Modul-dance experience. By Sofia Dias & Vítor Roriz

satélites©s&v - Versão 6When José Laginha, from Capa/Devir (a cultural structure in the sunny south coast of Portugal) introduced us to modul-dance network we knew very little of it, except that some other Portuguese choreographers (Tânia Carvalho and Cláudia Dias) had also been supported by it in the previous editions.

The meeting in Barcelona, in November 2012, was the first moment we got to grasp the dimension of this network. It was surprising to see the variety of artists, programmers and their specific projects/contexts of action. Although big in scale, the meeting seemed to have the right balance of formality and informality for an actual exchange to happen, and we were caught by its intensity and the way everyone was focused to make it significant and useful. Read more of this post

Modul-dance experience. By Tina Valentan

Delovni naslov @ Move to MariborI was recommended by Plesna Izba Maribor as one of the modul-dance artists in 2012. They also promised to be the main producers of the performance and cover the premiere, so all I needed to get on board were at least three partners. I was seducing them in Barcelona and gave it all to catch their attention, which was not easy. It felt like I was a product on sale and they are buying. There was no big interest but in the end I got what I wanted; three research spaces/residencies, one in Portugal, one in Denmark and one in Slovenia. They offered working space, accommodation, travel costs and per diems, so all the basic needs were covered and I could focus on work, away from trivial obligations in my home town. Therefore going abroad seemed very beneficial for developing work and growing as an artist and as a human being. Read more of this post

Modul-dance experience. By Helena Franzén

In 2011 I was privileged to be selected by modul-dance to create the performance Slipping Through My Fingers which premiered at Dansens Hus in Stockholm in September 2012.

In this project I deepened my collaboration with three dancers I have worked with for some years now; Katarina Eriksson, Moa Westerlund and Aleksandra Sende, but I also introduced a new dancer to the group; Elizaveta Penkova.

By my side was also Jukka Rintamäki, the composer I have worked closely together with for the last nine years. This time we were happy to invite Johan Skugge, a composer collaborating with Jukka. The duo performed live on stage, playing lap steel guitar and piano, combined with pre-recorded sound.

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Anne Juren and Roland Rauschmeier’s “Tableaux Vivants”

In September 2011 Anne Juren and Roland Rauschmeier wrote the following text regarding their experience within the modul-dance project. They have developed the project entitled Tableaux Vivants, where the art forms interweave and allow hybrid relations to develop between the paintings, sculptures and videos and the bodies of the performers.

Within the frame of the modul-dance project, we worked in three different locations (Faro/Portugal, Poznań/Poland and Ljubljana/Slovenia) on the conceptualisation, ideal configuration and technical translation of our idea for Tableaux Vivants.

Anne Juren_TableauxVivants_1 © Angela BedekovicDuring our stay in Faro, the composer Johannes Maria Staud gave us a compilation of his works based on the suite Berenice so that we could take some initial decisions on the choice of music. We also developed a comprehensive mind map that included socio-historic facts, artists and relevant eras for our performance. The southern atmosphere and some very pleasant and spacious studios made Faro an ideal place to work and make an in-depth study of concepts and ideas in a relaxed way. Read more of this post

Interview with Liz Roche. By Elisabetta Bisaro

Could you talk a little bit about the work you have developed as part of modul-dance?
My modul-dance piece, Body and Forgetting,  premiered on January 29th 2013 at The Abbey Theatre on The Peacock stage in Dublin. Through the structure of modul-dance and other partners such as the Dublin Dance Festival, The Abbey Theatre and Dance Ireland, I was able to lengthen my creative process and develop the piece in stages over a 14 month period. Through modul-dance specifically I had a residency with my dancers and musician at DeVIR/CAPa Faro in Portugal and also at DanceIreland Dublin.

Liz RocheThe work was influenced by Milan Kundera’s atmospheric and unsettling novel The Book of Laughter and Forgetting and presented an abstracted account of the themes, moods and characters from the book in movement with the constant accompaniment of a film and live score. I collaborated with Irish documentary and film maker Alan Gilsenan.

What connections have you been able to establish through modul-dance?
In general modul-dance has helped me to become more familiar with the current prevailing European production trends, put faces to names within a European context and make new relationships that have afforded me useful feedback. Read more of this post