multiple pathways, multiple bodies, multiple voices
Moss Beynon Juckes
Nov 24 – 28, 2014
The focus of this week is to dance down into our guts, allowing our voices to emerge, surprise, conflict and converge. Through the breath of voice and body we can explore a myriad of interrelations with ourselves, each other, the environment and perhaps the universe or energy itself. Everything on the planet vibrates. There is a constant sound-movement music. We can tune into physical and vocal impulses from chaos to order, light and dark, and find a playful and profound understanding of consistently becoming ourselves in relation to space-time, allowing concepts or narratives to ebb and flow.
Starting with breath, including elements drawn from continuum and holotropic breathing we will move into primitive dialogues, glossolalia - gibberish (speaking in tongues), self-made languages, towards word discovery and songs. We will concurrently explore different body states as we grow from cellular, amoeba to humanoid. In other words, from the floor to standing, moving in high speed evolution. We will be using body-voice practices stolen and modified from contemporary dance practice, Odin Teatret, Gardzienice, TietrPiesniZozla, Grotowski, mixed somatic practices, Roy Hart Theatre, Bobby Mcferrin, Meredith Monk, La Pocha Nostra, Para Active, Contact Improvisation and Contact-Tango. Through discovering the potential relations between the inside- internal world, sense of identity, physical impulses and so forth, and the outside- external world, the senses, the other, the animal, the environment etc, we will question how these ideas inform our presence, and our impulses to do or not do. We can be both the puppet and the puppet master by activating performative choices in real time and concurrently letting those decisions ‘move’ us in improvisation.
Improvisations - personal aesthetics and intentions
Working on guided individual experiments and group investigations we will venture to sing the dance and dance the song. Group work will take the form of circle sound dialoging including multiple rhythms, voice/ movement orchestras; singing forms from plain chant to polyphony as initial structures on which to improvise. Participants will have the chance to work both within the group and alone to investigate these given principles of voice and movement. The very last part of the work will be an open dialogue and platform for the personal desires and choices of the participants and an informal feedback or self-initiated tryout session. This will take the form of an active question and answer session as we open the space for any voice-body proposal or urge to be articulated on the spot in front of your collaborators.
This week is a platform for you to unearth your heathen selves and to hear voices and follow them, to play with your total instrument as a body-voice-concept improviser. Perhaps we can tune into the universal vibrating chord of the spheres or have a bloody good time trying...
––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Moss Beynon Juckes(UK/BERLIN) is an artist and musician born in Sydney, raised in the U.K, and now based in Berlin after following love-yes it lives on. She works internationally on projects that bridge the disciplines of voice and body, performance art, dance-theatre, contact-tango, and music, often with her partner Javier Cura. Her work searches for voice through the body to find a personal politic, the boundaries between tradition and autonomy, cultural identity and collective consciousness. She flirts with the notions of embodied radical politics, collective ritual, and autonomous self-expression. She began to dance and sing at her fathers rock ‘n’ roll gigs and her first Glastonbury was at the age of 4, then professionally in pantomimes at the Bristol Hippodrome at the age of 7, and counter balanced this experience by learning electric guitar at the age of 12 and playing her own music down the local pub. She received her BA in Dance, Theatre & Live Art in Roehampton University, London and spent much of her student loan traveling through Europe encountering the Grotowskian lineage of Eastern European theatre and Balkan music. Inspired, she ended her education with a collaborative performance of Medea and Cassandra with college and living partner Alessandra Camozzi called ‘Mayas Veils’ in which their Victorian house was converted into the interactive mud hut within which the scenes prevailed. Following this, the house was torn down and replaced by artist flats which the artists could no longer afford. Her slight obsession with Balkan music and traditional folk cultures has found a few outlets along the way, she joined The Folkloric and Artist Troupe of Dhalaristan in 2009 and headed eastward with a opal van, a tin can mic, homemade thumb pianos and a loop station with a mission to create a culture with visual artist Meyrick Kaminisky. She continues playing violin and voice with balkan funk band Tralalka in Berlin, and improv loops regularly. Recent activity has included ‘Body in Progress’ and ‘One Revolution Respiration’, Christine Borch, Sophiensaele. ‘These Associations’, Unilever Series at the Tate Modern, London and ‘This Variation’ Documenta13, Kassel 2012 both pieces by Tino Sehgal. Month of Performance Art, Berlin 2012.Self released album ‘Game of Flesh’.
Self-initiated educational activities include touring ‘Incantation-en-chant: Body & Voice Workshop’ and ‘Acting on Sound and Space’ at Hlasohled Voice Centre, Prague, Tanz Tag at Potsdam Fabrik, at Universität der Künste Berlin, at Universität für Musik und Darstellende Kunst Wien, Turin- (Teatro Orfeo/Molecole/Atelier Teatro Fisico), Rome (SocietasArtepetia), Helsinki, Strasbourg (Pole Sud), and Paris. For the last five years she and her partner have presented community performance for NotteNera Festival, Serra dei Conti, Italy.
website
www.mossbeynonjuckes.com
––––––––––––––––––––––––––––––––––––––––––––––––––––––––
photos:
Yvie Ratzmann
Gianmarco Bresadola
Stephan Talneau
––––––––––––––––––––––––––––––––––––––––––––––––––––––––
home - SMASH #3 - SMASH #4 - SMASH #5