ABOUT:

This Fall PRAXIS organizes twice a month, a 3 days long 'morning sharing' at Dansens Haus (Hausmania). We have invited several dance artists who will hold a space in which they share their ways into dancing. This can be a warm up routine, a combination of tasks, references to other classes or clash of techniques that have inspired them.

The classes take 1,5h or 2h and start at 9.30h. Be on time as the location is not ideal for latecomers.

You can come for 3 days (250 NOK), or drop in (100 NOK).

DESCRIPTION:

I would like to take this opportunity to continue thinking about the words daily and training and reflect on the notion of daily training in the attempt to un-cover then evidence the creatively enabling wealth of experience these words synthesise in a person; themselves a synthesising cosmology of many other words–artist, dancer, mother, singer, daughter, dreamer, maker, baker,…

Experience and experiencing, to experience, to be experiencing, as I understand it, is a central–and here I will ask you to imagine central as an intra-active network or an amorphous cloud, instead of a point or a line, the pelvis or the spine–constituent of a person’s capacity to move.

Embryologically speaking, movement conditions/necessitates/enables resistance that provides necessary feedback for the transformation, for example, of a pluripotent stem cell to a singularly purposeful cell. Singular, in this case, I do not mean to read as single or individual, but remarkable as is the primary germ cell’s capacity to bring about the emergence of further form–bone, fluid, tranquil storm.

The time I’ve spent navigating the professional field of dance and choreography–even there, where dancing is said to be experimental and choreography expanded–is saturated with the experience of the kind of resistance that, unlike the above-mentioned embryological resistance, restricts movement rather than conditions/necessitates/enables continued celebration of its transformative capacity. My experience of dancing professionally, then, is largely the experience of silently conforming, where I think it ought to have been the experience of negotiating relationship, rebellion, and playing.

I encourage you to bring to class any item that you’d usually bring to the studio to support your creative processes; pens, papers, chalk, knitting needles, yarn, paint, musical instruments, cameras, audio recorders, etc. I also encourage you to bring to class any item that you might have not dared to bring to the studio yet, that otherwise enables you to experience yourself as creatively capable or creatively able. If items come to mind that are difficult to transport or are difficult to contain or maintain control of, please bring them in the form of dream, memory, desire, hope.

Children and grandparents are welcome!

BIO:

pavleheidler (they/them) (adhd-autism)

I think of myself as a movement-and-word artist and activist, an educator, and an amateur scholar (i.e. lover of scholarship). My work-ing is meant to be encouraging of the continual re-form-ing in and of the emergent field of queer critical practice.

I think that the practices I am developing are first and foremost embodied practices which necessarily makes them liberatory practices which necessarily makes them emergent practices in as much as working with the body, creating space for the body–or: body–necessitates critical observation and the re-thinking of the existing structures that currently create spaces for bodies.