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In 2021 I conducted 12\u00a0 <\/span>interviews with 15 artist and creatives working with and inspired by the FULL DROP method within their artistic processes. With the opening questions; What does the FULL DROP practice do to your artistic work and what does that reflect from a political perspective? What is the bridge between practice and choreography or any kind of \u00a0creative outcomes when it comes tot he FULL DROP practice?<\/p>\n What became clear from the interviews is that the practice is a transformative gateway creating space and time for immanent states and the new to surface and for ideas to come to you through letting go of time and space and habitual control while surrendering to listening. Subsequently de-conditioning of older trained and learned patterns of approach to working, moving and thinking. Which kickstarts a process of changing perspectives regarding approach towards your self, towards others, towards the way you create art and function within the cultural structures for arts. The practice represents a rejection of using force as means to achieve and steps away from acrobatic physical control and forced rigorous training, over loading and exhausting the body by forcing it into physicality\u2019s that are not organic and induce injuries through repetition. In general rejects approach which shows a lack of respect for the limits and capacity of each individual.\u00a0T<\/span>he FULL DROP practice aims for creativity to arrises through deep relaxation and not through engaging in trying or doing or further designing controlled by the mind.<\/p>\n My own creative work as a choreographer within the FULL DROP practice \u00a0was embracing and researching the pathological body, embodied phenomenological existence and the subtile body. The way it was developed was connected to the politics of what I wanted to express in my artistic work due to my biographical history, which reflects a larger whole. The practice as a tool within the field of dance does not create artistic outcomes on its own without a clear artistic vision. Whilst doing the practice can inspire an artistic vision and new discoveries on multiple levels and therefor result in any kind of creative outcome depending on the practitioner and the openings which the context of the practice facilitates for the individual practicing it.<\/p>\n This research was funded by the #TAKE CARE program, supported by Fonds Darstellende K\u00fcnste with funds from the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR<\/p>\n Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir<\/i><\/b><\/p>\n <\/p>\n <\/p>\n PARTICIPANTS<\/strong><\/p>\n -Marie Louise and Ida Elisabeth Larsen,<\/b> <\/b>Danish choreographers and dancers and creators of the TWO WOMAN MACHINE dance company in Copenhagen. Interview took place on zoom on the 24. February 2021 Berlin – Roskile Denmark. Main topic of discussion; The performance “All Of Its Parts: From Darkness”.\u00a0<\/span>Premiere 2020. Working method was using FULL DROP as the main source of the performance and how that created a common space and working tools for the 2 performers and creators of the performance. The discussion also opened into a reflection on the difference between holistic practices and artists practices and artistic research.<\/p>\n -Andrea Deres and Sofia Karlsson,<\/b> Danish choreographers and dancers\u00a0<\/span>and founders of the FAN CLUB COMPANY based in Copenhagen and Roskilde Denmark.\u00a0<\/span>Interview took place on zoom on the 27.February 2021 Berlin – Copenhagen Denmark. Main topic of discussion; The performance “BEEING”.\u00a0W<\/span>orked on and shared with audience in 2020. \u00a0How the FULL DROP practice influenced the creation of that performance, in relation to the dramaturgy, facilitation, trauma release and inherent body intelligent in relation to self healing and different holistic somatic methods in general. The discussion also opened into a reflection on the relationship to the audience and entry points to artistic sharing.\u00a0<\/span><\/p>\n -Jeannette Ginslov<\/b> south african screen dance maker, choreographer and dancer, specialist in Digital Dance for AR, Screen and Mixed Reality Performance.\u00a0 <\/span>Interview took place on zoom on the 2.march 2021 Berlin – Dundee Scotland. Main topic of discussion was how the FULL DROP practice influenced the research and writing of Jeannettes PhD work titled: Embodied Biometry: Tentacular worlding of dance, biosensor technology and lived experience through relational biofeedback of the human and non-humankind.<\/p>\n -Karolina Ginmann<\/b> Finnish choreographer, dancer, psychologist and teacher & Marlon Moilanen <\/b>Finnish dancer and lawyer.\u00a0Interview took place on zoom on the 4.march 2021 Berlin –\u00a0 <\/span>Helsinki. Main topic of discussion; Influences & development of own practices. Approaches towards commitment to having a red thread in ones artistic lives\u00a0<\/span>through a life long practices.\u00a0<\/span>Therapy and art and their different goals.\u00a0<\/span><\/p>\n -Jenni Elina <\/b>Finnish choreographer, dancer and actor. Interview took place on zoom on the 4.march 2021 Berlin –\u00a0 <\/span>Helsinki. Main topic of discussion; Philosophically oriented discussion. Where is the space of creation. From where does art come from?<\/p>\n -Anja R\u00f6tterkamp <\/b>German dancer, teacher, dramaturge and fascia therapist in the Danis Bois Method. Interview took place on zoom on the 12th march 2021 Berlin –\u00a0 <\/span>Brussels. Anja R\u00f6ttgerkamp is the person who introduced me to the protocol of visualizing as a way to release tension in the body and regenerate energetically and get in touch with the tensegrity structure of the body. She teaches extensively within the field of dance myo fascial work with emphasis on regenerating energy and vital movement, into energetic dance and healthy rythmicality based on the Danis Bois method of Fascia Therapy.\u00a0<\/span><\/p>\n -Jonathan Bonnici\u00a0<\/b>\u00a0British Indian writer, actor and healer.\u00a0<\/span>Interview took place on zoom on the 15th march 2021 Berlin –\u00a0 <\/span>Copenhagen. Main topic of discussion; Changed view on existence in general, and relationally to everything outside of ourselves from practicing the FULL DROP method. Supporting and generating an organic flow of consciousness when writing.<\/p>\n -Susan Kozel <\/b>Canadian phenomenologist, writer, dancer and choreographer specialist in the digital field of arts and creative science. Interview took place on zoom on the 17th march 2021 Berlin –\u00a0 <\/span>Malm\u00f6. Main topic of discussion; In which way and where does the FULL DROP method serve other disciplines and a different way of living.<\/p>\n -Ingrid Andr\u00e9 <\/b>Belgian visual artist, choreographer, dancer, gyro tonic teacher and student in the\u00a0 <\/span>Danis Bois method Fascia Therapy. Interview took place on zoom on the 19th march 2021 Berlin –\u00a0 <\/span>Helsinki. Main topic of discussion; Holistic approach within the arts towards yourself as a makers and teacher and what it does to your approach towards artistic creativity. How can our view on body and politics of body be taken creatively into social change within other fields of work in society. Holistic body presence within other fields in life then the therapeutical field.<\/p>\n -Emilia Gasiorek<\/b> British dancer and choreographer and psychology student. Interview took place on zoom on the 30th of march 2021 Berlin –\u00a0 <\/span>Copenhagen. Main topic of discussion; Energy work and choreography and carving out a space where a way of being is completely altered from the day to day perception of existence.<\/p>\n -Ghita Eli Burghartz <\/b>Swiss \u00a0dancer and shiatsu therapist. Interview took place on zoom on the 1rst of april 2021 Berlin –\u00a0 <\/span>Basel. Main topic of discussion;\u00a0Feminism, social politics and FULL DROP. How to participate in the European cultural structures in a healthy way.<\/p>\n -Riina Huhtanen <\/b>Finnish dancer and Osteopath. Interview took place on zoom on the 1rst of april 2021 Berlin- Helsinki. Main topic of discussion; Osteopathy and the FULL DROP practice in practical terms from the professional dancers experience.<\/p>\n <\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”1923,1924,1922,1928,1927,1926,1941,1940,1939,1942,1930,1929,1937,2052″ fullwidth=”on” disabled_on=”off|off|off” _builder_version=”4.22.1″ _module_preset=”default” height=”700px” max_height=”700px” hover_enabled=”0″ locked=”off” global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" DIALOG RESEARCH\u00a0 SERIES OF 12 INTERVIEWS WITH 15 FULL DROP\u00a0\u00a0PRACTITIONERS FROM THE FIELD OF DANCE AND SCIENCE WAS\u00a0CONDUCTED IN EARLY 2021. THE DISCUSSIONS THAT TOOK PLACE FOCUSED ON THE LINK BETWEEN THE FULL DROP\u00a0 PRACTICE AND CHOREOGRAPHY, WRITING AND OTHER CREATIVE OUTCOMESIn 2021 I conducted 12\u00a0 interviews with 15 artist and creatives working with […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"\r\n Ceci est une page d\u2019exemple. C\u2019est diff\u00e9rent d\u2019un article de blog parce qu\u2019elle restera au m\u00eame endroit et appara\u00eetra dans la navigation de votre site (dans la plupart des th\u00e8mes). La plupart des gens commencent par une page \u00ab\u00a0\u00c0 propos\u00a0\u00bb qui les pr\u00e9sente aux visiteurs du site. Cela pourrait ressembler \u00e0 quelque chose comme cela\u00a0:<\/p>\r\n\r\n Bonjour\u00a0! Je suis un m\u00e9canicien qui aspire \u00e0 devenir acteur, et voici mon site. J\u2019habite \u00e0 Bordeaux, j\u2019ai un super chien baptis\u00e9 Russell, et j\u2019aime la vodka-ananas (ainsi qu\u2019\u00eatre surpris par la pluie soudaine lors de longues balades sur la plage au coucher du soleil).<\/p>\r\n<\/blockquote>\r\n\r\n ... ou quelque chose comme cela\u00a0:<\/p>\r\n\r\n La soci\u00e9t\u00e9 123 Machin Truc a \u00e9t\u00e9 cr\u00e9\u00e9e en 1971, et n\u2019a cess\u00e9 de proposer au public des machins-trucs de qualit\u00e9 depuis lors. Situ\u00e9e \u00e0 Saint-Remy-en-Bouzemont-Saint-Genest-et-Isson, 123 Machin Truc emploie 2 000 personnes, et fabrique toutes sortes de bidules super pour la communaut\u00e9 bouzemontoise.<\/p>\r\n<\/blockquote>\r\n\r\n\r\n
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