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Oct. 26th
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Present: Birgitte, Emilie, Julie, Lene, Marina, Sara.
Guest curatorial course students: Josephine, Lars.
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Each day we will have a responsible note-keeper for the collective notebook. Today was Julie's shift.

Lene's warm-up. Gaga. We now have speakers! Focus slowly travelling from the toes to the hands, opening up movement on each body part. To the tune of a random electronic music playlist, and occasional danish language advertisements.

10 minutes for writing/brainstorming ideas of what could be propposed for a large group of people (from 6, to 10, to 100 etc.). We shared what we came up with, and chose two movement principles to be combined: singing a song together as we modulate the volume up and down; and pulsating in and out of a "circle" formation, stepping forward and backwards as we form the space among us. This was called an "amoeba".

We tried these dynamics simultaneously, first with the song "Is this love" (Bob Marley). This turned out to present more challenges than ideal to syntonize with each other, thanks to tricky shifts in the dynamics of the lyrics. Next we tried the exercise with a base note, trying to keep a flat tone to perceive the changes in volume, while still approaching and distancing ourselves to mold the space. This amoeba can travel around the space and be shaped both by the architecture and by the action of each participant that composes its contour.

We ended with an altered version of the Sound Orchestra. Same dynamic of having a mover in the middle and a "blind" choir to tune into. This time, the instrumentalist are placed on the edges of the space, facing the walls (windows/doors/etc. - much in the same way that the amoeba acquires the full extension of the room at its maximum extension), and thus including the architecture of the room into their playing possibilities.
5 minutes for each person in the center.

Quick and confused discussion of the residency in November, to be cleared up over e-mail.

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Oct. 27th
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Present: Birgitte, Lene, Marina, Tanya, Sara.
Guest curatorial course students: Carla, Louise.
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Shaking warm-up. 20 minutes shaking non-stop, migrating movements and focusing on the source of the shaking. To the tune of random brazilian music, and occasional danish language advertisements.

Black tarp exercises. Two large pieces of heavy black felt (generally used as curtains for exhibition spaces) were put at play, and we went through three different proposals that connect to our keywords. The object was introduced as a reaction to the desire of touching/being touched; a mediating device that incorporates distance.

Barrier: Two people manipulate the tarp in a flat formation, simulating a wall or barrier that is presented for and against a mover. It starts at medium level, horizontal, with a person under, who will be perceptive and reactive to the spatial configurations and possibilities presented to them as the barrier slowly moves around, changing levels and drawing the space available. Opposition is a type of relationship.

Dragging: An "audience member" is seated on each tarp, and groups of two or three people have to find different ways and strategies of dragging the person along the floor, changing their visual and sensorial perspective of the space. The draggers practice awareness of the bodily organizations they can use to achieve this, and what kind of qualities it brings to the experience of the person. We then shift roles, so that people try one on one dragging.

"Connecting Tissue": everyone finds a spot along the sides of the larger tarp and holds it with their hands, from a seating position. In this way we are connected through the tarp, and available to receive and offer tactile information by pushing, pulling, vibrating, quieting down our movements, listening with our hands etc. We try it with open and closed eyes, allowing for the subtle movements to mobilize us and our attention. Mixture of being individuals with given agency and a shared body.

These three exercises can be easily "hacked" into a dramaturgy for our keywords: the barrier, the repressive institution that provokes confrontation across limits, inspiring uprising; the dragging, shifting perspectives from down under, making fluid active and passive roles in the relationship and creating continuity of experience; and the connecting tissue simulating the surface tension of the water as our movements find their way across the material and arrive at each others bodies, spreading a network of possible connections and subtetly.

Thanks to Louise for actively engaging with us.

---- Dinner! ----