In the open group session, the participating artists will be all together to share their own research outcomes with some visual and audio materials with the audience online.

Where: Zoom Online

When: Wednesday, February 9, 2022, 5:00 pm – 8:00 pm (JST/UTC+9) “3M0T1NG” by Zander Porter “Presentation and Imagination of Jasmine Town” by Zhen Yang “A study on choreographic texts for dancing with someone/thing beyond boundary” by Nanako Matsumoto Thursday, February 10, 2022, 5:00 pm – 8:00 pm (JST/UTC+9) “Aqua Lung” by Pat Toh “Cues – work in progress for Cue” by Pijin Neji “Research Sharing on the project Ghostly Swinging Microphone” by He Jin Jang *Please check your local time carefully

Deadline for applications: Tuesday, 8 February , 2022

Day1 : February 9, 2022
“3M0T1NG” by Zander Porter
In 3M0T1NG, artist and choreographer Zander Porter speculates how the face might be(come) (un)freezable images, disconnecting and complicating feelings from rendered and downloaded expressions in, of, and around physiognomy. Cyborg mirroring, emoting exercises and body-attached smartphone duetting constitute research practices to design launching points for new scores and moving-together. Eventually, invited dancers are advised by less standardized/corporate/familiar symbols, such as (kaomoji): ☆*:.。.o(≧▽≦)o.。.:*☆ – where more complexly-shaped expressiveness and inter-technological empathies emerge, 3M0T1NG (“emoting”) towards a transindividual-relational matrix.

“Presentation and Imagination of Jasmine Town” by Zhen Yang
I am going to make a detailed summary and “report” of the research at final presentation, such as sharing why and what about Jasmine Town and the research of first working progress in Yokohama Chinatown, and also raise new questions in this process. I am also very sure that will reopen my perspective in this presentation to prepare for my next step,and open to discussing and trying to imagine together how to build the theater work of Jasmine Town on the next step.

“A study on choreographic texts for dancing with someone/thing beyond boundary” by Nanako Matsumoto
The Imaginary Waltz (I.W.) is the idea and practice of dancing the waltz with someone/ something imaginary. In this final presentation, I will first invite each to join in the workshop of I.W. and then share my experience at ORR. I started my research in this ORR with this big question; How can I share my practice of I.W. with other people? Through my research and workshop, I have become aware of my process which is helping me to create a sharable structure. I will share my findings in a form of a workshop. In the workshop, each participant will dance the I.W. while listening to a text about someone or something. After the dance, we will talk about the experience of dancing the I.W. and how their body interacted with the images. I would like to continue this online workshop in the process of preparing the performance in October 2022.

Day2: February 10, 2022
“Aqua Lung” by Pat Toh
Breathing from artificial air supply becomes an act through which the complexities of human and non-human relationships are made visible, articulating current concerns on being human, ecological crisis and the post-human condition. A research into breath in an aquatic dimension provides an environment where the human respiratory system is limited by nature and inseparable from technology. As issues of breathlessness are so urgent lately with the pandemic, this project imagines means of survival; the recovery of breath and how we can keep it going even after it has collapsed. The watery condition serves as a challenge for human respiration and provides a medium through which the usually invisible motion of air is made visible. In the research conducted through scuba diving, free diving and respiratory systems of amphibians, the possibilities of respiration beyond the human form are explored.

“Cues – work in progress for Cue” by Pijin Neji
The time fragmented, losing a linear sense from the past to the future, lockdown in the present and the body, I put the word “Mourning” on the pandemic situation based on the experience. The word itself was a choreography which helped me to consent to the situation and the research aimed at creating a choreography of waiting for an opportunity to act and processes for recovery from the loss. The research is going on with interviews with people who recovered from the coronavirus and who can share the “Mourning” sense, and also some texts written by Japanese psychiatrist Bin Kimura, which are about the relationship between the time sense and the subject who recognize it. What is the choreography to go out of the Mourning situation? How can I get out of the body? What is “outside”? It is challenging to make questions and ideas come to the dance. At the final presentation, the work-in-progress performance “Cues” will be shared, and the research reflects in neji&co.`s performances “Cue” in 2022, and “Out” in 2023.

“Research Sharing on the project Ghostly Swinging Microphone” by He Jin Jang
The project Ghostly Swinging Microphone is exploring “oscillating consciousness” by inviting swinging microphone and dance into the space. Consciousness is something that doesn’t die but flows in the air forever. So this can be a spiritual concept for presence and absence(grief). This research is a corporeal practice for mourning, a precarious study for the precarious, and a space for a bodily requiem. Aiming to create a ritualistic performance, this project will explore body and force, patterns and rhythms, and consciousness and ghostliness. Dancing body along with the swinging mic creates uncanny echoes with its movement and sound. And what happens in our mind and body when we see these echoes are perhaps “consciousness.” This work tries to penetrate into consciousness that loosens the gap between living and non-living, existence and non-existence. How can we survive and be with each other if consciousness and soul (of the living and the dead) vaguely glimmer around, within, and beside us?

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