Women develop skills to navigate public space safely. What happens when those skills are exaggerated as movement principles to construct an amplified body of a woman constantly alert? How does that “minor” phenomenon living under the skin influence women's bodies in general and especially in dance and choreographic practice?
Do women have multiple bodies? What do women need to do in order to adjust themselves, defy unwanted attention and feel more comfortable navigating the public space? We are looking to render visible the strategies that modify and mask female bodily actions and intentions, that retract, curb and camouflage them.
We are curious to expose the physicality and performativity that arise from such tactics of avoidance and to uncover the alternative ‘female body’ that stands under the skin, under a woman's social envelope. How does that framed bodily phenomenon influence women's behaviour and motion modes in general and especially here in relation with our choreographic practices when making dances and exposing movements on stage? How are choreographic practices (influenced in this particular way) writing dance history? Is the legacy of the woman's democratic body to be found in a physical approach to disorganised movement and a permanent disjunction between the head, the body and the gaze? Our moves go from experiencing impossibilities, doubts and divisions to a continuous effort on overcoming these very obstructions.
choreography: Lili M. Rampre
dance: Tessa Hall, Lydia McGlinchey, Julia Rubies Subiros
text: Tessa Hall, Lydia McGlinchey, Julia Rubies Subiros, Lili M. Rampre
Video: Federico Vladimir Strate Pezdirc
trailer
https://drive.google.com/file/d/1o4iipeJpUs2WP1LSUd5GF0LiKqKNIkav/view?usp=sharing
Performed as final piece of a year long choreographic research cycle at P.A.R.T.S. the curation of Bojana Cvejić and Alain Franco
also hosted at
Prinz Regent Theater, Bochum, Germany, October 2018
Spider festival, Ljubljana, September 2018
