⚡️ November 15-17, 2022
⚡️ Praxis OSLO
⚡️ clik to book
“The ability to understand something before it’s observed is at the heart of scientific thinking.”
Carlo Rovelli, The Order of Time
“But love perused with fervour is the road to knowledge.”
Nan Shepherd, The Living Mountain (transcribed from audible by pavleheidler)
about Praxis OSLO
PRAXIS Oslo is a laboratory for the study of dance and movement. The goal of our programming is to strengthen the freelance experimental dance and performance community. We do this by organising classes, conversations, seminars, workshops, social events and creating affordable accessible rehearsal space.
I would like to take this opportunity to continue thinking about the words daily and training and reflect on the notion of daily training in the attempt to un-cover then evidence the creatively enabling wealth of experience these words synthesise in a person; themselves a synthesising cosmology of many other words–artist, dancer, mother, singer, daughter, dreamer, maker, baker,…
Experience and experiencing, to experience, to be experiencing, as I understand it, is a central–and here I will ask you to imagine central as an intra-active network or an amorphous cloud, instead of a point or a line, the pelvis or the spine–constituent of a person’s capacity to move.
Embryologically speaking, movement conditions/necessitates/enables resistance that provides necessary feedback for the transformation, for example, of a pluripotent stem cell to a singularly purposeful cell. Singular, in this case, I do not mean to read as single or individual, but remarkable as is the primary germ cell’s capacity to bring about the emergence of further form–bone, fluid, tranquil storm.
The time I’ve spent navigating the professional field of dance and choreography–even there, where dancing is said to be experimental and choreography expanded–is saturated with the experience of the kind of resistance that, unlike the above-mentioned embryological resistance, restricts movement rather than conditions/necessitates/enables continued celebration of its transformative capacity. My experience of dancing professionally, then, is largely the experience of silently conforming, where I think it ought to have been the experience of negotiating relationship, rebellion, and playing.
I encourage you to bring to class any item that you’d usually bring to the studio to support your creative processes; pens, papers, chalk, knitting needles, yarn, paint, musical instruments, cameras, audio recorders, etc. I also encourage you to bring to class any item that you might have not dared to bring to the studio yet, that otherwise enables you to experience yourself as creatively capable or creatively able. If items come to mind that are difficult to transport or are difficult to contain or maintain control of, please bring them in the form of dream, memory, desire, hope.
Children and grandparents are welcome!