In this workshop I wanted to explore improvisational structures and how they are processed in ourselves. Partly our way of navigating through the structure, actions and re-actions, is determined by the score, but what we do in 'the holes' of the score is determined by a whole  number of other factors, how we have tuned our mind-body in the preparation for doing the score for instance. While filling in the holes we also create a 'body' collectively. The body that materializes, is the body that rules behaviours and interpretation of the (choreographic)material, relations between the performers, of performers with audience and between performers and site. 

I presented different tuning structures leading up to working in a group score. In all honesty I did not anticipate such a large group in this session! It was wonderful to see all the different interpretations and all the different strategies in the room and it was a great inspiration to continue working and developing this material.

I started with a practice where we dance together(on popular club music) as an accessible way to come together, warm up, without having to learn 'new' ways, 'new' techniques or 'new' approaches to known material.

It creates a togetherness while at the same time one is present very much as an individual: communality versus individuality.

We went on with practices where we were letting movements or a flow of words stream through ourselves.

From there we formed small groups of 3 people and worked with structures of approximating someone else’s speech, taking ’speechbites’ and using them as a rythmical sound score and speaking with one voice; forming sentences together. (These last structures are an amalgam of things I worked on during the last years and structures that I got to know through Litó Walkey).

We preceeded to working with bringing speaking and moving together placing the ’speaker’ and ’mover’ in proximity of eachother observed by a third person. The task was to notice the other but not to try to represent either the movement or the narrative. The score then developes to put mover and speaker in closer proximity and offers an opportunity to change roles.

The score is at once describing the different roles of people very precisely and also leaving large holes about how people relate and what the material is that is put out. Together the people create another body that dictates what can or cannot happen in this particular itteration of the score.

To finish we performed a group score where the different elements could be used and where the possibility of approximation, of taking soundbites and the attention to making your body be influenced by a verbal narrative offered possibilities to connect to the other performers.

We had a short reflection at the end of the session.