Irena Mikec on Yasmeen Godder’s showing of work in progress

A woman in 3.

Throughout time and as a collection of imprinted experiences.

Meetings in selfreflective moments, re-living the past, re-dreaming the future.

Interaction as an urge to reconnect to oneself. Hold on to oneself.

Completely indulged into one moment. Stretching time.

Leaving a trace, a sign, a print in space and in the experience of the viewer.

Irena Mikec

I speak two languages

sunset in Bassano del Grappa

Last year I invited the Choreoroamers to do the exercises of translation, a creative transfer exercise. This year I narrowed down this proposal to the written transfer or translation of their own work and of the works they see during B motion.To deal with the sketches they presented during the sharing, I gave them some titles or themes, as a starting point. They are allowed to contradict these themes and to write in the form and genre they prefer to convey their idea. They can also write in their own mothertongue and they can choose whether to share their writing with the blog readers or not.

It is definitely not an easy job, basing on the assumption that dance is also a language and on the attempt to translate it into another language, the written form.

While we were talking about this, Eva quoted Mae West, “I speak two languages, body and English”. To which extent are these two languages mutually translatable? How can the verbal form be an expression of a performing art?

Rut Balbis

Rut Balbis

For Rut Balbis, Choreoroamer from Spain, this has not been her first time in Bassano del Grappa.

During B motion 2008 she and her company, Pisando Ovos, presented an extract of their work No intre 1800. I remember the work had a lot to do with duration, time, simplicity, letting go of the body.

Today Rut reaffirms her wish to be simple, her challenge to express ideas in a clear way. “I want to talk about how you can look at an artwork. At the moment I am working on the audience’s point of view, and on the different ways I can present my artistic thought”.

At Palazzo Grimani she was fascinated by the essential compositional lines of Paesaggio, by Toni del Tin, 1953. A black and white photograph, with a line dividing the sky from the earth, a donkey inbetween. The shapes are clear, the colours are basic, this reminds Rut about Kandinsky.

I asked her to draw the lines of the picture she chose for the beginning of her journey.

Then, right there, a donkey appears. The donkey is an animal she likes, something which she connects to her region. She has always lived in an urban area, but Galicia, where she comes from, is also a rural region, and donkeys can be seen there.

The connotations are several, a donkey is a sweet animal, but also a naive one. “Especially in this moment of crisis, politicians are telling us what to do, and we’re like donkeys there. There were many demonstrations, but we’re still donkeys. This animal can stand for manipulation“.

Writing and moving

The four states, the four past lives in Yasmeen’s written task were processed into four titles: from there, going to the movement material was a spontaneous passage for Rut. “Each word, each title, was like a satellite, around which many other concepts revolved. Thinking of past lives, of the past, it is easy for me to go back and feel the movement I associate with that. My associations are physical, related to the imagery, mental, emotional. For example, starting from the word agotado, exhausted, I can connect the memory of feeling exhausted, then what I define as such, etc.”

The passage from one room to the next one was net, in Rut’s case, that is to say she did not inform the next room with what she had experienced before, nor did she melt both, but she decided to cut.

Rut defines two basic ways to physically process a word. Let’s take the words donkey and agotado, exhausted: for the first, she started by being in the body of a donkey, and then gradually went into the mental state associated with that; for the second, she did it the other way around, ie she connected with the state of mind of being exhausted to gradually be physically exhausted.

Her challenge is to make her body move her, she trusts the movement of her body, so she follows it. “Of course, it’s not possible to separate soul from body, but sometimes one part takes the lead over the other”.

Choreoroam Europe 2012 has arrived in Italy

After the Rotterdam and the Zagreb residency, Choreoroam Europe has arrived in Italy!

The first official meeting was in Venice, at the Palazzo Grimani, to visit the works exhibited in the palace and especially the Visions of the Hereafter by Hieronymus Bosch. A guide of the museum provided context about the setting of this artwork and some fundamental references and possible interpretations about this still mysterious polyptich.

The mentors of this week’s workshop within the Choreoroam Europe framework are Yasmeen Godder and Itzik Giuli, who gave the Choreoroamers a series of tasks focusing on a personal reprocessing of one chosen work.

“Pick a work in the museum, something which stimulates you, and:

1 write freely about the piece

2 write from the point of view of the picture, as if it were an identity and it were speaking, as if it had a voice

3 write about something hidden, unseen, contradictory in the picture, i.e. something you see, but which is not there

4 think of the picture as one past life of yours; invent three more past lives/identities which may be connected, or even disconnected

5 write about the picture as if it were your only expression in the world, as if you made it or if it were you; something about its details, its colours, its composition

The general idea is to narrow down the energy, the voice, to one thing.”

It goes from sensual to spiritual: I had the feeling we could compare this process to the energy in the panel of the Ascent into the Empyreon, one of the parts of Bosch’s Visions of the Hereafter.