DAS choreography - it almost feels like a touch

choreography

it almost feels like a touch Emily Gastineau Miriam Jakob Setareh Fatehi

master presentations 4, 5 & 6 April 2019

it almost feels like a touch

Within the context of master presentation, Setareh Fatehi, Emily Gastineau and Miriam Jakob enter into the concluding phase of a two year research trajectory, the results of which can be shared, seen, heard and… almost touched.

1

otter, L 2017 Reclaiming Artistic Research – First Thoughts….

C MaHKUscript: Journal of Fine Art Research, 2(1): 1, pp. 1–6,

Artistic research is given an integral role at DAS Graduate School.

From the moment of applying to DAS Choreography, candidates are asked to articulate and open the field of questions informing their work. An environment of sustained conversation and praxis is generated to support the research processes. Peer-to-peer dialogue and exchange are key factors in supporting the further articulation of research questions and deepening of artistic practice.

DAS Choreography seeks to stimulate artistic research as an open-ended process, such that art can be considered an openended object. It is an investment in this specific nature of artistic research, as it has been worded by Lucy Cotter: “Artists work with areas that are not only beyond current thinking on certain subjects and situations, but also off the radar, moving into unknowable territory. They embrace this unknowability, being comfortable with holding open spaces of not knowing that confound traditional research. Artistic research thus revolves around articulating new questions without seeking answers.” 1 The programme offers a space for slow research, reflection and digestion – with a distance from the production pressures of the professional field. During their 2nd year presentations, programme participants share the development of their research in presentation form.

It almost feels like a touch…

Please join us on 4, 5 & 6 April, for supporting these artists as they welcome an audience into their work.

The master presentations of DAS Choreography are a first series, followed at the end of May with the master presentations of DAS Theatre.

Emily Gastineau

Generic Mood

The point is viewing is an economy is a network is an exchange is a measurement is perfection is a feeling will be erased. A curtain is a reveal is an acceleration is the new is a gimmick is a machine. The camera is desire is a speculation is a prediction is a command will be dancing is not choreography will be a science will be the second person will be a touch will be erased. Repeat. Proximity is intimacy is a confession is an argument is the imperative is keep going, keep going. Grammar is a logic is a system is a manipulation is a fiction is personal is a journal is not art is a value is a projection is a technology is a ghost.

A smoke machine smells like data.

You are crying, I am surveillance.

A costume is authenticity is a risk is an investment is a transaction is a relationship is a convention is a score is an opening. Repeat. I am the algorithm, you are the study, we are the oracle. Step touch step touch step

Choreography, concept, performance Emily Gastineau

touch step touch has been a tool, as in a match, as in a knife, as in a black box. A tear is a prop, we are objects, they will be laughing. A product is astroturf is a fabric is a cover is an expression is a surface will be invisible. Repeat. Manufacturing is fabrication is fabulation is a process is logistics is first second third fourth fifth is time will become tangible is material is excess is off balance. And cut. Now come to the microphone. Again. Sorrow is a release is a gift is a letter is an open mouth, and I mean, sincerity is obedience but we’re getting more specific all the time. Attention, as in watch out. My face is a screen and you can project on any surface. Backspace, backspace. Control-F is electric, is what you thought you wanted, is only the menu, will be deleted. Now. The machine whispers in your ear. A lie is a mirror is a frame is a proscenium is a loop will be real will have teeth.

Mentors Simone Aughterlony, Antonia Baehr

About

Emily Gastineau is a choreographer, performer, and writer, currently working between Minneapolis and Amsterdam.

Her work has been presented at Frascati (Amsterdam), On the Boards (Seattle), Garage29 (Brussels), Walker Art Center (Minneapolis), and Red Eye Theater (Minneapolis), among others. She collaborates with Billy Mullaney (US/NL) under the name Fire Drill, and their work has been shown in Amsterdam, Minneapolis, St. Paul, New York, San Francisco, Portland, Philadelphia, Baltimore, and Chicago. Her collaboration with Vilma Pitrinaite (LT/BE) has been supported by workspacebrussels, SE.S.TA (Prague), and the Lithuanian Council for Culture. Emily co-founded the performance writing platform Criticism Exchange, curates performances at Fresh Oysters Performance Research (Minneapolis), and produces programs and publications for Mn Artists at the Walker Art Center. www.emilygastineau.com www.fire-drill.org

Mit/Teilen – Impart

About

Miriam Jakob

A somatic encounter of zoo policy, research material and genesis myths.

The starting points of this work are a visit at the SenseLab (Montréal) and a research in the zoo of Louisville (Kentucky) with the primatologist Dawn Prince-Hughes, focusing on the communication between humans and gorillas. On the basis of field recordings and the experiences she has gathered, Miriam Jakob tests a new experimental choreographic arrangement. The myth of mimetic imitation and the interplay of difference and indistinguishability, as well as the common use of technology are made sensory perceptible.

In her works, the choreographer and anthropologist Miriam Jakob concentrates on the interface between science and fiction. She explores the expectations and inner borders of audience and performers through performances, lecture-performances, films and installations. Her work creates spaces of desire, where mechanisms of validation loose their meaning and the borderlines of identities blur. Her body of work contains Friday, 23.1.1915 [sic] “as usual, sorry that I do not always...”

(2013), How to become a journey (2013), Travelling to the four Corners of the Earth (2014), Letters to Dance (2016), In the Shadow of Man (2017), i.a.

She collaborates as a performer, actress and choreographer, with other artists including deufert & plischke, Angela Schanelec, Martin Nachbar, Lisa Densem, Varinia Canto Vila, Ana Laura Lozza and Zeina Hanna.

Choreography /performance Miriam Jakob

Collaborators Dawn Prince-Hughes, Jelani

Concept Miriam Jakob, Felix Classen

Mentoring Hannah Hurtzig

Sound Felix Classen

Supported by tanzfabrik e.V.

Dramaturgy Maja Zimmermann A possible time, a possible world

I spent my childhood in Munich in the 1980s.

From time to time I visited the zoo. My clearest memory is how my parents, my grandmother who was still alive back then, my older brother and me were sitting in the little steam train, with its loud warning bell, circling around the cages, playgrounds and food stalls. Watching the environment pass by from the errant vehicle was often more exciting to me than looking at the animals. I even remember the sweet smell of cotton candy.

Ten years ago, I was about to finish my studies in anthropology. I had created an interview-film called Fragments of Fear, in which I recorded the voices of people I knew talking about their fears and panic attacks. I replayed the audio to my protagonists and filmed their facial and bodily responses to their own narrations on super 8 film.

Finally I layered audio and film on top of each other. I had learned about methods for observation, as well as about valid assumptions and conclusions during my studies, but I found it more powerful not to comment the narrations of my subjects. I wanted to find a way to say something without adding sense to what is already there. Actually my professor was not really happy with that approach. She said it was lacking scientific validity and that I might be better off in art.

Once I met a women who could remember her own birth. She could retell what the doctor who received her from her mother´s womb looked like.

That the light was painfully striking her eyes. It is hard for me to believe this.

Indeed when I started to study choreography and dance in Berlin it was a crucial turning point in dealing with my conflicts and questions. But it was not a Hollywood story. Working in the field of performance and choreography is not about resolving all dilemmas. On the contrary: putting my uncertainties into motion and relation I invite my audience to enter a readiness of participation, so possible alternative outcomes can emerge. I take them with me on a journey.

Last fall, I did a research trip to Carbondale, Illinois, to meet the primatologist and author Dawn Prince-Hughes. We had agreed that I would come with my daughter and my partner to spend time together and exchange knowledge about her ways of relating with gorillas. Soon I found myself sitting on the floor next to Dawn, in front of a huge glass window of the gorilla enclosure in the zoo of Louisville, Kentucky. On the other side of the glass was Jelani, a silverback who enjoys watching videos on peoples’ smart­phones. I showed him all the videos I had on my smartphone. But he was picky. In another situation at another huge glass window in the same zoo we spent time with a gorilla lady called Demba, who stayed close by and watched attentively as Dawn performed a Kung Fu sequence for her.

I like to relate to other peoples’ experiences and stories, and to think myself in relation to theirs.

Not to compare but to conflate - to create embodiments as well as situations, that are able to draw relations between elements in a nonlinear way, questioning binary categories and settled borderlines. That way, illegitimate collaborations and companionships – partly fictitious, partly cross-temporal – can be realized.

Setareh Fatehi

swim\‫او‬

with and for reyhan khakinejad, yalda pakzad, nooshin askari, s m snider

i mean “gaze” when “I” say “eye” i mean “depth” when “I” say “you” i mean “dance” when “I” say “I” i see “them” \ are they still there i share “time” \ does it mean “light” i don’t mean “touch” when i say “close” it is “time” \ is there still “time”

how is “you” when “my” dance is looking at it? this “you” is not plural, it does not refer to many this “you” is not singular, its autonomy is not pure this “you” is “me and you” \ “she and he” \ “she and I” “you and them” imagine “it” made of lenses, liquid, holes, retina, with gradations of opacity imagine “it” welcomes “my” “dance” for a little while ‫ یه جوری که تصویر من رو بکوبونه محکم به کف قرنیه ش و از شدت رضبه ش قلبت رشوع کنه به تپیدن‬، the choreography would be many of those minutes where “I” dances for your “eye”. dancing with “‫”او‬ dancing for “‫”او‬ someone who is\n’t me; them or you \ but not i how can “i” still welcome you, how can “you” still welcome “i”?

on April 4,5,6th 2019 at the same time in no.5, Banafsheh st no.185, Bustan st www.imvu.com no.52 ,Pesthuislaan no.2, Overhoeksplein

starting around 2:00 pm AMSTERDAM time, going on till sunset around 6:30 pm TEHRAN \ KARAJ time come from the beginning \ leave \ come back \ stay longer join from anywhere “online” or “in person” more info. & reservations http://bit.ly/DASMP19_DASCHReservations if you are hosting \ selfie mode is recommended if you are online \ screenshots are welcome if you are here take care for the cables and for those who are not there DJ set is Live www.mixlr.com/sm-snider/ tapkerose is the avatar

eyes might go awry so will “i”

eye is a metaphor, but also a technology. Eye understands different shades of opacity. Eye understands the process of creating surface while remembering the curves. Eye doesn’t need perspective, eye needs longing, flirting, desire of seeing not necessarily looking. Eye understands the pain of seeing two things or more at the same time. to not knowing and looking awry, on the pain and pleasure of it all, to glitches and delays, noises and all the ones that mostly get evened out to fomos and fears to dark matters, to their presence, everywhere, yet (invisible) in the time that the measure of presence is not closeness, where should my body be? in the time that the measure of closeness is not touch, whose phone do i want to be hosted in? if the measure of touch would be heat, light, heartbeat and time, can i belong to more than one place, person, friend, lover, color, gender and generation at the same time? those are the questions that I am leaving with, those are the questions of my time‌

tnxxx natascha s.haghighian, mehraneh atashi, ashkan sepahvand, sher doruff, velvet leigh, jeroen fabius, alice chauchat, yael davids, thijs witty

harco haagsma, udo akemann, saina salarian, mostafa pirooz, jop van galen, fred rodrigues, karin van de wiel, behrang najafi, keez duyves, nellie de boer, ward ten voorde, sara whyare, reza ppa

sonia and mani, shahrzad, katerina, claire, emily, miriam, karol, paula, reza, phoebe, saman, tania, ruairĂ­, ehsan, khaleh suri, rene, helia, ali, sara, eva, sigrid, noha

DAS Choreography, RCF, IDlab, Jacuzzi, YAA award, Fajr 2018, Cafe Baz

Artistic director Jeroen Fabius

Mentor Alice Chauchat

Tutor artistic research Sher Doruff

Mentor Lina Issa

Tutor theory Thijs Witty

Production coordinator velvet leigh Production assistant Bea de Munnik DAS Choreography DAS Choreography is an international master’s programme, aiming to contribute to the field of critical and contemporary dance practice.

Individual artistic practices are the points of departure, and guiding threads of the course design. This two-year non-residential programme is comprised of seminars, residencies and individual mentoring, in order to facilitate the development of intensive and sustained dialogue.

DAS Graduate School The Academy of Theatre and Dance (Amsterdam, the Netherlands) established DAS Graduate School in order to bring its master’s, doctorate and research programmes together under one roof. DAS Graduate School offers an environment where new ideas, approaches and art practices can be instigated and exchanged; it is a place of research and development, meant to have an impact on the future of the performing arts field.

Contact DAS Graduate School Overhoeksplein 2 1031 KS, Amsterdam daschoreography@ahk.nl www.daschoreography.nl