CA2M Centro de Arte Dos de Mayo

 
 

Jornadas Estudio imagen_Imagen Andrea Rodrigo


XXVI IMAGE SYMPOSIUM
FOR WHICH BODIES, FOR WHAT HISTORIES
19, 20, 21 MARCH 2020


Curated by Isabel de Naverán with escuelita
Isabel de Naverán, Pablo Marte, Thiago Granato, Rita Natalio, Eszter Salamon, Liza Baliasnaja, Tiran Willemse, Julia Morandeira, Manuel Segade, Ameen Mettawa and Ana Folguera.


The symposium wishes to shake up certain preconceptions that designate bodies as a consequence of the historical circumstances which it is their lot to live, given that, while history makes bodies, it is also true that bodies make history. History is told through images that, unlike bodies, are fixed and mute, provoking a situation in which, more than narrated, history is accounted for. Images seem to freeze events and are often relegated to an uninflected correspondence with said events. What we are proposing here is to listen to how some of these images are revealed, belying and negating their own narratives, alerting us to other stories, that emerge during the rereading and in the dispute against the ordering of time. Seen in this light, some images rather than mute, seem to mutate, acting while at once being acted upon, manoeuvred and sustained. Bodies are also acted upon and subjected by other forms of corporality, those that inhabit their gesturality sequestered by the knowledge of a tradition or by a specific way of relating to and positioning oneself against their varied worlds. The question embedded in the title imagines a form of making with bodies and images that, in a state of mutual listening, is capable of moving, of writing letters in non-linear time, of establishing correspondences that could also even be against the grain of time, untimely, anachronic, syncopated, challenging the linearity which is predisposed to a before and an after.


The symposium is divided into three sessions, with each one anchored in specific choreographic and artistic processes which can explore notions of history, tradition and transmission of self-generated body techniques that allow us to speculate on processes that could be qualified as a recognition of gestural archive, estrangement from one’s own tradition or an exploration of the listening between present and absent bodies. From these processes, the sessions seek to expand the study to a dialogue with agents which are co-conspirators with art, anthropology and philosophy, in the crossroads of knowledge.

 

CALL: CRITICAL SESSIONS


The projects chosen for the Critical Sessions for the 2020 Image Symposium are:

_ Ameen Mettawa with Jook Archaeology: stickin, rollin, ridin, vibin in South Florida 2001-2009

_ Ana Folguera with And what’s in this body? Other materials for flamenco


Owing to the large number of applications received, the selection committee has also decided to single out the projects by:

Renan Laruan
Silvia Zayas
Mar Medina
Carolina Bonfin
Paula Noya
Javier R. Casado


We regret that we are unable to expand the programme to include them, but we hope to find ways of lending visibility to their research in the near future. Many thanks to all those who sent their projects.


PROGRAMME


THURSDAY 19


_ 5:00 — 5:15 pm Presentation: Manuel Segade and Julia Morandeira

_ 5:15 — 6:00 pm Lecture: Wrap, history and syncope. Isabel de Naverán

_ 6:00 — 6:45 pm Lecture: Things that exist alongside one another. History and Symptom. Pablo Marte

_ 6:45 — 7:30 pm Debate

_ 7:30 — 7:45 pm Break

_ 7:45 — 8:30 pm Lecture: Choreoversations. How to deal with the presence of those who are not amog us. Thiago Granato. Presented and moderated by Isabel de Naverán

_ 8:30 — 9:00 pm Debate


WHAT IMAGES MAKE HAPPEN


¿What is it that images make happen? This session poses the possibility of studying images of history from their material being, focusing more on their texture than on their given meanings. It seeks to uncover a series of counter-hegemonic narratives from the observation of apparently insignificant instants, and to situate the image’s value of affect which surfaces when history is, as Walter Benjamin said, “brushed against the grain”.


From there, we will try to observe how critical moments refuse to be fixed in one single representation; to contrast the vital pulse or the physical push button of the camera that freezes events which, with the passing of time, become historical, leaving other narratives outside its frame. This symposium opens with a manifestation, a result of the performativity of this fleeting gesture.


Lecture: Wrap, history and syncope. Isabel de Naverán
Casing, History and Syncope responds to a will to gather, describe and speak images that underlie and underpin the process of research into the body’s relationships with history and the way in which ideologies emanate in gestures and control over bodies and their representations. Based on specific details of the public lives of artists like Antonia Mercé y Luque “La Argentina”, Kazuo Ohno and Tatsumi Hijikata, Rocío Molina or Federico García Lorca.


Lecture: Things that exist alongside one another. History and Symptom.. Pablo Marte
«I am proposing a rethinking of History from the soles of my feet, from my hands, from my sex and from my eyes, which sometimes look outwards and other times inwards, from walked or cycled situations which I call travelling narrations. And I undertake them in relation to a third figure: the Symptom, about which, if truth be told, I know very little. I am attracted by what its etymology suggests, as symptom comes from the Greek súmptōma, which means “accident”, “befall”. I started to think about this figure because of the idea of syncope proposed by Isabel in Wrap, history and syncope. It seemed to me that the symptom hovers around it like an air, circulating and dancing between the symbol (of History) and the syncope. The symptom as a frame to reconsider other relationships, other bodies and other histories with facts, words and images.» (Pablo Marte)


Lecture: Coreoversations. How to deal with the presence of those who are not among us. Thiago Granato. Presented and moderated by Isabel de Naverán
Since some years ago Thiago Granato develops the project Choreoversations, that aims at creating networks of relationships between -real or imagined- artists and audiences, to generate debate on issues like genealogy, authorship, appropiation, absence and presence in contemporary dance canon. Its departing point are imaginary choreographic conversations in which Granato puts and disposes his body and subjectivity to the dialogue with spectrums of death, live, and not yet born choreographers. It explores modes of generating commitment and engagement through fictitious exchanges that allow a temporal identification that is needed to tackle and communicate imaginary situations, historical information, facts and speculations through different times and spaces. It supports in the possibility of a coexistence of history with fiction in what it comes to be an entanglement of lived or imagined real experiences.

 


FRIDAY 20


_ 5:00 — 5:45 pm Critical session: Jook Archaeology: stickin, rollin, ridin, vibin in South Florida 2001-2009. Ameen Mettawa

_ 5:45 — 6:30 pm Critical session: And what’s in this body? Other materials for flamenco. Ana Folguera

_ 6:30 — 6:45 pm Break

_ 6:45 — 7:30 pm Conversation: between Julia Morandeira and Rita Natalio

_ 7:30 — 8:00 pm Debate

_ 8:00 — 9:00 pm Performance: Trança [Braid]. Thiago Granato

Jornadas sesion 02 Trança Thiago Granato ©Haroldo Saboia

Thiago Granato at Trança © Haroldo Saboia


MATERIAL TEMPORALITIES, WEAVING THE LISTENING BETWEEN BODIES


In this second session, the debate will open up to other conceptions of history, and also to other ways of conceiving and living social relations from choreography and the multiple temporalities it brings into play. The idea is to strike up a dialogue between new forms of anthropology and the challenges underlying certain forms of research in movement and dance techniques, choreography and the exploration of contact. Dialogues that converge in an investment in the learning generated at the crossroads of histories and times, of experiences and listenings to unrecognized situations and corporalities or those that have been ignored by official accounts. This session is anchored in a non-staged edition of Trança [Braid] which the Brazilian choreographer Thiago Granato proposes in response to the invitation to take part in this symposium.


Critical session: Jook Archaeology: stickin, rollin, ridin, vibin in South Florida 2001-2009. Ameen Mettawa
This project explores the afterlife of the single “Peanut Butter & Jelly,” through a youtube archaeology which seeks to construct a narrative of South Florida jook, engaging instructional dance videos, music videos, and tracks. Jook, like Chicago’s footwork, Durban’s gqom, and Lisbon’s kuduro, cannot be treated simply as a musical genre, as its sonic dynamics respond to a specific community of dancers and a specific geographic and social location. An audiovisual archaeological method places jook’s unique sonic elements within the choreographic dialectic fundamental to their construction, in a fruity looping of the body, and a corporealizing of Fruity Loops. However, while footwork, gqom, and FL Studios kuduro (which all emerged in roughly the same period as jook) have morphed into the homogenizing field of contemporary global bass music, jook’s contemporary persistence is as mere artifact (with the exception of DJ Khaled’s 2017 single “To The Max,” featuring Drake). While this has limited jook from reaching the bodies of dancers beyond the South Florida of last decade, it has allowed the jook-artifact to maintain its local specificity, as music by and for South Florida’s Haitian community, which is its condition of possibility. An exploration of jook thus entails a confrontation with the sonics of immigration, policing, racism, and climate change.


Critical session: And what’s in this body? Other materials for flamenco. Ana Folguera
While flamenco is transmitted in multiple and disperse spaces, strangely enough its circulation is monolithic and linear. In flamenco the body is constructed with respect to images that, viewed critically, are highly questionable from historical and political parameters. Built on categories proper to Romanticism (genius, the spirit known as duende, exoticism, an idealization of nature and the agrarian, orality, among others), flamenco runs parallel to contemporary culture without being affected by some of the revisions implemented in the latter. This not only conditions the popularly held image of flamenco, but is also seen in the repetition of commonplaces in dance schools and studios which then creates a specific body and theatricality. It would be interesting to reflect on which genealogy we are learning (or seeing on stage), to look for new methodologies, to incorporate critique as part of choreographic experimentation; we will ask ourselves what images have been created, whether from outside or inside flamenco, and therefore to expand the possibilities of bodies. It is curious how immutable, fixed paradigms still persist in an artistic expression which, as part of contemporary culture, has undergone so many reinventions in such a short time.


Conversation: between Julia Morandeira and Rita Natalio
Based on a critical revision of anthropology, this conversation seeks to address a series of issues that intersect at various different moments in this year’s symposium: issues such as the ways in which the body is intertwined with its environs and its history and the times that cut across them, altering the classical idea of ontology in order to open up the possibility of listening to a somatic archive, of thinking about forms of ecology and perspectivism from the body; or the question of the tradition of corporal techniques and how they are naturalized as corporal ideology, but also how the transmission and even the estrangement of tradition is produced, erasing and confusing notions of origin and belonging as well as other divisions of Eurocentric modernism. To open the dialogue, the embodied and situated nature of the practices of performance and dance is presented as a privileged place to negotiate this profoundly ambiguous debate and to rehearse an archaeology in consonance with it.


Performance: Trança. Pocket version. Thiago Granato
Trança is an invitation to a tactile excursion where sound, light and movement intertwine on vertiginous surfaces and temporalities. Through a choreography of hands, Thiago Granato accelerates transformation processes where different forces are translated into signs, promoting an investigation on the body's power to create contexts that shape new ways of life. Trança is the second part of the trilogy Choreoversations, which process of configuration and proposal is shared during the first session of this symposium.


Responding to the invitation to take part in this, Thiago Granato proposes an adaptation of the piece, subtracting from the original the display of light design as well as the black box stage, in order to test a more intimate space of relation between performer and audience.


Concept, Direction, Choreography and Performance: Thiago Granato / Invited Choreographers (fictional presences): Cristian Duarte and Jõao Sandanha / Direction Assistance and Co-creation: Sandro Amaral / Original Light Designing: André Boll / Original Track and Sound Designing: Márcio Vermelho / Costume Adviser: Paula Ströher / Duration: 50 min (no intermission)



SATURDAY 21


12:00 – 14:00 Performance of special edition of Monument 0.4: Lores & Praxes (rituals of transformation) by Eszter Salamon. Activated by Liza Baliasnaja and Tiran Willemse.


This session will be held at Centro Coreográfico Canal (CCC), Teatros del Canal
The meeting point is the reception desk at Teatros del Canal at 11:45am
The number of places available is limited to 80, in strict order of arrival

Jornadas sesion 03 Lores and Praxes Eszter Salamon

Monument 0.4: Lores & Praxes (rituals of transformation) by Eszter Salamon © Lisa Rave


THE BODY AS ARCHIVE OF IDEOLOGICAL SUBSTRATA


The body is a place for the emergence of ideologies, skills and knowledge learned and archived in the form of cultural legacy, corporal memory and habits of relation. This closing session hopes to refute the idea of corporal memory as an intact memory on which we can fall back at any given moment with a certain reliability. On the contrary, it is partly shaped by lacks, oversights, discontinuities, and also by acquired physical and gestural knowledge that outline their own way of being in the world. From this horizon, we will rethink the concept of cultural appropriation, questioning the idea of a tradition of one’s own, reconsidering concepts of belonging, origin and gender through dance practices, in manifestations of material substrata and the inscription of history in the body. These issues are embodied and activated in a complex fashion in the special edition of the performance MONUMENT 0.4: Lores & Praxes (Rituals of Transformation) which the choreographer Eszter Salamon has prepared to bring this year’s symposium to a close.


Performance of Monument 0.4: Lores & Praxes (rituals of transformation)
Two performers—Liza Baliasnaja and Tiran Willemse—from different continents will activate what seem to be war dances, gestures of resistance associated with their place of origin that, as Eszter Salamon says “are not conceived to be learned, given that they are left outside education in contemporary dance and the radar of the commercial market.” The choreographer questions what it means for dancers to embody these gestures, and if it were possible to invert the logic of migration of historical knowledge through the reinvention of techniques when they are remade through image media. Since 2014, she has developed a series of works that seek to rethink the idea of the monument and, in the words of the artist, “to re-hallucinate” history. In this series of pieces, which have different formats, durations and forms of presentation, the memory is conjured up to reunite the ghosts of identity, authenticity and origin. MONUMENT 0.4: Lores & Praxes (Rituals of Transformation) is the fourth gesture in the series. (More information)


Concept and artistic direction: Eszter Salamon / Developed with and performed by Liza Baliasnaja and Tiran Willemse




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