[et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ background_color=”#ece9ea” global_colors_info=”{}”][et_pb_fullwidth_header title=”ABOUT” admin_label=”ABOUT : TEXT” _builder_version=”4.27.4″ title_font=”Dosis|700||on|||||” title_text_align=”center” title_text_color=”#bbbab8″ content_font=”Dosis|500|||||||” content_text_align=”justify” content_text_color=”#727272″ subhead_font=”Dosis|700|||||||” subhead_text_color=”#bbbab8″ subhead_font_size=”20px” background_color=”#ece9ea” background_layout=”light” custom_margin_tablet=”||||false|false” custom_margin_phone=”||||false|false” custom_margin_last_edited=”on|desktop” custom_padding=”0px|||||” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
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“As a counter proposal to today\u2019s popular culture, my work in its essence aims to go beyond the able, vigorous, high performance and aesthetic body. It acknowledges that sociopolitical large-scale forces influence our health and play a concrete role in how we experience ourselves. Artistically and methodologically I work with expressions of physiological, psychological and emotional realities including archetypal patterns, as well as a phenomenological exploration of our matter. I do that through a dialog with formerly dormant unconscious parts of ourselves using somatic body work. During the working processes we built on my 16-year research into the somatic practice FULL DROP into the body. We have explored altered states of perception relying on the science of deep tissue release towards heightened sense of bodily perception and expanded self-awareness.<\/span><\/i>The performers unwind the matter allowing the body to release tension in the depth and in that way to open up and become a vessel for channeling and self-expression beyond the cognitive. We enter into a dialog with generational archives and passed-on trauma patterns and related energetic realities dormant and originating within the cellular body and subconsciousness.\u00a0<\/span><\/i>My work in general deals with energetic citizenship. As a choreographer I compose experiences that are meant to vibrate energetically at the core of omnipresent pathological states of embodied beings induced by current and ancient conditioning and transference. When I use the term pathologies I am referring to the practical fact that cells, muscle fibre, bone structures, body alignment, the nervous system-respiratory system-circulatory system-digestive system endocrine system-reproductive system, the connective tissues and flow of various energies within our bodies all reflect our current and former experiences, conditioned patterns, as well as genetic imprint. Including traumatic events from our biographical history which we carry with us in a literal sense.Therefore all internal and animated motorised movements of the body reflect pathological (non-optimal functioning) inner systems and scarred and contracted tissue. <\/span><\/i>These embodied pathologies exist in the shadows of what is considered normal life and in conceptual shadows. The audience may be confronted by pathology, but this is done to initiate release and transformation and further cognitive and physical processes on the topic, not to re-traumatise”.<\/span><\/i><\/p>\n <\/p>\n Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir\u00a0<\/em> <\/p>\n Since 2010, Icelandic choreographer and dancer Margr\u00e9t Sara Gu\u00f0j\u00f3nsd\u00f3ttir<\/b> has developed a long-term artistic research trajectory investigating somatic and psychological sub-worlds accessed through deep tissue release. Rooted in choreographic practice and informed by fascia therapy, her research and choreographic works examines how social, political, and economic forces imprint themselves materially within the body. Over more than a decade, Gu\u00f0j\u00f3nsd\u00f3ttir has articulated what she defines as a politics of intimacy<\/i>: an artistic practice that resists the logics of hyperactivity, productivity, and achievement that characterise neoliberal society, and instead foregrounds de-conditioning, surrender, and heightened bodily awareness as political acts.<\/p>\n At the core of her work lies FULL DROP<\/b>, a somatic practice that enables performers, practitioners, and audiences to access altered bodily and perceptual states\u2014referred to as HYPERSTATES<\/b>. These states facilitate a direct inquiry into the relationship between body and mind, enabling participants to question internalised patterns of movement, thought, and behaviour, and to access expanded agency, perception, and choice. De-conditioning formerly imprinted body memory\u2014understood here as the embodied accumulation of trauma, injury, conditioning, and social control\u2014is approached as both a somatic and feminist act of resistance. From this perspective, the body becomes a site of energetic citizenship, interconnectedness, and critical resonance with the inner and outer social-political body.Through the sustained development of this practice, Gu\u00f0j\u00f3nsd\u00f3ttir has mapped out a new category of performative body language, situated between somatic practice, choreography, and embodied research. This emerging field has been disseminated internationally through performance works, workshops, and theoretical reflection within both artistic and academic contexts. The research has evolved through close collaboration with performers and practitioners<\/p>\n Margr\u00e9t Sara\u00b4s work has shown her work and been supported by numerous platforms and dance organisations across Europe, including:<\/strong><\/p>\n Sadlers Wells London<\/i>, Sommerbar\/Tanz im August Berlin<\/i>, Festival Rencontres chor\u00e9ographiques\u00a0 Paris<\/i>, Frascati Amsterdam<\/i>, Kampnagel Hamburg<\/i>, HAU Berlin<\/i>. WUK Vienna<\/i>, Black Box Oslo<\/i>, Julidans Amsterdam<\/i>, Spring dance Utrecht<\/i>, ICI Berlin<\/i>, SAVY contemporary Berlin<\/i>, December Dance Brugge<\/i>, STUK Vienna, Side Step Festival Zodiak Helsinki<\/i>, Imagetanz BRUT Vienna<\/i>, Tramway \u00a0Glasgow<\/i>, Sophiensaile Berlin<\/i>, Spring Dance Utrecht<\/i>, G\u00f6teborg festival Gothenburg<\/i>, MDT Stockholm<\/i>, Dansenshus Stockholm<\/i>, Dansenshus Copenhagen<\/i>, Dansenshus Oslo<\/i>, Dansehallerne Copenhagen, Den Frie Museum Copenhagen<\/i>, Nordwind Festival<\/i>, Design Centre \u00a0Malm\u00f6<\/i>, Atalante Gothenburg<\/i>, Dansstationen Malm\u00f6<\/i>, K\u00fcnstlerhaus Mousonturm Frankfurt<\/i>, ZeitraumExit Mannheim<\/i>, Les Grandes Traversees festival Bordeaux<\/i>, WHY NOT! Festival Amsterdam<\/i>, Tanzoffensive Leipzig<\/i>, Theater De NWE Vorst Tilburg<\/i>, Ballhaus Ost Berlin<\/i>, RDF Reykjav\u00edk<\/i>, L\u00d3KAL Festival Reykjav\u00edk<\/i>, RAS Kulturhus Sandnes<\/i>, ke\u00f0jaMariehamn 2014 \u00c5land Islands<\/i>, ICEHOT festival<\/i>, Spring Forward\u00a0 Aerowaves festival Um\u00e1e<\/i>, Bora Bora Aarhus Jutland<\/i>, Flutgraben Performance Events Berlin<\/i><\/p>\n <\/p>\n Wilderness residencies, a project for the Nordic-Baltic contemporary dance community organisation ke\u00f0ja; Life Long Burning co-productions fund, Cullberg Ballet, Stockholm; Aerowaves festival platform England; ICEHOT! Nordic Dance Platform; SLINGAN Swedish Performance Network; Atalante, Gothenburg; Dansstationen, Malm\u00f6; MDT Stockholm; Tanzfabrik Berlin & Advancing Performing Arts Project (APAP) Production Studio Berlin \/ EU Culture Programme; WP Zimmer, Antwerpen, Sommer.bar\u2013Tanz im August,Berlin; Barney\u2019s Crossing,Cologne; Hauptstadtkulturfonds, Berlin;The City Funds of Reykjav\u00edk; Sophiensaele Berlin; Senat department for Culture and Europa, Berlin; BAU Dance and Performance Platform Amsterdam; Brussels Workspace, SAARI residence Myn\u00e4m\u00e4ki Finland; Kutomo theater in Turku Finland; Inter Arts Center (IAC) platform for artistic research and experimentation in Malm\u00f6 Sweden; ICI-Institute for Cultural Inquiry Berlin; Savy Contemporary Berlin, Fonds Darstellende K\u00fcnste with funds from the Federal Government Commissioner for Culture and the Media; Data Society Research Program of Malm\u00f6 University; Inter Arts Centre (IAC); The Ministry of Education, Science and Culture is an Icelandic; Fonds Darstellende K\u00fcnste with funds from the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR, Dachverband tanz Deutschland.<\/em><\/p>\n <\/p>\n <\/p>\n Collaborators from 2010 onwards\u00a0<\/strong><\/span><\/em><\/p>\n <\/p>\n 2010-2020<\/strong> collaboration with dancers Laura Siegmund, Suet-Wan Tsang, Johanna Chemnitz, Angela Schubot, Catherine Jodoin, Louise Dahl, Marie Ursin, Alexandra Tweit, Marie Topp, <\/strong>collaborated and deeply engaged in the work for longer and shorter time during this period.<\/span><\/p>\n 2010-2020 <\/strong>collaboration with composer and director of record label Edition MEGO Peter Rehberg (PITA), <\/strong>who composed music to all the works created during that time period.\u00a0<\/span><\/p>\n 2017- 2024<\/strong> \u00a0collaboration with <\/span>Phenomenologists Prof. Susan Kozel <\/strong>at Malm\u00f6 University, Jeannette Ginslov <\/strong>screen dance maker and Keith Lim <\/strong>computer scientist. Mixed Media choreographies, artistic research and interdisciplinary mixed media archival project.<\/p>\n 2019- 2022<\/strong> collaboration with visual artist and filmmaker Hulda R\u00f3s Gu\u00f0nad\u00f3ttir and <\/strong>composer Gu\u00f0n\u00fd Gu\u00f0mundsd\u00f3ttir\u00a0<\/strong><\/span><\/p>\n 2022-23<\/strong> collaboration with musician, writer and performance artist Esther Mugambi.<\/strong><\/p>\n 2022-2024<\/strong> collaboration with performers Karolin Ginman, \u00a0Marlon Moilanen\u00a0<\/strong><\/span><\/p>\n 2022-2025<\/strong> collaboration with musician and composer Lucy Railton.\u00a0<\/strong><\/span><\/p>\n 2017-2019 \/ 2024-2026<\/strong> collaboration with choreographer and dancer Marie Topp.<\/strong><\/p>\n <\/p>\n [\/et_pb_fullwidth_header][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ background_color=”#ece9ea” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" “As a counter proposal to today\u2019s popular culture, my work in its essence aims to go beyond the able, vigorous, high performance and aesthetic body. It acknowledges that sociopolitical large-scale forces influence our health and play a concrete role in how we experience ourselves. Artistically and methodologically I work with expressions of physiological, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","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
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