| de home performance projects workshops bio photos video contact DanceAbility ImPulsTanz Out of the Toolbox DanceLabs -> Jurij Konjar |
The Architecture of a ScoreWe'll open up a space where we can exchange ideas and strategies on the (importance of an) improvisation score(s). Wording such processes can be demanding, even when the sensation we describe are familar and/or clear. Therefore we'll keep returning to the essence, and repeatedly interchange words with practice.What can a score be, and how to use it? How to test it? How to work on it, develop it, refine it? What about boredom and annoyance? Being blocked? What about breaking it? In this context, what is clarity, and what is variation? What is the function of an improvisation score? What can a score bring to a group improvisation? How can a score direct us towards a joint learning process? What then about the "let's just do it and see what happens" approach? We'll talk about what is a useful score. How a score can be a frame that holds us, allowing us to share the same space-time and create space for the individual events within it. To balance the above, we’ll consider what makes someone a partner and when is it that a dialogue takes place. We'll talk about the importance of insisting with and developing our own individual proposals. In so doing, creating an environment in which change can be perceived. Jurij Konjar was born in Ljubljana in 1978. He trained Judo and practiced singing from an early age, then began dancing with ballroom competitions. In 2007 he suffered a head injury that shifted his focus towards the potential of the present moment. In 2009, an in-depth observation of Steve Paxton’s Goldberg Variations video triggered what became an ongoing improvisation practice and provided a basis for a rich ongoing dialogue. Some of his performances are Goldberg Variations (2010), For Juliano Mer-Khamis (2013), Still (2014) and a collective work Monday at eight (2017). Collaborating with Steve Paxton, he has performed Paxton’s work Bound (1982), Flat (1964) and Quicksand (2016). His own research is deeply informed by Contact Improvisation and Lisa Nelson's Tuning Scores practice. November 2019 at Tanzquartier Wien |