will go into practicalities.

So, there might a constant relation with something else. A sense of team which arises by the same idea of putting into a conversation what is happening. At any rate, a conversation can happen in many levels and that is what I’m busy with. Thereby, the conversation also happens with the materials and the work in itself and that is one of the valuable aspects of the project.

-I sense you are also talking about a team and, other times, you are talking from your own perspective. I’m assuming you are having a very important position in that work, would you say that you are the leader?

-I like to call myself an activator. There’s something on that position that takes away certain aspects of leadership which I feel not so comfortable with. As an activator, I allow things to be an invitation and non-conclusive. The scores or structures that I work with are platforms where to generate a certain discourse. As a matter of fact, those scores or structures are mine and I activate them by having in consideration the context and the curiosities of the current moment of the project. So, the involvement of contributors is of relevancy as well as when and where the project is taking place.

Today I have the suspicion that the choreographic work of the project is around its logics, the notion of order and the delivery of a context which is affectual, potentiality and concreteness at the same time.  Some other days, I just feel that I am “checking” a project that goes on its own.

-What do you mean when you mentioned that “the project goes on its own”?

-The project APPRAISERS wants to deal with data and information in the present. By it, the idea of present becomes at stake. This present attempts to go both ways: past and present. By it, future might come at stake. It is kind of weird to explain, but I’m guessing that the fact of calling a table just by its name gives a shape to the present as well as how the table and the present were constructed. Following to that, the whole data, documents, texts, books, formats are informing each other and already generate an architecture for things to happen.

Actions are ready any time because of its concreteness and not because my artistic decisions. In fact, my artistic decisions are to allow things to be as they are so, as I have said before, they become many things.

One of the positive things of being-with this long project is to be dealing with its constant transformation. That allows me to keep with the idea of moving forward. So, I work with the information generated as a way to allow it to be movable. By it, reformulation it is a very thrilling perspective to have in mind. So, the work generated is the material of the newer becoming.  So, I work with the information generated as a way to allow that information to move. Through this potential for movement, reformulation is a very thrilling perspective to have in mind. So, the work generated is, itself, the material of the newer becoming.

I’m not 100% sure about what I just said but maybe it’s good to have it in mind as an approach for myself (laughs).

-Then, does the work always look the same? How are you approaching the materials in relation to this ramification or diversification of formats?

-I don’t know if the work looks the same. What I can say is that it doesn’t generate the same affects. Anyhow, it can be that in one of the formats we focus on something very specific of the project and that, other times, we are doing something rather general.

For instance, the format I activated at Sâlmon Festival was quite a large topic: documentation. What I ended up doing was displaying and composing all the documents I have generated during the last five years of the project. So, even though I was tempted to compose a bit more or to include physical actions inside of the map, it was important that I trusted the material like it was. So, the material being part of a very large room was all that audience would find. I’m inclined to say that what I did was very radical but that was just a consequence of being concrete. At least trying to be concrete.

Briefly, the materials are being treated as materials, as potentials for other logics to appear. In fact, I like to think that there is no big difference between the physical materials, the objects we work with and the people involved in the project. Somehow, we all become subjects and objects of the work: we all become an affect to one another.

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**Thanks Chrysa Parkinson for the corrections, clarifications and comments.

Writing

En Quim col·laborar amb TEA-TRON/MAMBO i Godot Bacelona.

Lo que has leído, Quim colabora con TEA-TRON/MAMBO y Godot Barcelona

Quim collaborates with TEA-TRON/MAMBO and Godot Barcelona

 

“La Natten me confunde” texto para TEA-TRON/MAMBO después de ver “Natten” de Marten Spangberg

CASTELLANO: http://www.tea-tron.com/mambo/blog/2017/10/28/la-natten-me-confunde/

LLOC AL LLOC, article pel llibre “El carrer és nostre” d’Aída Pallarés i Manuel Pérez.

CATALÀ: + informació sobre el llibre i llocs de venda: http://www.raigverdeditorial.cat/cataleg/el-carrer-es-nostre/

Crònica d’unes activacions. Quim Bigas sobre “Festucs” i “Carne Fiesta”.

Per Graner, centre de creació. CATALÀ i CASTELLANO.

http://granerbcn.cat/cronica-dunes-activacions-quim-bigas-sobre-festucs-i-carne-fiesta/

Who Am I? Atelier 1 · A spectrum of thoughts · By Quim Bigas.

For European DanceHouse Network.

http://ednetwork.eu/2016/01/15/who-am-i-atelier-1-a-spectrum-of-thoughts-by-quim-bigas/

January 2016.

Words are meanings

by Quim Bigas Bassart/ November 2015/ DOCH-UNIARTS. Read full text here

Afectos de un lector

De Quim Bigas Bassart/ Octubre 2015/ TEA-TRON. Leer aquí

People often asks me what is choreography…

By Quim Bigas Bassart/ Shared RISK BLOG/ http://risk.nu/shared-blog/quim-bigas-bassart/

Composición automàtica #1 alrededor de 1 pregunta

Leer articulo, aquí

La importància expansiva de la dansa

Sonograma Magazine, Juny 2014, Quim Bigas.

La companyia de dansa contemporània amb arrels a la cultura catalana, CollectifPOps, som un col·lectiu de dansa que es nodreix de la cultura popular catalana per tal d’oferir propostes arrelades en la tradició però amb una visió completament contemporània. En aquest cas, sempre és important que ens qüestionem com és el treball col·lectiu, i quin és el nostre entorn cultural.

CollectifPOps

No són preguntes de resposta fàcil ja que la societat i els referents culturals canvien a un ritme frenètic, i també ho fan els nostres interessos artístics. Així doncs, com entenem la dansa i la importància del treball en col·lectiu? Tenir clar el context des d’on es crea és important per a qualsevol proposta escènica o social. L’empatia cap al moment on som és un requisit indispensable a l’hora de generar un treball. Vivim en un context en el qual la dansa és una disciplina artística minoritària, cosa que no ens fa ni víctimes ni vencedors, simplement ens fa lliures a l’hora de desenvolupar el nostre art. La dansa que interpretem existeix dintre d’una estructura de moviments coreografiats que ofereixen un espai sensibilitzador a l’espectador.
Ara, més que mai, creiem que la dansa és un llenguatge que permet pronunciar-nos més enllà de les paraules i endinsar-nos en un espai molt més perceptiu i empàtic de l’entorn. Per a molts de nosaltres, el col·lectiu no és més que un grup de persones que ens troben amb un interès comú. A partir d’aquest desig ens plantegem una sèrie de normes, les quals potencien la rellevància de tots els membres i les ganes d’interactuar. Valorem molt la unió que existeix al grup, així com tot allò que projectem cap a l’exterior. És per tot això que és vital saber des d’on es genera la idea de col•lectiu per plantejar quines són les estratègies que ens acosten a assolir els objectius establerts. Com qualsevol altre projecte col·laboratiu, portem a cap uns procediments que ens faciliten l’espai per a proposar, escoltar, discutir i activar solucions que puguin arribar a representar algunes de les idees que hem generat. En les propostes de CollectifPOps es pot apreciar com les individualitats es troben submergides en una mena de moviment constant i seductor que convida a veure, en perspectiva, el resultat d’allò que generem: és tracta de facilitar un imaginari que fuig de la idea individualista i egocèntrica per donar visibilitat a la pluralitat. Així doncs, CollectifPOps aposta per un indispensable llenguatge de dansa com a forma d’expressió dins del panorama actual. A més a més, creiem en la necessitat d’incorporar formes que ajudin a crear una visió més artística de la nostra quotidianitat. En aquest sentit, pensem que la dansa és un terreny molt ric que té molt a oferir al seu públic tant dins com fora de l’escenari.

Dance Marathon (1920-1930-2011?)

For those who say this is barbaric, you’re right…now look at football and boxing.

ADAMSIXTIES (Youtube User)

Social Dance:
Dance Marathon. (1920-1930 -2011?)

0

I had to present a portrait about dance marathons. It is still very difficult to speak about social dances and question their category (in fact, i don’t find it relevant). What moves me to start, is to know which could be the needs NOW in 2011, of such an event like dance marathons.

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By watching the event in 1920-1930 (“The Era of Wonderful Nonsense”), we are facing a representation of Patriotism and Americanism. By those times, to be a good American had a lot to do with an idea of improving the ideal of community by social events. It was not anymore a war, a daily routine, a language, but an event that holds the meanings of being American.

It was the time of establishing world records. The people were hunger for fame, and they would go to those kind of events in order to become eternal, even if it is for some minutes.
I found it difficult to distinguish individualism from community in these events. Perhaps, the individual makes the community, and through individual achievements, the community and the sense of belonging become strong.

If I play around, I guess that being American in a dance marathon had to do with staying, keeping going, goals, endurance, communication, a couple, dependency, action, proving, money, winning, fighting for what an individual wants and surrender for the sake of victory.

I can even perceive the social roles through the event. Actually, there are 2 “main roles”: the one that physically supports an event and the other, that by witnessing it is involved. The ones that physically support it are there with the aim to establish a record, to make somebody (and themselves) proud of it, getting food, money, exposing their bodies, their weakness…working. The others, that are watching, go with their nice clothes, pay an entrance, throw money to some of their favourite participants, sit and eat, and leave whenever they want…paying. With these “two main roles”, I can not avoid to think about the social class differences that are still visible nowadays in America and in lots of European countries.

The whole event was fulfilling some of the needs of the society (food, entertainment, money, time…) and that is why, the success of the whole proposal was the connection that it had with the situation, even if Dance Marathons did not last for so long, the echo of those events are still in America.

– Social Dance, in some cases, becomes representative of some historical moment, which in turn makes it historical too.

Now, in 2011, there is a global economic “crisis” that affects everybody and provokes the closure of factories, increasing the number of unemployed people and growth of bank debt.

The globalisation and the transnationalism seems to be problematic for lots of European countries, becoming the electoral claim of the upcoming new extreme-right parties. The last years have been years of bringing fear to citizens and threats towards national identity. Some sociologists  ( Massumi, Frank Furedi, DeCroux,…) called it: The politics of fear. I heard often sentences like “THEY remove what WE have” and ” THEY just come to take away what belongs to US” among people in the streets.
-“Could you demonstrate something nowadays?”
– “ What will change?”
In general, people are skeptical, which makes the individual want to be isolated and assume that his/her role in the society/community is one of powerlessness. In opposition to Dance Marathons, the current situation does not promote free time and community.

“I should find somebody that is up to pay people from their own country to establish a record. I need to find somebody that is up to be physically involved in something for the sake of nationality. Also, make big publicity and good media coverage.  Would it be maybe easier if I go to America?“

Probably, this isolation could have something to do with how the individual doesn’t have to move to be certain that it belongs somewhere.  With the use of Internet and other medias, it is easier to fulfill your own needs and desires. An Internet- user, can belong to so many communities and feel that is really part of something!
This thought, makes me think about the figure of the “distant outsider” in a social dance event. The figure, is not part of it. It is not supporting, neither encouraging, neither contributing to the event. It is not there.  Nonetheless, this “distant outsider” could have his/her own social experience. Even this outsider can reformulate the codes and have his/her own social dance event with some others.
– Social Dance events are about a present/real/body implication to the event.
– Social Dance events are about appropriation of the individual and the codes that this person creates through and with the community.

As I can see in the medias, we are in a period where the sense of nationality and knowing in which side you are, is really important and more complex than ever. Even though the precedence is not the same, in both cases, we are in a situation where people are searching ways to prove their nationality. The most nationalistic dances, folklore, are the ones that are more visible in Europe. The dances that drink from the past and that are being used as a reminder of “who we are”.

“I would like to mess up the authorship. Social dances belong to communities, and some of those communities have not even being considered as participants. So, I would like to teach Russian dances to Egyptians, Catalan Dances to Australians, and so on. Make them believe that this is the Social Dance that represent their country. It will be important to have some sociologist, historians, mayors, politicians, etc. that will support the whole idea. “

In a conversation not so long ago, with an American choreographer, she mentioned that Social Dances happens in proximity of bodies and with the aim of belonging.

So, belonging is indeed, at the end, the most important aspect of Social Dances. Not the form, but the fact that the participants belong to the action of the group. Hopefully at the end, I do not own what I am doing, but we belong to it.
In order to belong, we need to know where we are.

Goodbye song :-)

Quim Bigas.

Las Navas del Marqués (Spain), 8th of May 2011.

Books and lectures:

Visual:

  • They shoot horses, don’t they?  A movie directed by Sidney Pollack Trailer
  • Selection of videos about Dance Marathons in the 1920’s- 1930’s (by me) See videos
  • The Panic Is On: The Great American Depression as Seen by the Common Man (2009) See some parts
  • The Power of Nightmares: The Rise of the Politics of Fear Part 1 by BBC- See documentary

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19 February 2010 somewhere in Antwerp 

A golden dog is looking at me, a pink candle is showing off, the coffee remains drinkable, the window is dirty, outside is wet, the sweater that I have underneath is annoing, there's several pieces of paper on the floor outside, a small biscuit next to the coffee is flirting with me, people from outside is looking inside, the golden dog has the eyes at the same spot where the ears are, people is using umbrella but isn't rainning, flowers are dying next to me, a girl got lost searching for the toilette.
I would like to drink the coffee slower, feel until the last bean that lives in my mouth before the next zip.
Now is rainning.
People from inside looking outside, directions, smalls cameos, long cameos, people alone or by couples, I'll put my camera recording...and people stoped to pass through.
Wonder if the whole world could fullfilled all the empty spaces that we have.
Crowded spaces against empty spaces.
Transparent umbrellas against a house with a big windown in the sealing.
An almost empty coffee against an almost full coffee.
The first trio passed through after 15 minutes of watching...a boy with his parents.
...summertime...first chords...
Am I going alone if I go by bike?
A old women smoking alone against a father smoking next to his son.
A kid crashed with a tree because it was playing with a video game. The mum kept walking.
Wonder if I should remember this present.
the first person outside that pays attention at the tree in the middle of the street. He walked arround for a while with the hand on the pockets.
A kid did a unconscience granjetté..suspended and without weight.
If I could stop time, but keep moving my actions.
People becomes special if we LOOK at them
Wonder if my mum it's also alone now.
The gates are open.
I'll see people in the reflection of the glasses but nobody is passing through.
...moloko...bells are giving the chords to the song...
People getting married on a rainny Friday in February?
I guess, the bar in front is cheaper, but it doesn't have this window.
A guy walking try to fix his underwear while at the same time is speaking to his friends.
Are humans the main character of this world? Of this moment?
I know that if you would be here, I wouldn't write anything like this.
I would never wear a white suite with white shoes.
( I love you without missing you?)
I could never crossed out "I Love you".
A guy biking and smoking.
Here is forbidden to smoke, but I guess also bike.
A men is counting the meters of the street. One step= One meter.
Eventhought I don't know their name, people passing are somebody.

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Improvisation from FreiStil. 5th December 2010- Tanz Fabrik Berlin.