/

22.04.17



Neon x Illdjinn

Piece 7: Neon by Hannes Þór Egilsson

CHOREOGRAPHY: Hannes Þór Egilsson | LIGHT DESIGN: Valdimar Jóhannsson | COSTUME DESIGN: Þyri Huld Árnadóttir | ORIGINAL SOUNDTRACK: Valdimar ar Jóhannsson, Scwarzmann, & Michael Bundt | DANCERS: Aðalheiður Halldórsdóttir, Cameron Corbett, Einar Nikkerud, Halla Þórðardóttir, Hjördís Lilja Örnólfsdóttir & Þyri Huld Árnadóttir. The video is recorded at Reykjavik City Theatre in May 2016.

During the creative process of creating Neon all movements were choreographed in the Icelandic Dance Company studio in the presence of the IDC dancers. Guided by his own experience as a dancer, Hannes Þór Egilsson searches for movements and compositions that are both entertaining and exciting for the eyes and ears whilst simultaneously emphasizing the importance of being aware of every single moment while dancing. Each movement has undergone strict censorship and the outcome demonstrates the path Hannes intends to continue on as a choreographer. With this he strives to make the dancer’s intent more visible and lend it a stronger focus thus making every detail impressive.

Hannes Þór Egilsson graduated from London Contemporary Dance School in 2006 whereupon he joined the Icelandic Dance Company. As a dancer he has worked with various internationally established choreographers such as Erna Ómarsdóttir, Damien Jalet, Anton Lacky, Ohad Naharin and Ina Christel Johannessen among others. The past three years he has been working independently as a dancer, taking on also the role as a choreographer with i.a. the piece Flexa og Óður try to fly with Thyri Huld Arnadóttur, and latest Neon which was a part of Persona - an intimate event of dance, staging the works of three Icelandic choreographers in Reykjavik in the Spring 2016.


Sound artist 7: Illdjinn


The musician behind the blazing alias, Mads Forsby, is one of the most versatile artists on the Danish experimental music scene at the moment; with works ranging wide in expression, genre, format, and artistic collaborations, Forsby has become recognized for his role as percussionist in i.a. Fire! Orchestra, Girls in Airports and Pinkunoizu. With the solo project Illdjinn he has moved towards a field of crossing art forms. Emerging originally as a video and installation work the project uncovers Forsby’s strength as a solo artist with an interest in the borderland between sound art, film and music.







Right Angled Curves (Dance Suite) x Astrid Sonne & Xenia Xamanek


Piece 8: Right Angled Curves (Dance Suite) by Noa Eshkol

CHOREOGRAPHY: Noa Eshkol | PERFORMANCE: The Noa Eshkol Chamber Dance Group, 1992-1993 | DANCERS: Racheli Nul-Kahana, Ruth Sela | CAMERA: Asi Rusak | COURTESY: The Noa Eshkol Foundation for Movement Notation; neugerriemschneider, Berlin. The videos are recorded in Israel 1992-93.

Israeli choreographer Noa Eshkol’s dances are exercises in movement notation composed either in notation or in terms of notational concepts. The purpose of composing with notation is to be able to analyze a movement theme into its elements without preconceived ideas, and the numerical treatment of amounts and order of movements can reflect these processes. In an extensive research on notation carried out at the EWMN Center Eshkol developed movement techniques which do not dictate forms of movement but which are to be learned through diligent practice until the skills are acquired. This suite of dances was the first of Eshkol’s compositions to be published as a complete score, and since the entire focus is upon movement, there is no musical accompaniment, scenery, special costumes or lighting effects - none of the usual adjuncts of theatrical dance.

Noa Eshkol was a choreographer dedicating most of her life to the development of the Eshkol-Wachman Movement Notation (EWMN) system. Defining and symbolizing elements of the movement of the human body objectively was the main idea of the book Movement Notation made by Eshkol and Avraham Wachman in 1958. It exposed the method of EWMN which entails an expression of the spatial relations and changes of relation between the parts of the body which can be treated as a system of articulated axes. The system is the result of an analytical process which disassembles body, space and time into basic units, thus creating a spherical system of reference in accordance with the structure of the human body. In 1954 Eshkol founded the Chamber Dance Group, which to this day is the name of the dance group - now in its fifth cycle of dancers - embodying the symbols and numbers of the EWMN system.


Sound artist 8: Astrid Sonne & Xenia Xamanek

Astrid Sonne creates sound collages emerging from organic and digital sound sources. Through her work with viola, samples and computer generated sounds the compositions are characterized by the intensity through simplicity with an aim of balancing constant renewal and repetition. Astrid has been part of various constellations and made her presence felt during the opening concert of this year’s CPH:DOX. Xenia Xamanek Lopez composes through an editing of analogue sounds and field recordings, framing recognizable sounds in unfamiliar environments. She experiments with improvisation as well as strict sequences, seeking new forms and structures. Xenia creates music through her two aliases Equis and C.Cell and as a part of the group Boujeloud. Astrid Sonne and Xenia Xamanek Lopez will join forces to create a sound score for Right Angled Curves. Though the two have followed each other's work closely through years this will be the first time they create a piece together.








The Way Sounds Attack
x Pan Daijing

Piece 9: The Way Sounds Attack by Stina Nyberg

CHOREOGRAPHY: Stina Nyberg | CAMERA: Malin Korkeasalo | LIGHT DESIGN: Chrisander Brun | ORIGINAL MUSIC: Dave Clarke “Archive One” | PRODUCTION: DOCH MA in Choreography | PERFORMANCE: Kim Hiorthöy, Nadja Hjorton, Stina Nyberg, Zoë Poluch, Juli Reinartz, Rebecka Stillman and Uri Turkenich | The video is recorded from the premiere of the piece at DOCH in Stockholm 2010.

The Way Sounds Attack is a choreography that focuses on the body’s relationship to sound and how illusions of different cause and effect are created through actions and reactions. The piece was created through a daily “techno practice” and is performed as such. Bound by the most banal relationship to music and by an attempt to avoid all interpretation, elaboration or creativity as such, the performers anticipate the music in order to do the sounds. The rehearsals consist exclusively of performing the entire piece, dancing the album Archive One by Dave Clarke, from the beginning to the end. The techno suggests a dance where no one depends on anyone else to do it but where we insist on doing it together.

Stina Nyberg is a choreographer and dancer based in Stockholm. Her work emerges through an interest in methods and notions of practice. Stina Nyberg often works in collaboration with others and with Amanda Apetrea, Nadja Hjorton, Halla Ólafsdóttir and Zoë Poluch she founded Samlingen, a project intended to foster their common interest in choreography, friendship and feminism. Also, she choreographed and performed in the “Shaking the Habitual”-show touring with The Knife 2012-14. Stina Nyberg holds a Master Degree in choreography from DOCH (2012).


Sound artist 9: Pan Daijing

Perched on the cutting edge where art and music blur into one another, musician and performance artist Pan Daijing has been developing her open practice of sonic provocation and spacial relations since the encounter of her first drum machine. Bouncing between brutal machine jam and body movement experiments, she crafts live performance based on bodily improvisation and musically composed narratives. Born and raised in Southwest China, Daijings work reflects the philosophical and uncanny ritualistic tradition from her background. From experimental synth work to noise and techno she delivers intensity in a natural and personal way.