Live creation: 2–5pm
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Splendour is a choreography that focuses on the body’s relationship to sound and how illusions of different causalities are created through actions and reactions.
The piece is created through a daily “techno dance practice”, which is to dance the album Archive One by Dave Clarke from beginning to end. Bound by the most banal relationship to music and by an attempt to avoid all interpretation, elaboration or creativity as such, the performers anticipate the music in order to do the sounds. The practice is strictly formulated through tasks relating to this doing, and in rehearsal no discussions are held concerning individual interpretation or performance.
“Live Creation” locates the performances in the context of an inquiry into the ways in which choreographic thinking and the agency of dance artists can be made visible and explored. This afternoon session sees the performance space transformed into a site of the live creation of new work. Stina Nyberg works with dances Nadja Hjorton, Sidney Leoni, Maryam Nikandish, Zoë Poluch and Rebecka Stillman to expose choreographic practices up close and offer an insight into the embodied critical knowledge, thinking and agency at the heart of contemporary dance production.
Splendour is co-curated by Joe Moran, Artistic Director of Dance Art Foundation, as part of Moran’s Why Everyone Wants What We’ve Got research project, and supported by the Swedish Arts Council.
Stina Nyberg (b. 1981, Sweden) lives in Stockholm where she makes and performs choreography. Her choreographic practice is related to the possibility to create through conviction and illusion new systems of logic in order to be able to construct the world differently, and act accordingly. Her departure point is always a feminist approach to the body; its social and political construction and ability to move.
Nyberg is the choreographer of the live concert Shaking the Habitual by the Swedish band The Knife and performed in the show which toured Europe and USA in 2013-2014. Several of her works investigates the non-hierarchical relation between the performance of sound and movement, such as The Way Sounds Attack (2010), Loudspeaking (2011), Orkestern (2012), Tones & Bones (for the Cullberg Ballet, 2014) and the latest work Splendour (2014). Her solo work Horrible Mixtures (2014), made in collaboration with Andros Zins-Browne, is a choreographic seance departing from a sceptics interest in spirituality. Nyberg have for several years collaborated with the Swedish choreographers Amanda Apetrea, Nadja Hjorton, Halla Ólafsdóttir and Zoë Poluch, investigating dance history from a feminist perspective.