MANUAL FOR MEASURING DISTANCE
Manual for measuring distance came as a secondary effect of my choreographic process, inquiring into distance, proximity, and their limits as generative technique for new forms of content and structure.
The work addresses the body of the reader and the body of the space. It tries to measure and recompose those bodies; it searches to open space for the enfolding of asymmetries of presence and attention.
While making the Manual, I realized that for me to ‘measure’ means to ‘know better’ and make alive the measured thing or space.
The work composes with the superposition and accumulation of different view points, points of contact, and points of reference. It tries to document but instead makes poetry out of the practices through which I developed two performance pieces: measuring distance and backs.boxes.towels (Dance cure).
Manual for measuring distance
Get closer to yourself at this path for self reflections: MAKE A SELFIE!
Landscapes change, people change, minds change but You are always going to be You.
A performative installation at The Guapamacátaro Center for Art and Ecology.
with Sameena Sitabkhan
photographs by Sameena Sitabkhan
(with the help of Miguel Melgares, Kelly Keenan, Nikolaos Chandolias)
This piece is not funny. It is about absence and grief, about disconnection, relativity, about negative space, risk and inertia.
This is a piece about shifts of view points, points of contact, and points of reference, about allocentric and egocentric forces, about momentum and about the explosion of inertia.
PHOTO CREDIT: MANUEL NAVARRETE LÓPEZ
A class that guides the unfolding of a series of extraordinary physical states.
Hanako – Hoshimi Caines and I propose a series of extraordinary physical states. We create an environment of few spoken words in order to access the space/sense that happens when you are allowed to be without language articulating your experience. Projected indications guide the unfolding of activities in a few simple sentences. They get us sweating, dancing, jumping and stretching for long enough that we enter into that space without worrying or needing to be good in a particular way. The repetition and duration of movements provokes the feeling of synchronicity between the inside and outside and avoids the need to produce an individual creativity. We access fun, adrenaline, concentration, absurdity, pacing, height and transcendence, we practice synchronicity and non synchronicity, repetition, accumulation, listening to feel good music, making space for extraordinary states and sinking in the extraordinary of the ordinary.
Concept and performance: Maria Kefirova and Hanako-Hoshimi Caines //Light design: Paul Chambers
The Paradise is a dance duet that works between the two dimensional ready-made notion of Paradise as pink flamingos, beach side motels, rainbow colored harmony and the task of accessing extraordinary states, which are often far from comfortable and perfect looking. Through a series of unassuming and simple assignments, we are setting up conditions for the emergence of complexity and the production of multiplicity. Today paradise is a movement of synchronicity, a way of looking at and relating to. It is everything that I look upon with care and I spend time with. Paradise is also a movement that does not skip any part of its trajectory: a very alive and effortless state of simultaneously holding on and letting go. Paradise is not getting fixed in meaning, sensation, idea or image but constantly moving through their different nuances. The Paradise does not solicit audience participation but is a system of offering and receiving and the questions that arise from this.
photo by Frederic Chais
photo by Orlin Ognianov
Please, click on the link below to view the PDF document
Performative installation in collaboration with Miguel Melgares
sound: Martin Messier
The Nutcracker is a 60 min solo dance-theater performance for a dancer, voice recorder, 4 audio speakers and 25 kg of walnuts
The walnuts are used as a material that has a clear definition between inside and outside. The sound is used as a material with no inside or outside. The body is a surface between the inside and the outside. During the piece a human figure, sound and walnuts will perform a series of dislocations and relocations, folding into each other in a process where sound becomes a body and a performer of its own.
photo by Frederic Chais