BITTE SCHREIBE ALLES AUF, WAS DIE IN DEN SINN KOMMT - WAS DICH IN DIESE MOMENT TRIFFT.
NIMM DIR ZEIR. WIE RESONIERT BEGRIFF IN DIR? WAS KOMMT AND DIE OBERFLÄCHE?
KANNST DU BEGRIFF IN DEINEM KÖRPER SPÜREN? WO UND WIE?
WENN BEGRIFF EINE LANDSCHAFT ODER EIN DING WÄR, WIE WÜRDE ES AUSSEHEN? IST ES RUND, DEHNBAR, KALT, ODER ETWAS ANDERES?
WIE BEWEGT ES SICH? KANNST DU ES BEWEGEN?
WIE HAT SICH DEIN GEFÜHL FÜR BEGRIFF ÜBER DIE ZEIT VERÄNDERT - WAS BEDEUTETE ES VOR JAHREN, UND WAS KÖNNTE ES IN DER ZUKUNFT BEDEUTEN?
FEEL FREE TO WRITE ANYTHING THAT COMES TO MIND - WHAT STRIKES YOU IN THIS MOMENT.
TAKE YOUR TIME. HOW DOES THE NOTION RESONATE WITH YOU? WHAT SURFACES AS YOU REFLECT?
CAN YOU FEEL THIS NOTION IN YOUR BODY? WHERE AND HOW?
IF IT WERE A LANDSCAPE OR A THING, HOW WOULD IT LOOK OR FEEL? IS IT ROUND, STRETCHY, COLD, OR SOMETHING ELSE?
HOW DOES IT MOVE? CAN YOU MOVE IT?
HOW HAS YOUR SENSE OF THIS NOTION CHANGED OVER TIME - WHAT DID IT MEAN TO YOU YEARS AGO, AND WHAT MIGHT IT MEAN IN THE FUTURE?
DAPHNA HORENCZYK and
ANNA HOWAK co-give
INPUT
LIV SCHELLANDER
facilitates the WRAP UP in the form of a
COLLECTIVE CHOREO CONSTELLATION
with all participants of the three days
The performative constellations
are
living maps,
sensory sculptures,
a contemporary ritual
where
an embodied collective storytelling unfolds in the moment.
TAKE THE THIRD WORD FROM THE FIRST LINE AND WRITE IT AGAIN IN THE FIRST SPACE OF THE THIRD LINE
TAKE THE SECOND WORD FROM THE SECOND LINE AND WRITE AGAIN IT IN THE SECOND SPACE OF THE THIRD LINE
LOOK NOW AT THE TWO WORDS AND WRITE WHAT EVER COMES TO YOUR MIND ONTO THE LAST LINE
ON THE FIRST LINE WRITE ANYTHING THAT COMES TO YOUR MIND WHEN YOU HEAR THE WORLD RISK
ON THE SECOND LINE WRITE THREE WORDS - ANYTHING RELATED FOR YOU TO THE WORD CARE
* (... it is an artistic research that adapts (systemic) constellation work as a choreographic practice.) Liv Schellander
SOME EXAMPLES
DANGER ADRENALINE SHIVERING CONFLICT
CARESS SILENCE PROXIMITY
SHIVERING SILENCE
ICE-BREAKING
CHANCE DANGER FUN COOL
FAMILY DUTY HUG
FUN DUTY
WORK-LOVE
INVITE ALLOW ENGAGE ACCEPT
NECCESSITY SHARE INVITE
ENGAGE SHARE
DARE
JUMP ABOVE BELOW CLIFFS
TOUCH LOVE BREATH
BELOW ABOVE
MIDDLE HEIGHT
I'm outside catching possible people that have gotten lost in Rabenhof. One of Vienna's largest Gemeindebauten where Raw Matters have their studio, office and gathering space since 2024. The architecture embraces several inner yards and I have gotten lost here myself the first times. Phone rings. Alberto says we will begin. I enter as the last person in the room at Raw Matters. The wooden floor is a bit cold. Christina makes us gather in a circle. We will begin by sharing a secret. It doesn't have to be a big one.
*This documentation comment is loosely inspired from Alex Arteaga’s & Nikolaus Gansterer’s “athmosphere comment” in their practices of notating & reflecting agency inside the research project Contingent Agencies. In my case it describes a bit where I come from and the situation before entering the different days.
Smoothly held by honey time we welcome risk.
Fall in each others arms.
We warm up to each other through sharing secrets
and carrying each other across the floor.
Ta Ta Ta Ta.
Can I carry you?
The eyes of us all meet and we agree in silence to care about the situation and each other and to pay attention to how the care is received. I'm not only me anymore. We have become us and we want to carry all of us. We didn't sweat like this since March. We begin to smell of each other. Our souls unify in the immediacy and urgency of catching. We need this. I need this.
Afterwards I worry that I wanted too much from the others.
Did it really feel good for them to carry me?
Arne picks up the thread.
My body has gotten stiff and tired while eating.
For 5 minutes I find myself thinking that my body cannot go anywhere
but suddenly I am.
New play rules added.
Tap me on the shoulder and I fall.
How is it possible that we're all beautifully lost in play again?
Are we playfully mean to each other?
Two songs navigate me towards my needs.
After an autumn too much in front of the computer with a more and more natural hunch I find myself arching and arching. We warm up in a deep second position, through fast breathing – borrowing Christina's need and through falling over and over to the floor. We warm up the space between. We point at each other with closed eyes.
Knowing who is here really changes the space.
OH Eh!
(how can one spell this playful shout?
One cannot,
it's supposed to be loudly
screamed
by first one
and then all of us
as a prompt
to go
to the floor).
