four year collective project (in Slovenian Tkolektivnos)

composed of four layers: Relation (Odnos), Zeal (Zanos), Transfer (Prenos), Insertion (Vnos). The axis of the project is a research, methodical questioning and application of improvisation in art and wider in everyday life. The core group continuously develops the project. The core group comprises Collective Federacija (Andreja Podrzavnik, Snježana Premuš, Gregor Kamnikar), Kaja Lorenci, Maja Dekleva Lapajne, Ryuzo Fukuhara (since 2010) and Tina Valentan (since 2011). The constant flow of information is guaranteed by diverse esthetics, visions, experiences, backgrounds and knowledge of artists from different art field for the users of the project (participants) and for the initiatiors of the project. That is where the name of the project comes from, we put e from the end of the word "collective" to the beginning "ecollectiv"

It was interesting to change the role. This was my experiment in Transfer4 and 5. I became an Observer with a camera in my hand.

In transfer 5 the tools-words where thrown into the space: observe, perform, expect, contribute/non, accept, acknowledge include, transfer.

I was staring at Maja's face. She was also staring at me. I stared at her without prejudice. I felt from her, she did not intend to give me anything and did not intend to take from me something. I was moved by this communication. It would be first time to have it. I was about burst to cry. I could not explain well why I felt crying. I thought that dance allows to have such a communication. We can not start "dance" from the beginning, because "dance" would appear from some action. "Dance" would be a certain kind of situation and /or condition.

It was quite funny start of the session. Symptomatic for communication. Maja told she wont be able to make it, Gregor misread that Kaja can come, Tina got ill, and so I thought only Ryuzo and I will stay. We met Kaja at the cafe and later on Zana phoned to check if we are coming. 

Anyway we got ourselves working. And what a session with Žana, Kaja, Ryuzo and Gregor.

Today at the Transfer Session 3 I had a glimpse of possibility of Interscore. Interscore would be time between one and other score. Interscore has no time-limit or theme (expect the one given by its consitution which is intermission, something inbetween).

This time Tina, Maja, Ryuzo and Gregor were present.

Since Maja new to the happening of Transfer Sessions, we used this fact to start with the similar score like on Session 2 when Tina was new to the Transfer Layer.

The second session Martina joined Tina, Ryuzo and Gregor. We seized the opportunity of having new member that actually already took part in Ecollectiv in Maribor, that is Martina, so we could test how does transfer function in the light of the discoveries of the first session.

Before going again to scores, I want to stress that these scores are not described in the way they can be of not so much use. They need a bit more context or more tasks/instructions. I hope they can trigger some imagination to further develop the scores.

We decided recently to dedicate the ateliers in May and June to the preparation for the third layer of Ecollectiv: Transfer. This preparation includes the exploration of social features of the work we did on the project up till now (layer Relation and layer Zeal).

TIna, Ryuzo and Gregor extracted on the first day (23rd May) the main tool of Relation layer which is "to relate"; and main tool from work with Peter Rauch which is "to observe". Better then extracted I would say adjusted to present situation. The Transfer layer adds a new tool which is obviously "to transfer" or modes of transfer.

Score1. Get lots of photos from newspaper toegther. Ask everyone to pick eight images to make plausible narrative out of them.

Improvisation is exploration came to me in the workshop we had in Yokohama Ouyou High School and you can read about it more here.

The moment of Leja’s and Jurij’s antidote the other day was an amazing expeience to me. It felt like the space moved them. Something like a bubbling sensation creaped from underneath them and lifted/moved/disturbed their bodies. And when it happened it almost seamed as if I felt it arriving.

Gilles and Felix told me they wrote the book that forms a rhizome with the world. That there is an aparallel evolution of the book and the world. That the book assures the deterritorialization of the world, but the world effects a reterritorialization of the book, which in turn deterritorializes itself in the world (if it is capable, if it can).

We gave ourselves a task to report, what really happened in the Odnos-Celje project, a 4-day work that we made, both in Ljubljana and in Celje. What happened in Ljubljana?

Jaka told me that word “no” is somewhat attractive.

In Celje (Plesni Forum Celje) we were joined by young dancers (age 10 to 15) on our invitation. We introduced briefly the context of the project, the aim of this project and this particular session. This was third day of work for core members. We decided to research the list of tools for improvosation, this time of course with youngsters. Each impro lasted 3min and last one 6min. One of us introduced the word, everyone decided weather they will be observing or dancing. At the last impro we suggested that you can go from dancing to observing while the impro. After each impro there was short feedback.

This day we activated the role of observer while continuing the work from yesterday. It turned out that at this point observer is observer the whole span of improvisation. First with each improvisation another person of the group was observer. Later Jurij arrived and enjoyed the role of observer.

Gregor told me to tell this is another recording of what Ryuzo wrote here

Actually it was the first day of the 5th session of Odnos.
However, this blog post started from last day discussion.
So, it is the second day.

This is a training to summarize the other’s talking. I have no implicit meaning under this title of post. Actually it is even not be the summarization so much I am writing below. It is merely some fragments of their talking from my bad memory. I am confronting how difficult to remember the other’s talking. Actually “Maja told us” is right. However, I would like to personalize this text more, that’s why I chose such a title.

To write about weakness is much more difficult than to write about “strong”.

Is it because weakness is that which should be gotten over?
Or does my intention inclines toward being strong?

Last time, I posted some words as the tools. Actually it is tricky. Because I interpreted my sensation and action in the improvisations into those words. But not opposite. My sensation and action are stimulated by the condition, the environment and the situation, not by the words. I do not want to be conscious those tools/words as a purpose of the improvisation. I let the origin of the sensation and action as transcendent.

In this text, I define the word “strategy”, “how to keep the group improvisation”.
I am listing up the tools for the improvisation.
However, not all the tools fully support the strategy.
I hope you can add more in this list.
Here we go. A kind of slogan of this year for me.

Pushing the air by parts of the body, which are likely to be forgotten in the daily life. These pushing movements are able to activate the sense of your skin. The interaction between people by these pushing movements forms a membrane, which can be recognized as a border of the active territory of your body and sense. In other word, this action activates the inert air surrounding your body.

Maja offered us today a new universe to work with. Though Andreja has already clearly proposed the exploration between words and movement, the fact that Maja comes from another field then dance, has coloured her propositions differently. I discovered what i called laziness in my naming of things.

Some thoughts from Meta Hočevar on space (i hope i can translate them well).

After some consideration of today’s Atelier i discovered I could summerize my aspirations in performance, improvisation, exploration, research in the following. Basically my question is: is it possible and how it is possible to work through inclusion. A lots of methodology in arts follows the exclusion principle.

Somehow I am drawn to not reporting about today’s event that took place as part of “Atelje 2″. Not that I don’t want to. Something similar happened to me while we were there (ain’t it so Andreja , doing the task. The task / suggestion given to us (Andreja, Ryuzo, Snježana and Gregor) by Snježana.

During the atelier, I had an intention to feel an origin of the movement in the body of Andreja.It seemed like “a spark” in the body. I somehow could feel the spark in her, and the same time, I noticed that a border of the recognition that distinguishes her movement and my movement was getting ambiguous. It was becoming blur, when I was focusing on these sparks. This was a kind of ecstatic sensation, but a difference from sexual one is that that ecstatic sensation has multi-directions into the body.

I am using the ability of hearing to figure the space, where I am moving without site. I have a sphere around me like a transparent egg shell, it reminds of me a figure in a triptych paints of Hieronymus Bosch. I try to dissolve that shell to others shell by giving a specific vibration on the shell of mine.

slo / eng