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Artistic Residency Presentation: Instant Mother
Vasiliki Tsagkari-Chrysanthakopoulou (Greece)

INSTANT MOTHER_WORK IN PROGRESS
A personal documentation-solo performance about the unspeakable emotions that can be triggered by motherhood, the transformation a woman experiences at the instance she gives birth to a child.
The ways by which this experience can bring us closer to layers of ourselves and our nature as mammals.
How are the images of tradition, cultural and collective heritage being recollected and represented in a theme so fundamentally common for the human and animal population of the planet.
The affection, poetry, humanity and the instinct to survive inherent in every creative act.

Performance, costume, composition: Vasiliki Tsagkari
with help from Antonis Lymperopoulos

23 April 2017 at 18:00 at asteria, Ermoupolis, Syros

OPEN CALL Artistic Residency Νίσκρια-Έλενα Καζαντζίδη (Παραστατικές Τέχνες & Φωνητική Έρευνα) – Ελλάδα
Ανοιχτό Κάλεσμα συμμετοχής στο Project:
Αλλάζοντας μορφή:
Ένα ταξίδι με τη φωνή από τον έναν κόσμο στον άλλον

Ο 20ος αιώνας υπήρξε βαθιά ριζωμένος στη ζωή και με το δίκιο του. Πλήθος τεχνολογικών και επιστημονικών κατακτήσεων, δύο παγκόσμιοι πόλεμοι που αποδεκάτισαν την Ευρώπη, υπερδυνάμεις με ανταγωνισμούς εξοπλισμών, αιτήματα ελευθερίας, ειρήνης, αδελφοσύνης, κατάρρευση μύθων πολιτικών ιδεολογιών και άλλα, δεν άφησαν κανένα περιθώριο να αφουγκραστούμε τον θάνατο με ένα άλλο βλέμμα εκτός από αυτό της καταστροφής και της απώλειας. Διανύουμε πια τον 17ο χρόνο του 21ου αιώνα και έχοντας όλα τα ζητήματα του προηγούμενου αιώνα ανοιχτά, κάνουμε υπερβάσεις στην αγκίστρωση μας με τη ζωή. Μήπως ήρθε ο καιρός να μιλήσουμε ανοιχτά για τον πιο παλιό και πιο μεγάλο μας φόβο, τον θάνατο; Μήπως ο θάνατος δεν είναι το αντίθετο της ζωής αλλά μια συνέχεια της, σε διαφορετική διάσταση, με διαφορετικό όχημα; -όχι δηλαδή το φυσικό μας σώμα πια αλλά κάτι άλλο; Υπάρχει τέλος σε αυτό που αποτελεί την ουσία του είναι μας;
Ατέλειωτες οι ερωτήσεις που φέρνει ένα τέτοιο θέμα και οι απαντήσεις, μια σειρά πιθανοτήτων, ατέλειωτες κι αυτές. Έτσι προκύπτει η ανάγκη για τη δημιουργία ενός πλαισίου και ενός μέσου έρευνας: Το πλαίσιο είναι κάποιες συνεντεύξεις από ανθρώπους που είχαν εμπειρία κοντά στον θάνατο και εμπειρία ξαφνικής απώλειας κάποιου δικού τους προσώπου. Αυτό θα αποτελέσει και το υλικό έρευνας και εργασίας. Το μέσο θα είναι η Φωνή. Η φωνή έτσι όπως δομείται σύμφωνα με την πανάρχαια κλίμακα των σωματικών κέντρων (Τσάκρας). Με τον τρόπο αυτό η έρευνα κινείται μέσα στις ποιότητες του κάθε κέντρου, είτε για να ηχήσει, είτε για να τραγουδήσει, είτε για να μιλήσει. Στο υλικό, συναισθηματικό, διανοητικό και πνευματικό επίπεδο. Στο επίπεδο της προσωπικότητας και στο επίπεδο της αγάπης.
Για δύο εβδομάδες θα θέσουμε την εργασία με τη φωνή στην υπηρεσία της έρευνας του υλικού που έχει συγκεντρωθεί με θέμα τις εμπειρίες κοντά στον θάνατο. Μέσα από το μεταμορφωτικό ταξίδι με τη φωνή, θα ρίξουμε ένα φως στο ταμπού της μετάβασης από τη ζωή στον θάνατο, κρατώντας πάντα το κομμάτι της έκφρασης και της επικοινωνίας μέσω της φωνής (ήχοι, λόγια, τραγούδι), σαν στόχο.
Όσοι ασχολούνται με τον έναν ή τον άλλον τρόπο με το θέμα, καλοδεχούμενοι.
Ωστόσο κάποια εμπειρία με σωματική ενασχόληση (χορός, γιόγκα), είναι απαραίτητη καθώς το σώμα μας είναι η έδρα της φωνής μας και με αυτό θα εργαστούμε. Επίσης καλοδεχούμενοι όσοι ασχολούνται με τη μουσική, ή το τραγούδι.

Η Νίσκρια-Έλενα Καζαντζίδη είναι στο ταξίδι με τη φωνή και τους ήχους τα τελευταία δεκαπέντε χρόνια. Έχει πτυχίο από το ινστιτούτο Voicing της Ελβετίας και έχει βοηθήσει πολλούς ανθρώπους απ’ όλο τον κόσμο να βρουν την αληθινή τους φωνή και να τραγουδήσουν το δικό τους τραγούδι. Ως Voice Performer έχει πάρει μέρος στο Athens-Video Art Festival 2007, στο Γκάζι, με την παραγωγή “Κάπου σε ξέρω”. Την ίδια παραγωγή έχει παρουσιάσει στη Μυτιλήνη, στο θέατρο των Αστέγων το 2005, στην Οικία Καραπάνου, στην Αίγινα, το 2005, και στο Κέντρο Διαλογισμού Afroz, στην Ερεσό της Λέσβου, το 2006. Το 2016 δημιούργησε μαζί με τη ζωγράφο Janine Kewis μια φωνητική παράσταση με τίτλο: “Θάλασσα”, πλαισιώνοντας με τη φωνή της και με άλλους φυσικούς ήχους τους πίνακες της ζωγράφου. Η παράσταση παρουσιάστηκε στην Κέρκυρα τον Σεπτέμβριο του 2016. Έχει επίσης σπουδάσει και δουλέψει στον κινηματογράφο, σαν σεναριογράφος και σκηνοθέτης πέντε ταινιών μικρού μήκους. Ζει ανάμεσα στην Αθήνα και την Κέρκυρα και ταξιδεύει με τη δουλειά της σε όλο τον κόσμο.
Η Νίσκρια-Έλενα Καζαντζίδη θα βρίσκεται στο Κέντρο Χορού Ακροποδητί από τις 13 έως τις 26 Φεβρουάριου 2017, στο πλαίσιο του προγράμματος Artistic Residency/παροχή καλλιτεχνικής κατοικίας, για την υλοποίηση του project της με τίτλο “Αλλάζοντας μορφή: Ένα ταξίδι με τη φωνή από τον έναν κόσμο στον άλλον”.

Artistic Residency Presentation: Exploring Creative Autonomy
Mina Ananiadou, Zoe Bernabeu & Allessandro Sollima (Greece, Freance & Italy)

We are a group of 3 dancers coming from Sicily, Paris and Thessaloniki. Our search for an open space and time led us to Syros Island as we had the chance to be offered an artistic residency for a short but intensive period by the hospitable Akropoditi dance house.
It’s been few days now we have started a journey of a new creation. The core element of our investigation is the idea of autonomy that is we seek to build conditions of both collective and individual autonomy as a dynamic field where the individual and the collective grow simultaneously through a dialectic process of empowering each other.
To this end we are in a process where we seek to establish new territories of connection through improvisation, generate various stimuli that might enable different ways of perception and will subsequently expand the boundaries of the collective imaginary. Dance -to our perception- is the only means that gives us the maximum freedom to get there.

On Friday, 11/11 at 22:00 we will share in an open presentation the result of our up to now work as well as various questions that had been raised out of the practice and feed our creation (questions on connection, responsibility, rules, support, values, community, playfulness, absence/presence, focus, balance of action, completing/competing, power relations, empathy, what the touch can generate, challenge, right time).

OPEN CALL Artistic Residency Marielys Burgos Meléndez and Dorcas Roman – Puerto Rico

Ανοιχτό Κάλεσμα συμμετοχής στο Project και την παρουσίαση των προσκεκλημένων μας καλλιτεχνών Dorcas Román και Marielys Burgos Meléndez από το Πουέρτο Ρίκο, για άτομα από 16 ετών και άνω, με ή χωρίς προηγούμενη εμπειρία στο χορό:

Καλούμε την κοινότητα να ερευνήσει μαζί μας συγκεκριμένες κινητικές εικόνες σε προκαθορισμένες τοποθεσίες στην Ερμούπολη. Μέσα από ασκήσεις διαλογισμού, παρατήρηση τοπίων και στρατηγικές χαρτογράφησης θα εξερευνήσουμε θέματα όπως η αποχώρηση, η συνέχεια, η κινητικότητα και η παροδικότητα, και συλλογικά θα δημιουργήσουμε μια χορογραφική σύνθεση που θα χρησιμοποιηθεί ως ένα κινούμενο “καρτ ποστάλ” της πόλης. Οι συμμετέχοντες θα έχουν την ευκαιρία να αναπαραστήσουν τo χορευτικό αυτό ταξίδι στην παρουσίαση του πρότζεκτ, την Παρασκευή 14 Οκτωβρίου.

Panayiotis Tofi (b. 1982) completed a Bachelor in Graphic and Advertising Design (Frederic University, 2008), Diploma for Dance Studies (Laban Center, 2011) and Bachelor of Contemporary Dance with First Class (Laban Center, 2014).
During the last two years he has been working as a collaborator performer with Asomates Dinameis, Echo Arts, Nothing to Declare and Amfidromo Dancetheatre. He has collaborated as a movement director for the theatrical works ‘Nitsa’ (Director: Paris Erotokritou) and ‘An album of stories’ (Director: Marios Kakoullis).
Since 2014 he has been exploring the possibilities of the moving human body and the empty space in relation to the terms concealment, withdrawal and dispossession, having Mr. Bush Hartshorn as a mentor. During this process he presented three choreographic works in Cyprus.

During this residency the project “Documenting Emptiness” was researched and a performance was given.
A choreographic result deriving from a three-week residency at Akropoditi Dance Centre based on an ongoing study concerning body decentralization and the investigation of the terms concealment, dispossession and withdrawal, towards intensifying emptiness.

Concept/Choreography/Creation: Panayiotis Tofi
Performers: Malvina Androni, Philipos Evangelou, Eleni Manaroli, Vivi Sklia, Panayiotis Tofi
Photography: Malvina Androni

With the support of Cyprus Ministry of Education and Culture: Politismos Programme

Rósa Ómarsdóttir is an Icelandic dancer and choreographer based in Brussels. She studied theatre and contemporary dance at the Icelandic Academy of the Arts in Reykjavík and later moved to Brussels to study at P.A.R.T.S. from where she graduated in 2014. Outside her studies she performed in Bird Watching 4×4 (2012) by Benjamin Vandewalle. Her graduation work Chatter, Clatter and Other Arrangements (2014) was made in collaboration with Hagar Tenenbaum and Christoffer Schieche and was performed around Europe. Recently she made the duet Wilhelm Scream (2013) together with Inga Huld Hákonardóttir, which has been presented at theaters and galleries around Europe. In the summer 2015 she received a DanceWeb Scholarship to attend Impulstanz Festival in Vienna. Her latest dance performance, The Valley, made in collaboration with Inga, was premiered in November 2015 and is currently on tour.

During this Artistic Residency, the project “SECONDHAND KNOWLEDGE” was researched and a presentation was given.

SECONDHAND KNOWLEDGE is a research project conducted by Rósa Ómarsdóttir in collaboration with Ásrún Magnúsdóttir that will be realised as a series of workshops in locations across Europe. The focus is directed to countries that are considered to be located, geographically and/or culturally, on the periphery of Europe. On each location they have organised a group of emerging contemporary dancers and choreographers active in the dance field of each location. Together they will explore in what ways knowledge about dance and dance history travels to the periphery of Europe and back. They will look at how it is translated and how it transforms on it’s way. They will explore encounters with known dance-works through re-enactments and reconstructions during the workshops by looking at dance from the eyes of the periphery. This research will be documented thoroughly and stored on an online database where all documentations, photos, videos and writings will be published.
This is the first part of a long term research project which will be extended later on to other continents.

Credits:
Artistic Director: Rósa Ómarsdóttir & Ásrún Magnúsdóttir
Dramaturg/ Theoretical Advise: Alexander Roberts

Partners and Support: Kunstenwerkplaats Pianofabriek, Akropoditi Dance Center, National Dance Center Bucharest, Latvia Association of Contemporary Dance Choreographers, Ny Hovik Ballet, Reykjavík Danceatelier, Reykjavík Dance Festival

https://vimeo.com/166124821
https://vimeo.com/164308435
www.ingaandrosa.com

Liquid Fusion Burn is a dance theatre production based on the interaction between man and nature and the distrust they hold for each other. The story follows two bodies and their relationship to one another as opposing values. It explores fire, light, and earth both in their natural and artificial circumstances. South Africa is celebrated for its natural beauty and heritage, yet struggles to maintain this in the light of its social discrepancies and first-world ambitions. Some of the major issues in South Africa include rhino poaching, water pollution and river abstraction from industrial and recreational exploitation, acid mine drainage, land instability, and erosion as a result of extensive mining, and the misuse of land as a result of land reforms, regulations, and corruption. These are uniquely South African problems but they indicate a global concern: the clash between human and environmental interests. A paradox exists between the necessity to survive now, and the necessity to preserve life for the future. The outcome is inevitable, but never absolute.

Our company often deals with profound personal and emotional issues that are inherent in all human interaction through a movement-based language that is mixed with spoken word. Our work often combines dance theatre, physical theatre and acting and involves themes of physical risk, agility and emotional journey in both serious and comedic approaches. We aim to share our explorations and discoveries on an international level, exposing the emerging South African theatre flair to the world, but also bringing the world into South African theatre, developing our own understandings and skillset in a broader, more incorporative way.

The company consists of the two of us, Daniel Geddes and Mark Tatham, who engage other artists on a contractual basis to make work. Our roles vary from direction, performance, choreography, sound design and composition.

During this Artistic Residency the following performance “Burn” was given.
Devised and performed by Daniel Geddes and Mark Tatham
Duration: 40 minutes

Carmen Moreira is a Portuguese – Canadian choreographer based in Matlock, England and she is the Executive Director of SQx Dance Company (sqxdance.org). She was born in Canada and trained at The McKay School of Dance, School of Winnipeg Contemporary Dancers, School of Toronto Dance Theatre, and London Contemporary Dance School. Also, she graduated from Mount Allison University, New Brunswick (BA (Hons) English, Canadian Studies) and the Society of London Theatre Awards appointed her a dance critic for the 2010 Olivier Awards.

During this Artistic Residency the performance “Over A Rainbow”was given.

36 000 pictures of everyday, life, and love accumulate and flicker over an interior monologue and movement designed for 6, 8, & 14 dancers—where the artists attempt to fly “Over A Rainbow” and in doing so portray a bold pray, so that audiences observe:
—That flying isn’t natural, but that doesn’t mean that we can’t do it.
—That falling is a part of flying

Clara Calero is a musician from Spain who worked with members of Akropoditi Dancetheatre during her Artistic Residency at Akropoditi Dance Centre. The results of this work were presented.

A few words about the presentation:

For any economical system, people are considered as productive bodies, one more element of the engine. Individuals are immersed in the culture of performing and are constantly required to show and produce, having to push aside feelings, physical needs and all what really makes their lives meaningful. The starting point of the project is the time restrictions set by our lifestyle. The score is structured in fixed periods of time that explore the following topics: labor time-free time, productive body-human body, performing needs-emotional needs. The piece is a critique to the performing society we are subdued to and the effects this causes in our lives. It is an invitation to take action: only we possess the power to prioritize and decide where we want to invest the time we have left.

Clara Calero

Research project DRafting Togetherness

The crisis in Greece has proved it necessary to not only pose important questions of solidarity but also to practice new ways of learning how to live, think, and learn together. The recent European rhetorics of guilt and blame reflect this shortcoming of a common practice: in the end we all do sit in the same boat. Now the first question is not who is rowing the boat, but how do we keep it up and running, how to keep it waterproof in times when tides are getting higher than we are able to deal with. Thus the question is not anymore who are the ones who steer (who is the captain?), who are the ones who are said to be ‘parasitic’ (‘stowaway’ passengers), but rather: how to construct such a boat in order to make it through stormy weathers of political and social crisis? We would like to interpret this question not just metaphorically but take it at face value by building a raft together.
Silke Bake (D), Ash Bulayev (US), Zoi Dimitriou (GR), and Peter Stamer (D), being artists from the fields of choreography, performance, and theatre want to conduct the first phase of their research project on creating communality on Syros in August 2015. In a series of meetings, encounters, working sessions both situated in the Akropoditi dance centre and in town, we want to undertake preliminary steps towards the building of floating structures in 2016.

Finding out how things go, leaving routines behind, circumnavigating given knowledge, conquering new ways of appropriation and sharing is part and parcel of our adventure – and it’s that kind of curiosity we would ask people to come with.
Our work methodology entails to start with the landscape we are working in, using the material we find, fabricating the tools we are in need of, taking the circumstances into account and thus produce the knowledge, skills, and intelligence we require to work together.

In this research phase in summer 2015, we want to get acquainted with the actual circumstances the crisis has produced in Europe and develop practical methods of collaboration that base upon the following assumptions:
– By implementing an objective of and for collaboration we create togetherness and communality with the means of artistic tools
– By negotiating of what it needs to bring this boat or raft afloat we learn more about techniques and practices of ourselves and each other than any kind of political rhetorics can provide us with
– By working with a multi-disciplinary, socially and culturally heterogenous group of people we understand more about political processes than listening to so-called decision makers
– By learning together we give each other the chance to overcome the arrogance of those who seem to know better and the ignorance of those who’d rather abstain from committing themselves

Since we are steered by the conviction that sharing practices exercise democracy and agonistic togetherness we wish for this project to take a noteworthy stand on the challenges the economic crisis imposes on contemporary Europe, Greece and its citizens.

Supported by Bundeskanzleramt Österreich, Akropoditi Dance Centre Syros