Rodia Vomvolou

The fanzine "Are you here?" is the imprint of the artistic research entitled "Transcription" which focused on the concept and process of transcription as a practice of transferring elements and experiences from the system of writing to the system of dance and vice versa. It consists of a series of performative scores around the relationship between writing and movement and how the two functions feedback on each other in an imaginative and experiential context.

“Αre you here?” zine

Die Wolke Art Group

Programme notes from Trajectory of an idea. The piece examines the metaphor of an idea as if it were a human life, and thus divides it into five stages - the five acts of the performance: birth, growth, maturation, identity, and memory. Of course, the performance itself is an idea, and it is examined under its own terms in five analogous stages: basis, structuring, execution, analysis, and impression, producing a 5x5 grid of notes.

Trajectory of an Idea

Vitoria Kotsalou

A dance relay, where one citizen succeeds another, keeping the dance alive, in a specific public location. The relay runs throughout the day and night. The duration of the action is at least three twenty-four hours -up to infinity. An active relay of presence, a practice that cultivates political thought, networking and communication.

Crater

Polina Kremasta – Creo Dance Company

Chain: a game of personal and collective co-creation. Through this improvisational procedure, repetition, ritual and ecstasy, a personal and group kinesiology is being born. Each person observes the self and the group while balancing the verbs “listen” and “suggest”.

Chain – a movement game

Androniki Marathaki

The “gardening the holy purple” is one of the four constellations of the project holy purple and one first attempt around how a dance performance can exist in digital space. All constellations of the project are composed through 5 basic relations: 1 1 1 ⇆ 1 1 ↔ 1 1← →1 1 →|← 1 They preserve a common basic composition through those relations for every stage of the practice, of the performance, of the installations’ organization, of the programming environment etc.

Gardening the holy purple

Ariadne Mikou

The choreographic score or task is a response to Gabriella Gianacchi's essay Into the Space of the Digital Museum. Constructing presence through the senses and building an awareness of the surrounding environment as a result of the immersion into often disregarded physical experiences in the everyday environment. The voice instructions aim to create an intimate environment for interacting and relating with space through movement.

A Casual Meditation for Anywhere and Anytime

Androniki Marathaki

A moving platform that changes its inclination according to the weight transfer of the performers becomes the common land for four performers. Connected with sensors, it translates the movement of the platform and performers into sound creating a constantly transformative and sensorial coordinated place. Performance “it’s not about if you will love me tomorrow_Part 2” is a game in public view, a game that comments on questions about dance and its viewing and the intensities and dynamics that unfold through this paradoxical relation.

It’s not about if you will love me tomorrow_Part 2

Stefania Mylona

Dancing Sculptures is characterized as performance dance standing in-between dance and performance. The work presented a surrealist view of the world through human assemblage sculptures made out of many performers in close bodily contact. My signature work, presented in various performances in London.

Dancing Sculptures: Contractions of an intercorporeal aesthetic

Dafni Pantazopoulou & Angeliki Anargyrou Potamianou

This practice began as a reaction. An investigation into the pandemic encroachments on rights and the fragile democracy. Our process was enriched by the synchronized instrumentalization of the pandemic towards a series of scandals concerning the Ministry of Culture, police repression and political arbitrariness. Given the imposed curfew on Greek citizens, we observed political bodies, including our own, being excluded from public space. We attempted to subvert the supposedly democratic symbols of the Acropolis, and Parliament.

Democracy Not Found

Eleni Papaioannou

Based on spontaneous choreography and improvisation, which means that the performers never perform the same twice. Everything is structured at the moment depending on the surrounding stimuli and space. We follow the score but we are free to interact, play and experiment with the audience , the architecture, the sounds, the smells and the textures of the surrounding space. Ready to transform, to change, to shape, to form and adapt. Everything is in the performance and the performance is EVERYWHERE.

Everywhere

Christos Polymenakos

What happens when the text writing is a contact improvisation jam of bodies/words of different materialisations, subject to the input of the audience for both its current and succeeding performance? How does the documentation become part of the script, becoming a score for all humans and non-human involved?

This is not My Body

Christos Polymenakos

What happens when the writing is a choreography consisting of randomly changing fairy lights and fixed binaural processing of words indicating geographical and gender localities evoked by research on the moving spatiality of words? How does the documentation of the writing become a score for this choreographic approach to writing?

Magic Carpet Designing

Despina Sanida Crezia

However is a performance installation in the format of an open studio that depicts the research process conducted since February 2021, hosted in residence by the Duncan Dance Research Center. It emits from how-to’s which are used as readymade scores that cover a wide range of internet information. The main object of research is the body in process and the effort it makes within it. The bodies through their labor work are constantly in a procedure of failure and re-try exerting to find a solution to the tasks that concern them

HOWEVER | How to Levitate | How to Disappear Completely

Eleonora Siarava

Navigation in space-s is not an actual score but a potential score to be. It is a notation | diagram recording the third scene of Who knows where the time goes – potential destination #1 (2021); a choreographic piece that attempts to enter the paradoxical and ambiguous universe created when Time is intertwined with the Image based on the construction of an ephemeral, live scenography.