María Jerez, with the collaboration of Quim Pujol, invites us to work with the imperative of an invented verb: “indíralo”. The definition of this verb would be “not to do something individually” and designates a practice in which actions are decidedly not done alone. In this practice, the collective body is inescapable and actions, realisations and compositions must always be defined as they occur in community, understanding community as something human and non-human.
This imperative is the decision to propose, in a choreographic way, other forms of doing that move away from autonomous actions, emphasising that processes are always collective, interdependent and ecosystemic.
We will work on the choreography of a multiple and divergent brain that does not move in a single direction, but rather along multiple lines, which have not been agreed upon, towards an engagement with what we do not know and is not yet determined. It is a state of collective uncertainty.
We know we are together in “this”, but “this” is never defined, it is an enigma that we hold between us all, humans and non-humans. How can we engage with what suspends the sense and the meaning?
“Indíralo” is the celebration of this engagement, this coming together in the enigma. Slow Reading Club (Henry Andersen and Bryana Fritz) states, “thinking jointly has a strange, hermetic intensity which is difficult to map from the inside. Collaboration is an inhuman, science fiction type of thinking. The collective brain is not a combination or synthesis of two individual positions, but a parasite which makes hosts of two bodies then bursts out and leaves them aside once its nutrients have been collected.”*
By taking this idea of collaboration as a form of non-human thinking, Indíralo seeks to put into practice an intelligence that is beyond us, that escapes our intentions and begins to act “between” the parties involved, with an identity of its own.
Unlike individual figures such as the hero, the protagonist or the author, Indíralo proposes to highlight a collectivity that remains invisible or in the background, but that is always there. “Indíralo” revisits the figures of the chorus, the corps de ballet, the landscape, the audience, the work… “Indíralo” has more to do with ants, buzzing, spinners or the forest than with the soloist, the prima ballerina or the DIY.
These practices always need more allies, the “other”, but not necessarily in the same configurations. They can therefore be practiced one day as a duo, another day as a trio, the next by larger groups.
At the same time, they can take several forms, since what is practiced can change each time: a breathing, a movement, a text, a sculpture, a dance, a construction, a song…
For the development of these practices, we could work in different configurations. On each occasion, human and non-human participants will rely on different arrangements (trios, quartets, quintets) and work with different materials to define the practice itself and create a series of choreographies that will in turn produce different objects: texts, sculptures, movements, songs…
* https://www.moussemagazine.it/magazine/slow-reading-club-damien-and-the-love-guru-brussels-2022/
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PRATICAL INFORMATION
Participants: Artists, researchers and students of all disciplines, interested in collaborative practices.
Maximum of participants: 12
Applications: Until May 7st
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The workshops languages will be Portunhol and English, however language itself will be a site for artistic intervention and new words, expressions and grammatical structures may be developed over the course of the week.
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Application fee
100 € (10% discount for FLUL students)
Includes all the activities, accommodation (in dormitory), meals and insurance. Does not include traveling expenses.
Every year, we offer a scholarship to the In Practice Summer School to one person from each of the partner schools and under the following conditions:
— Students of the Program in Theater Studies or Researchers at the Center for Theater Studies at FLUL
— Students at the Superior School of Dance
— Students of the Theater Course at ESAD.CR – Superior School of Arts and Design, Caldas da Rainha
Se é o teu caso, por favor preenche os campos do formulário assinalados com ✤
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Registrations mode
The interested people must fill this form
(click here). The applications will be analyzed and there will be a selection, considering the diversity and relevance of the profile of the participants int the constitution of a workgroup and in the development of the proposed issues.
10h–11h Welcoming the human participants
11h–13h Indíralo: rehearsing a suprahuman assemblage. Special guest: Centro Ciência Viva de Alviela - Carsoscópio
13h–14h Lunch break
14h–15h Group visit to the collective subconscious (communal napping)
15h–17h Divergent discussion: “what are you tired of doing alone?”
17h–17h30 Summary beyond consensus
Thursday 6th of July
10h–13h Indíralo: rehearsing a suprahuman assemblage. Special guest: the cave
13h–14h Lunch break
14h–15h Group visit to the collective subconscious (communal napping)
15h–17h Divergent sculpture
17h–17h30 Summary beyond consensus
Friday 7th of July
10h–13h Indíralo: rehearsing a suprahuman assemblage. Special guest: the river
13h–14h Lunch break
14h–15h Group visit to the collective subconscious (communal napping)
15h–17h Divergent writing
17h–17h30 Summary beyond consensus
Saturday 8th of July
10h–13h Indíralo: rehearsing a suprahuman assemblage. Special guest: the forest
13h–14h Lunch break
14h–15h Group visit to the collective subconscious (communal napping)
15h–17h Divergent choreography
17h–17h30 Summary beyond consensus
Sunday 9th of July
10h–13h Indíralo: rehearsing a suprahuman assemblage. Special guest: the spirits
13h–14h Lunch break
14h–15h Group visit to the collective subconscious (communal napping)
15h–17h30 Divergent assembly (session open to the public)
(1978). Her work travels “between” choreography, cinema and visual arts. Since 2004, she has made pieces that explore the relationship with the spectator as the space in which the modes of representation are put into crisis. From “The Case of the Spectator” to her latest pieces, this relation has mutated from a place of “understanding” of theatrical and cinematographic conventions, that is, from the expertise, to the intentional loss of references where the artist, the piece and the spectator behave towards each other as strangers. She combines the production of her artistic work with educational, curatorial and editorial projects.
(1978) works between poetry and live arts. His last pieces are “The Message From Other Worlds” (2021) and “Variety of varities” (2022). He has participated in exhibitions such as “Interval. Sound Actions” at the Fundació Antoni Tàpies or “Visceral Blue” at La Capella. He edited with Ixiar Rozas the affect theory volume “Ejercicios de ocupación” (Ediciones Polígrafa, 2015) and he also curated the experimental arts program at Mercat de les Flors (2011-2015) and the Picnic Sessions at CA2M (2023).