re-ordering arrows from the gathered cloud – book four of four

Page 1

A passage of writing extending from the workshop SNDO and HZT in Ponderosa Litó Walkey with guest contributors

re-ordering arrows from the gathered cloud

the as if it ’ s just about to happen series–book four of four


Intro­d uction

The as if it ’ s just about to happen book series invites a reengagement with four workshops, facilitated within HZT Berlin’s BA Dance, Context, Choreography programme between 2014–2016. Four of HZT ’ s teaching staff initiated a collaborative writing project with colleagues, HZT students and alumni to access what persists through the entanglement of their artistic and pedagogic practices. They returned to the pedagogic events with the question “What was and is it doing and what can we create with it now?” Initial experiences, notes and memories from the workshops were approached with a strategy of interruption. A specific set of para­meters informed a structure of excerpts, footnotes, invitations and responses that produced a new order of connections based on selectivity, discontinuity and proliferation. As a reader you are encouraged to be involved with the passages of writings and drawings within these four books and online at the HZT website — to follow, skip across, take apart, expand, reassemble, rewrite and respond further. You are invited to expe­rience what is still creating itself, as if it’s just about to happen.

Writing structure

a poem

a footnote

an invitation

a response

of eight excerpts from the workshop experience

of 100 words elaborates every six-word excerpt as a mini-essay, index, archive or script

of maximum 50  words addresses an inquiry about every excerpt and its footnote

of 250 words or a drawing follows after every excerpt, footnote and invitation

Book four of four has one central author, interwoven with guest contributions.


re-ordering arrows from gathered cloud Litó Walkey withthe guest contributors

re-ordering arrows from the gathered cloud

the as if it ’ s just about to happen series–book four of four


book 4

Litó Walkey with guest contributors

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4 ( 5 ( 6 ( 7 ( 8


re-ordering arrows from gathered cloud Litó Walkey withthe guest contributors

re-ordering arrows from the gathered cloud

the as if it ’ s just about to happen series–book four of four


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to Florian

Dear Florian, I want to go on with this connected where one takes place next to another Describe your sensation of choosing the object and words you give to a person and an occasion. How do you perceive distinction when one thing connects to another?

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1

1  )

In the middle, situating closeness, we meet. Where one takes place next to the other,

( 2

connected, we meet.

( 3

On the back porch, while gardening, walking in the trails, sitting under a tree, in the kitchen,

( 4

in the studio, in the courtyard. We meet, and we find out how to say “I want to go on with this.”

( 5 ( 6

Asking desire: What is urgent here? In study, in practice, in future and here. What am I doing?

( 7

Asking tendency and dynamic: What “just happens”? What do we choose?

( 8

Asking ourselves: What’s missing? Asking each other: What continues and what will remain?


re-ordering arrows from the gathered cloud

1 pc. Kruegerrand and a bag of chocolate gold coins. Showering the gold coins over a person. The Kruegerrand is surreal. Exempt of its monetary value. Gold. Pure gold. Like this situation. “You look like 1,000 Dollars. (in this suit)” And I am selfish. The Kruegerrand changing hands is our secret. You accepted the object. I passed on a burden. I can change now. Something can change now. Watching you change. An object. Not a gift. Continuing a cycle of happily accepting poisoned offers. The exact words coming with it: “More than yesterday. Less than tomorrow.” Situation? After a fundamental fight. After some days filled with insecurity and sadness.

2

3

Response from Florian


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to students

Dear Students, Think of your time in Ponderosa. Remember the activities that engaged restricted and expanded senses. From those memories, write two verb events, each of three words. See with blind. See his saying. Describe her seeing. Hear his before.

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3

2  )

We are bound to sense. Attached to it and moving towards it.

( 4 ( 5

Common practices in dance are applied to daily activities. Our field of play is centred around

( 6

designing restriction and expansion of the senses.

( 7 ( 8

silence for 6 hours eating blind in silence 2 people tied at the waist for a day a pair — one blinded, one seeing — describing the garden at sunrise running blind through the trails all cooking together in silence through series of incomplete, non-committed gestures blind, walking as a group to an open field all jumping from the bridge into river while speaking continuously


re-ordering arrows from the gathered cloud

Puncture the blur. Walk in leftovers. Together carefree music. Unleash fingertip intuition. Remain in silence. Observe what’s on. Blur the focus. See what’s implicit. Hear with voice. Song hears voices. Visit us dreaming. Find me hiding. Offer her feelings. Pause the will. Wash his foot. See her jump. Fall tears up. Jump wor( l)ds down. Torture this sadness. (Re)wind your eyelids. Fetch the engines. Sing in water. mike a diner. ajast to destrakshens. (Make a dinner. Adjust to distractions.) Follow with waiting. Taste his sounding. Fall speech together. Entangle various silence. See silent hearing. Hear slow winding.

4

5

Response from students


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to Tabea

Dear Tabea, Draw the uncomfortable squeeze the welcome frame the release of restriction that comes with choosing, deciding, inventing an invitation that organises an activity that holds essentials of your sourced interests while proposing movement before understanding

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3

3  )

Before we understand the extent of why we have come together, what we may do and how we

( 4

may go about doing it, we source ourselves.

( 5

( 6

an observation.

( 7

( 8

our relation to it. We decide who, how many, when and where. Before we know each other, we

From past and present situations, we source a mode of working, an exercise, a practice or In turning this to a proposal, we define what it is, what it may have been, where it may go,

stand and point our words to particular activities and their organisation.


6

7


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to Katerina

When we cannot see ahead of time overlay so that more things can go on at once see from another place so that it can continue

Dear Katerina, What happened when “The Three Sisters” proposal enabled: seeing ahead of time more things at once seeing from another place continuing ? a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4

4  )

A proposal structure is proposed and named “The Three Sisters”: Groups of three students

( 5

lead periods of three hours. The collective proposals are constructed as aggregates of

( 6

suggestions that are imbedded into the schedule of the day.

( 7

( 8

The focus is to draw attention to something that has taken place in Ponderosa. To recognise

interest in something that is possibly undefined, incomplete, unnoticed or inconvenient. And to bring a particular aspect of this into the smaller group. The combination and organisation of these contributions shape a proposal that is overlaid onto, into or under other ongoing activities.


re-ordering arrows from the gathered cloud

diverging — the Overflow of pre-existing ideas, practices, desires and attractions, towards an Abundance of connections–moving towards thoughts, objects, interrelations not fully visible yet; every moment, everyone, every thing can have an impact. The “whatever” is embraced along the way, refined, defined and situated. hacking — the prevailing social design, often that of an assumed “equality” that disguises different-ness and is blind to the diverse hierarchies and roles silently present in the group. Through the “Sisters” the togetherness of the group can become such that it lets hierarchies and roles, in all their dissonances, accessible to any one at any time. shifting — from a Community of Practice (choreography students gathering in the idyllic German countryside, to professionally and casually exchange knowledge, share skills and engage in discourse around current topics in their field) towards a Community of Whatever (paraphrasing Agamben’s Whatever Community). A precarious community of those who might have nothing in common. One that is constantly testing out its limits, propositions, ideologies, bodies, worlds and therefore, is precarious. Such a community, is unstable too. In order to survive its expected end, a certain commitment and attention is needed that extends beyond the common norms of behaviour. And in order that we cherish its whateverness, we need lucidity and precision and the possibility to localize our­ selves and take responsibility in its formlessness. I see these not as strategies for outcome and production rather they are necessary and emergent qualities of our relationship to work.

8

9

Response from Katerina


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to Florian

Dear Florian, Define four parts (person, object, place, action, quality or idea). Imagine an unlikely connection of these parts that integrates as a system of structural, nutritional, protective and attractive support. Describe how the parts exceed their isolated singularity and gain the ability to cope with change.

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4 ( 5

5  )

Known as “The Three Sisters” with the added bee plant as a fourth sister. This particular

( 6

connection creates sustainability through a resilience within the systems, bringing more food

( 7

and using less water and fertilisation. Permanent Culture is a system of agriculture and social

( 8

design principles centred around stimulating and using patterns and features observed in natural eco systems.

Corn gives a vertical support structure for the beans to climb, beans fix the nitrogen used

by corn and squash, squash covers the ground and protects the soil from sun erosion. The bee plant attracts beneficial insects for pollination.


re-ordering arrows from the gathered cloud

truncated An action stopped halfway through and left, without being disguised. DISTRACTED An alternation of two different truncated actions.* a basil plant with a watering can next to it a coat on a hanger a person (A)

10 11

Response from Florian

*T he Modes. Julian Maynard Smith, Station House Opera

A is going to water the basil. Then thinks of something missing and approaches the coat to put it on and leave the room. Having the hand put on the coat A remembers watering the basil, leaves the coat and approaches the plant, takes the watering can—then turns, looks at the coat, puts down the watering can and sets out to put on the coat. When having slipped on the right sleeve A’s eyes fall on the basil plant. A takes off the coat, puts it on the hanger and walks over to the basil. … Truncated, repetitive, slow, hysteric, happily, angry, thoughtful, surprised, purposeless, purposeful, self forgotten, responsibly, careful, mad, brutal, sad, agonising, scary, … Beyond a critical point within a finite space, freedom diminishes as numbers increase. This is as true of humans as it is of gas molecules in a sealed flask. The human question is not how many can possibly survive within the system, but what kind of existence is possible for those who so survive.**

** Pardot Kynes in Appendix I: The Ecology of Dune, Frank Herbert, Dune


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to 2014

Dear 2014, Describe one instance of exaggeration: facing what we face. a small collection of barely noticeable occurrences may be hidden by personal projections of “too obvious”, “too familiar” or “not enough”. RETURN closely to TURN them to invitations that suggest directions of engagement. A demonstration in maximum twenty words.

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4 ( 5 ( 6

6  )

Deliberately and accidentally. These many things, they gather, they impress, they take place in

( 7

our notebooks, they stay in mind, in conversation, in dream. They linger, they pass, they move

( 8

to the side or they leave traces. We are challenged to face the traces that have gathered. To face them is to listen and to think them. Or to turn them to questions. Then with care, we play these questions. We turn them to imperatives. Where noun may become verb and the centre of subject shifts. We see a new face in what we were facing.


re-ordering arrows from the gathered cloud

Come meet me in the early morning, to lick sparkling drops from her hands, to wear that lady’s mantle, and drop off behind the house. Invite one person to collect things that appeal to him / her from the surroundings. Without looking at their collection, invite them to stand next to you facing a wall in silence. gime of unrooling orgenisd landskik, if u see a cap u mite sloly slid ur hand acros the tibel antil the cap will fall. the humer acors wan the tabos are softly revilld (Game of unrolling organised landscape, if you see a cup you might slowly slide your hand across the table until the cup will fall. The humour occurs when the taboos are softly revealed.)

12 13

Response from 2014


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to 2015

Dear 2015, Describe one instance of exaggeration: facing what we face. a small collection of barely noticeable occurrences may be hidden by personal projections of “too obvious”, “too familiar” or “not enough”. RETURN closely to TURN them to invitations that suggest directions of engagement. A demonstration in maximum twenty words.

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4 ( 5 ( 6

6  )

Deliberately and accidentally. These many things, they gather, they impress, they take place in

( 7

our notebooks, they stay in mind, in conversation, in dream. They linger, they pass, they move

( 8

to the side or they leave traces. We are challenged to face the traces that have gathered. To face them is to listen and to think them. Or to turn them to questions. Then with care, we play these questions. We turn them to imperatives. Where noun may become verb and the centre of subject shifts. We see a new face in what we were facing.


re-ordering arrows from the gathered cloud

Find a grid to note your dream on. Then sit on her bed and record it.

a crack in the old wall inspires personal movement that connects and activates an imagined collective history of the building and its people long gone

14 15

Response from 2015


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to 2016

Dear 2016, Describe one instance of exaggeration: facing what we face. a small collection of barely noticeable occurrences may be hidden by personal projections of “too obvious”, “too familiar” or “not enough”. RETURN closely to TURN them to invitations that suggest directions of engagement. A demonstration in maximum twenty words.

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4 ( 5 ( 6

6  )

Deliberately and accidentally. These many things, they gather, they impress, they take place in

( 7

our notebooks, they stay in mind, in conversation, in dream. They linger, they pass, they move

( 8

to the side or they leave traces. We are challenged to face the traces that have gathered. To face them is to listen and to think them. Or to turn them to questions. Then with care, we play these questions. We turn them to imperatives. Where noun may become verb and the centre of subject shifts. We see a new face in what we were facing.


re-ordering arrows from the gathered cloud

We leaped into each other, she preferred weaving through warm & cold. Explored familiar stories, protected opinions while he went around with his origami. The piano, the swing, the toilet paper, the horror, the eyes and the empathy — ssssLuuUrP! steal an hour around sunrise find a space between waking and resting listen to the insects Observing the selfs observing of itself who wants to be the first and thinks she knows what the other observes. Let them see that their eyes turn your face red. To them you are like fish in sunlight. Conquering fear, conferencing on top of our ear, Trying to be here! yellow the ocean of unspoken homes. home what is the deepest night by the postman’s door. bark at dogs fallen asleep. One instance of exaggeration : not enough Not enough to be spontaneous, not enough to work in a short time, not enough to shift each time. Return closely to turn to invitations that suggest direction of engagement. If the research is to play to shift, to engage spontaneously and directly what ever the time. Prepare the unprepared, unprepared the prepare. lie face-down in the dirt, undo movement echo lay movement down in echoes, face dirt through undoing Listen to which not equal. Touch the disappearance of the result which suddenly stops making sense. Sense the sense non. Touch it.

16 17

Response from 2016


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to Tabea

Dear Tabea, A natural develops collectively — Be all here. Plan with balance. Plan with wanting everyone. Understand together doing. Collective natural is difficult to tip — Follow the agencies we follow. Allow purpose and accident. Together the less and more fitting. Draw an instance that embraces life-work integrity by welcoming an unnatural jump.

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4 ( 5 ( 6 ( 7 ( 8

7  )

Some time late at night, a group shared laughter on the back porch. A character was created. Her name was Fran and she’d been working in the American diner for years, making breakfasts. The next morning Fran took over our kitchen. She made eggs and wouldn’t let anyone help themselves. She was a little vicious. She was beautiful. She was old. We knew her and this place, but things were different this morning. We rebelled. We went against her rules. We made her angry. We stayed quiet and hungry. Something took over temporarily. Unannounced and urgent. Tipping our collective natural.


re-ordering arrows from the gathered cloud

18 19


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to Anne

Dear Anne, Return to one moment of transformation develop, catch up, or even surpass it. Focus on what you were constructing as opposed to what you were seeing. Write it as a trace — a mark without origin — that leaves, names, carries, brings, speaks.

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4 ( 5 ( 6 ( 7 ( 8

8  )

In the last hours of our time together, a recording station is set up in a small space. Each student gives a three-minute testimony — a sound recordable trace that makes something of the experience evident. Some read, some sing, some speak. Each has its own kind of preparation and composition. Each has two selected witnesses for the recording. Some decide to have more. Some have everyone. The flood of impressions is constructed as a single trace. A goodbye gesture. A recognition. An indication. To leave together. To name it. To carry it. To bring it. To speak it.


re-ordering arrows from the gathered cloud

All together we go for a walk. We are asked to pair up in groups of two and continuously talk to each other while walking. Talking does not just happen, I feel. You rather have to do the talking. How can you do your doing? I start describing what I see and go from there, but can I also talk to or with my partner? I try to listen and talk at the same time. Find time slots to listen. How short or long can a pause last without stopping the talking? Find words that give time for listening. Some phrases come easily, so my attention can shift to what he is saying. Watch out for those phrases. I formulate questions and comments in relation to his talking. I steal words and go with them. It gives me the opportunity to turn and go into another direction. Try to steal frequently. What if we base communication on stealing? I focus on how he phrases his talking. I notice how he moves from the corner of my eye. Find more ways of listening. Can we make use of the rising sound of people around us talking to each other?

20 21

Response from Anne


book 4

Litó Walkey with guest contributors

book 4 Litó Walkey with guest contributors

Invitation to William

Dear William, Return to one moment of transformation develop, catch up, or even surpass it. Focus on what you were constructing as opposed to what you were seeing. Write it as a trace — a mark without origin — that leaves, names, carries, brings, speaks.

a poem

time opens out for our meeting  unhinging surfaces of our daily senses introduce proposal instead of self description connecting matter makes more than parts corn, beans, squash and bee plant re-ordering arrows from the gathered cloud now we’re friends, now we’re working goodbye testimony of this now time

( 1  ( 2 ( 3 ( 4 ( 5 ( 6 ( 7 ( 8

8  )

In the last hours of our time together, a recording station is set up in a small space. Each student gives a three minute testimony — a sound recordable trace that makes something of the experience evident.

Some read, some sing, some speak. Each has its own kind of preparation and composition.

Each has two selected witnesses for the recording. Some decide to have more. Some have everyone. The flood of impressions is constructed as a single trace. A goodbye gesture. A recognition. An indication. To leave together. To name it. To carry it. To bring it. To speak it.


re-ordering arrows from the gathered cloud

evaporating, condensing, in gardens of difference* Dear, Write an image that made you get up off of your laurels. Write the movement you enacted in doing so. Write the image your movement ended in, if it ended. Write these things through the medium within which you moved, rather than through the images.

* We asked people who were learning with us to spread pictures throughout the space and to move as they try to talk to the images’ in-betweens with grace, humour and spontaneity. We were making parts of crystalline structures glow. We were exciting particles in curved lines that remained as clues to the presence of a movement that shaped a series of preexisting images into a path rather than a history. We had to let one image lead to another; we had to radically and wholly differentiate the images from one another; we had to withdraw from analysis; we had to engage in analysing to find a place to put nutrients. Including the images of who, where and how we are (together, moving through recorded voices every morning). I made a slide from an image of Jasmine Richards, Black Lives Matter Pasadena activist, wearing a shirt that reads “this is a movement, not a moment.” We constructed time to listen to recordings and non-recordings in the morning. Into that space entered an unexpected (white) image saying “This is their moment.” I formed a thought of Jasmine, and some of my, some of your moments condensed and evaporated into movements. I ingested, made the movements last until it emerged in a bit of sweat (it wasn’t mine to mine) — many moons later. It’s still there. We jumped up from our writing spots and positioned and followed these paths, absorbed, still glowing.

22 23

Response from William


book 4

Sources

Litó Walkey with guest contributors

Giorgio Agamben, The Coming Community, 1993 Rosemonde Gérard, L’éternelle chanson, 1890 Julian Maynard Smith / Station House Opera, The Modes, 1980 Frank Herbert, Dune, Pardot Kynes in Appendix I: The Ecology of Dune, 1965

Workshop description

SNDO-HZT in Ponderosa In May 2014, 2015, and 2016 a ten-day residency at Ponderosa in Stolzenhagen was the initial and most extensive point of exchange in a series of encounters organised between students of the School for New Dance Development (SNDO) Amsterdam and BA HZT Berlin up until their graduation. Each year Katerina Bakatsaki and Litó Walkey facilitated modes of time organisation, writing, documenting and reporting, and taught physical, compositional and devising practices. Activities included student teaching, collective formulation of working proposals, sharing existing performances, discussions, feedbacks, one-on-one meetings, cooking and gardening. The immersive experience brought perspective to the entanglement of work and life, to the character of each study course, to students’ individual study trajectory and to the potential reality of a creative community.



book 4

Sources

Litó Walkey with guest contributors

Giorgio Agamben, The Coming Community, 1993 Rosemonde Gérard, L’éternelle chanson, 1890 Julian Maynard Smith / Station House Opera, The Modes, 1980 Frank Herbert, Dune, Pardot Kynes in Appendix I: The Ecology of Dune, 1965

Workshop description

SNDO-HZT in Ponderosa In May 2014, 2015, and 2016 a ten-day residency at Ponderosa in Stolzenhagen was the initial and most extensive point of exchange in a series of encounters organised between students of the School for New Dance Development (SNDO) Amsterdam and BA HZT Berlin up until their graduation. Each year Katerina Bakatsaki and Litó Walkey facilitated modes of time organisation, writing, documenting and reporting, and taught physical, compositional and devising practices. Activities included student teaching, collective formulation of working proposals, sharing existing performances, discussions, feedbacks, one-on-one meetings, cooking and gardening. The immersive experience brought perspective to the entanglement of work and life, to the character of each study course, to students’ individual study trajectory and to the potential reality of a creative community.


HZT teaching staff

Josephine Findeisen 1

Alistair Watts 1

Judith Förster

Simone Gisela Weber

Florian Feigl 1

Juan Felipe Amaya Gonzalez

Sheena McGrandles

Renen Itzhaki 1

Litó Walkey

Camille Jemelen

Suvi Kemppainen

Katerina Bakatsaki 1

Julek Kreutzer

Derrais (d.a.) Carter

1

Britta Wirthmüller HZT student

&

alumni

Authors 1

guest writers

Jeanine Durning

Katrine Staub Larsen

Arnold Dreyblatt

guest writers

Anna Lena Lehr

Myriam Lucas

Essi Kausalainen

Johanna Ackva 1

Liina Mariudottir

Johannes Lothar Schröder

Asaf Aharonson 1

Magdalena Meindl 1

Joy Mariama Smith

Cécile Bally 1

Johanne Merke

Rhys Martin

Sandhya Daemgen 1

Josefine Mühle

Helen Mirra

Katerina Delakoura

Lyllie Rouvière 1

Anne Schuh 1

Xenia Taniko Dwertmann 1

Zhenya Salinschi

Ewa Dziarnowska

Sunayana Shetty

1

1

William Wheeler 1

1

Rosemarie Eberl

Grėtė Šmitaitė 1

Ivan Ekemark

Julia Keren Turbahn

Aabshaar Wakhloo

Tabea Xenia Magyar

1

Forough Fami 1

b ook four

all drawings

project editor : Litó Walkey copy editor : Karen Christopher publisher : HZT, UdK Berlin graphic design : Milchhof Atelier: Andreas Töpfer, Carsten Stabenow printing  : Steinmeier, Deiningen Special thanks to Tabea Xenia Magyar and all guest writers for their contributions to this publication. Thanks to Chrysa Parkinson and DOCH for inspiration from the format of The Dancer as Agent Collection publication. Thanks to Matthew Goulish and Lin Hixson for inspiration from their assignment for reading essays, recounted in the introduction by Jane Blocker for Matthew Goulish ’ s publication The Brightest Thing in the World. HZT — Inter-University Centre for Dance Berlin is the joint responsibility of the Berlin University of the Arts (UdK) and the Hochschule für Schauspielkunst “Ernst Busch” (HfS) in cooperation with TanzRaumBerlin, a network for the professional dance scene. Weblink : www.hzt-berlin.de ISBN : 978-3-00-055501-5

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