As I show through ‘gesellschaftstanz’ and my interests in politics and society indicate I like to circumscribe a theme cognitively before going into movement research, take down citations that inspire me, make drawings or mind maps. But then, I also let thoughts walk, for example when in the vastness of Berlin something became to heady and confusing I attempted to let things fall into place by walking streets at random or walking longer distance instead of using public transport. And during the walking ideas can come up and take shape.

Through the walking or later in the course of working in a studio the positions I found cognitively can change or deepen by what aspects I find through movement exploration or synergies with sound. But whatever I enquire into for making a dance piece I feel I need to make it a personal enquiry in order to create a strong performance, so when I made my first site-specific piece in Glasgow about the soul it also needed to be about what nourished my soul in everyday life in Scotland, so the red thread was tea. And the movement material had to come from the exploration of the theme through the performers bodies to make it personal to them also.

Performers: Susan and Aleona Kalinowskaja

© Krubasik and Moroney 2009. THE ORGAN: SOUL

While working at the HZT I noticed that I have intuitively used elements of Body Mind Centering (BMC) for creating movement material before I actually learned in my morning training in Berlin about the official concept of BMC. As laid out in the section ‘STARTING OUT’ of this blog I had come through a phase of not wanting to be seen on stage in summer 2011, but during the BMC classes with Ka Rustler at the HZT I was allowed to close my eyes – and judgement – and perceive the possibilities of my body in an uplifting sense of beauty again. Not judging the body’s visual imperfections and thereby limiting myself and diminishing performance, but locating organic potential.

As hinted at earlier, my practice is now about synergies of movement and sound and can include using my own text work such as poems as base or inspiration ringing with my vocal production practice at University College Falmouth in the beginning of 2011.

I look forward to taking people on journeys and am interested in working with Beuys concept of facilitating locomotion and implement this in my choreographic work as I laid out in my blog article ‘Positions of Joseph Beuys’.

What is more, I enjoy telling stories in performance, even if it is just to myself and it can not be read by audience, just to give the performance a colour.

Performers pictured: Malin Gebken, Samu Laiho, Alexandra Codling

© Bossert 2011. Mind The Dub!

And, looking at my previous choreographies many of the elements outlined above seem implemented already, but locating my work in the context of art practices and artistic training in Amsterdam and Berlin, finding parallels or contrasts with the artists I met, made me more conscious about these elements. And this consciousness enables me to develop the position of my art in a more focused way.

The context I will position my work of the coming six months in will be the one of the western European society, the rural and inspiring environment of Cornish countryside, and, looking closer, the one of working with loose guidance and assessments from tutors and lecturers at the University College Falmouth. Attempting to create to further my practice while also producing and presenting to achieve marks and successfully terminate a university degree in choreography and dance.

Looking beyond time at university I hope to be working at a place with a work base for contemporary dancers and choreographers that offers professional classes, mentoring and residency programs such as k3 in Hamburg, Germany (k3 2012) or Dance Base in Edinburgh, Scotland (dancebase 2012).

And, what will be just as important is to have a friendly collaborator – even from a different artistic genre – like I found in the singer/songwriter Thorsten Hild in Berlin – to discuss ideas and processes. With this infrastructure in mind I see myself looking for performance work, working on own compositions as well as applying academia, business skills and creativity to improve the working situation for contemporary artists.

© Malin Gebken