George Apostu Cultural Centre in Bacau, Romania, organises in October two E-Motional/ ArtistNe(s)t residencies, awarded in the first call of E-Motional: rethinking dance.
Ana Trincão‘s (Portugal) research project, EVENT, is focused on “a methodological approach for making, to create a methodology /score that holds the performance as a strategy for the delivery of the work in real time. My main intention is to create a frame for action, a landscape that is being shaped and manipulated by the dynamics in between the performer, the scenic elements and the audience. In EVENT I want to reveal what is already known through playing with shared symbols and motifs and by gradually constructing narratives that attempt to rephrase the content as new material. Event is about landscape and bodies in a landscape experiencing conditions and creating a state of awareness for the “here and now”. At this point is determinant for me to develop a practice that questions the thinking and organization of performative actions and certain patterns of performance making. Throughout Event project, i want to overtake the use of fixed choreographed movement, attempt new dramaturgies and question the expectations in relation to “originality” as a strategy to sustain the relationship between performance/audience. In order to do so, I adopt the position of what I deemed to be a promoter. The promoter is not the absolute decision maker in the creative process. As the initiator of a proposal his focus is to facilitate the flow of ideas. By adopting this position I reconfigured the power structures within the work. ‘How do I work?’ is more relevant to me than ‘what is my theme or subject that I am creating?’, and how are the production of meanings being created both by the audience and the performer. In this way I intend to fulfil the gap in between Maker or Performer and the Audience, and allow the work to happen at the same time for both.”
Sintja Silina (Latvia) develops breath management, a study of the original impulse. What becomes the generic impulse when we switch off all reference and instrumentation leaving only the body in the case of the dance and basic sound modulation in the case of music? breath management is a challenge to evolve into artistic aesthetic by limiting oneself to the sheer instance of the breath of life. Inspired by the minimalist “process music” of the past decades we wish to look at similar forms from a contemporary point of view. Whereas Steve Reich and others used a citation from the world around them, delving at times even into social commentary, we wish to look within. To create processed sound and movement without a particular impulse from the outside world. To create process out of the process itself. Is there really nothing in my own self out of which to develop when I switch off all reference and citation? What is a piece of art when created by the sheer instance of the breath of life? The work is comprised out of a choreographic process and musical or sound process that doesn’t involve any traditional instrumentation whatsoever. The musician would use microphones and basic sound modulation (pitch, space, repetition) through software, taking impulse from the dancer, whereas the dancer would have to reflect the movement produced out of itself – whether it’s dead or pure. The choreographic intention would strive to create the transparent movement set (based on the score) avoiding to use the movement representing itself in order to unfold the process of the dance and turning the major focus on the process movement. We are interested in that very point where the impulse would create itself.
Both residencies will conclude with a sharing process in the frame of the Bacau Contemporary Dance Festival, between October 24-25.
Ana Trincão (Portugal, 1981) lives and works in between Berlin and Lisbon since 2010. She got a master degree in Dance (MA SODA) UDK / HZT Berlin (2012) and received a scholarship to attend her studies by Calouste Gulbenkian Foundation. She has a degree in Visual Arts by ESAD in Caldas da Rainha Portugal and the University of Hildesheim Germany (2005) and attended the Course of Choreographic Research and Composition of Fórum Dança in Porto (2005/2006). In 2001 worked in the Gallery Wieland in Berlin and was an assistant of the artists H.Samjong in the project/installation Kioskshop Berlin. In between 2005 and 2007 her worked was presented in visual arts exhibitions such as Cerveira Art Bienal (Portugal) and Certamen of Nova Cerrada (Madrid). Ana worked in CENTA (Centre for Research and New Artistic Trends), directing the performance art department. (2008). In 2009 was a “DanceWEB” scholarship holder at Impulstanz Festival, Austria Vienna, and was an invited artist at Pointe to Point meeting, a platform for creation and exchange between Asia and Europe, organized by ASEF and Alkantara in Lisbon. In 2011 was resident artist at the fourth edition of the Artists Residency Program of Ibero-American and Haiti in Mexico. She is a member of the artistic research group “interferencias”. In 2012 she organized together with the core team of the collective, the project “ What can we not do Alone? The project took the form of three residencies in Portugal, Austria and Mexico were the artists worked with and about the local context of the 3 Countries and presented their latest project as a collective “ El libro –Interferencias-The book”. In 2012 Ana was an artists part of the project Sowing Seeds, India, were she worked together with the female community of the village of Jetpur on the subject of female illiteracy. Since 2007 develops projects that cross the dance to visual arts: “Untitled until today ” (2007), “Flight of a territory“ (2008) “Untitled with paper” (2010) “Aletheia” (2010), “Crystal” (2011) “Pink-Room” (2013) and “Homage” (2013). She worked from 2007 to 2009 regularly as a dance and visual arts teacher. Her works have been presented in Portugal, Spain, Germany, India, Mexico and Brazil. Ana is currently working with the collective SAS Radio Orkestra, a project that reuses old radios and antennas and turns them into sound objects and developing a research project on art and activism.
SINTIJA SILIŅA (born 1984, Latvian) is a choreographer, performer and contemporary dance educator. She made her BA in choreography at the Latvian Academy of Culture in 2007. Since then she has been a part of the open collective Dance Anatomy initiating events and promoting dance in Latvia and abroad. Sintija’s specific interest lies in music – teaching movement and stage improvisation to young academical, jazz and popular music performers. Thus implementing live music into most of her own work is generic. Sintija has been involved in a variety of workshops and summer schools around the globe – Summer Dance School (Lithuania, 2012), Bates Dance Festival (United States, 2008), Tseh (Russia, 2006), ImPulsTanz (Austria, 2005) where she has encountered the experience of many educators including Inaki Azpillaga, La Ribot, Paul Matteson, Tatiana Gordeeva, Laura Aris, Chrysa Parkinson, Martin Kilvady and German Jauregui. Artist residencies include Baltic Bubble (Luthania 2013, Estonia, 2012), Look At My Feet (France, 2011), CESTA (Czech Republic, 2009), tanzhaus nrw (Germany, 2009) and Dance Omi International Dance Collective (United States, 2008). In 2007 Sintija received the DanceWEB Europe scholarship mentored by Jonathan Burrows. Since 2013 Silina is one of the creative directors in The Association of the Professional Dance Choreographers in Latvia and has managed the Dejas Diena (“Dance Day”) events circa 2006-2008. In 2013 Sintija has done two very distinct full-length pieces. One premiered at Dirty Deal Teatro, Riga in April is OTRAIS (“The Accompaniment”) – a piece for solo dance (performed by Evita Birule) and live drums (percussionist Artis Orubs). The other is detailed choreography for 20 dancers – students of the contemporary choreography program at the Latvian Academy of Culture. Based on an impulse from the world famous Baroque standard Il cimento dell’armonia e dell’inventione (“The Battle between Harmony and Invention”, 1725) by Antonio Vivaldi, the piece is entitled il cimento della struttura e dell’accento (“The Battle between Structure and Accent”) and premiered in Zirgu Pasts, Riga in May. It is her first collaboration with electronic musician ELVI.