Rebel Bodies: A few Scores, 2015-16
SCORE for turning around
SCORE for body release
SCORE for dance development
The situation of moving
How to un-learn to dance?
Make dance technique a preparation for (mass) movement!
Look into the women’s dance clubs of the early labour movement in Britain, Germany and the US.
Edith Segal, a female dance activist, is strongly committed to advocating social equality and workers rights.
Our organisation is a living body; its voice is female and plural.
Our organisation is in the state of being trained; it is a pattnern that is to be developed.
After a violent attack on the womens emergency brigade, I cut off the top of a 1931 photograph of the Red Dancers in „Flag Dance to Soviet Song“. The photographic remnant leaves the semi circle of 11 women holding choppped off banners.
We direct simple rhytmic steps that help the strikers keep warm in addition to reinforcing solidarity. They march in circles and grasp the waist of the person in front of them with legs extended sideways so that we rock side to side as we advance.
The dancers lunge forward with strong purposeful gazes, on arms at their sides, the other one bent in front of their chest with elbow perpendicular to the floor, ready to lash out. The figures create a circle and lunge from side to side, facing inwards with arms held shoulder height. Forward steps flowed into a low turn, with outstreched arms, flaring out capes attached to their wrists.
Moving out of the turn, the dancers crouch down, arms thrust forward to hide their faces. Union steps travel forward, followed by a backward lean with head and arms suddenly drawn back as if reacting to a gunshot.
It is becoming harder and harder not to be accused of being a progagandist but to find a medium that reaches people.
There is no separation and we move, instead of walking forward with each foot, we move from side to side as we moved forward. We are physically connected with each other. It is like a dance. So, we keep warm and we make the line impentrabel.
Recognizse the three dimensionality of the thorso; accompany this experience with sculptural arm shaping.
We meet every firday in the clubs of John Reed. It is a place where the young writers of the magazine New Masses (a newspaper on the workers culture) hang out together with the rebel dancers of left wing movement and workers from the surrsounding communities. We meet the leader of the Red Dancers, Edith Segal; and we meet the union dance group of jane dudley.
We dance in the form of agit-prop at demonstrations at the International Labour Defense, and at the Karkov Conference.
260 dance clubs have been emerging since the last year. Edna Ocko has been active in keeping and strengthening the relations. She is a female dance activist and organiser in the revoulutionary dance movement, and part of a militant dance organisation.
We generate movement into life, which applies to our common concerns; against the international right wing politics.
The score says that we are in move; it also says that we translate while we are in move.
Press and Pull away, disrupt the flow of our body.
This is a physical technique rehearsed for various forms of defense.
Emancipate while liberate from the watery flow which cannot stop yourself circulating.
While popular allainces fall apart we, the rebel dancers, may provide the ground for the implementation new alliance through scores; their codes may be resistant to any reading from the outside because they continously change in their state of rehearsal;
The tasks of the dancers is to install these the techniques in public concerns where we find them appropriate.
Econonimc competetion is low because of the simplness of the movement.
Then, the surfaces are little through which value can be extracted from you.
Show little complexity in your participation! Withraw being moved.
„The edcuational committee of dance“ works on erasing the subjection to the dominance of blue luxery.
The dancers group’s legwork results in organising legs in circles.
Dancing in the post-work age. Hands are so free that they totally recover from their exhaustion. Bodies are so fit because labour no longer makes them tired. All activity is practice that ends up in organising the state of liberation from labor; the affirmatin of the rebellious bodies’ power.
Strike: break with rountines of movement.
When being touched you begin to recognise how violence is directed:
Souvereign authority graps you; it touches your arms, it tries to remove you.
you recognize you are wrong. The power rises from the middle of your body. You recognize you moved away. You are here, in the present.
Movements are short, repetitive and transformative. Any score, in the moment of being built, is transformed into a new bodily constellation, yet to be learned.
Movments travel between body parts that are not whole or refuse to become whole. They found action in parts while wander away from whole.
The bodies capacity of moving is not intentional; not directed into any specific direction; power rises from the center of the body itself into its peripheral; by which they become new conversion points.
Every section of movement is a conversion point for the next one; none state of being is fixed.
There is a body policy in which direction is unknown, it simply moves by sheer prensence.
Every form is already in the development of the next one;
the relations within the group
are in the continuous process of recomposition.
MAY DAY SCRIPT
How should a dancer aquire her technique?
Sporadic movements of the figures towards each other, followed by movements of separation;
collaps, kneeling position, errectness of torso
Make dance technique a preparation for dance movement.
Base the movements in any given exercise upon a theme so that the feeling for the dance as a means of social communication is built up.
Develop these improvisations into mass dances!
These dances should be simple in the form of using broad repetitous movements, ideologically clear and representative of a common aim.
You are an educational body towards the probelems you are facing with; to clarify the dancer with regard to the various problems of content and form, so dancers have to constantly raise the level of production.
Course: To help solve the economic problems of the dancers and the dance today.
members are linked within a currency which they rehearse (in actions based on situational experience); change – an open machine; and events – readings, discussions, protest, demonstrations; research and movement, body and affection.
through repeitional patterns create events within society
The arm moves up backwards, the power resides in the thorso, moving do to the feed, which brings the whole body into activity.
You begin in the ocean
and free fishing;
there are new multituides of fishes whose patterns of movement are unknown to you: you are thratened because their organisational klimax is based on a artificially knitted togetherness which seems unknown to you; you extract what you find demanding; press command and send it away.
! Legwork; you begin; move forward, progess faster to overcome the instructions
Complain the commands given
Command from B to anywhere in the room; instruct yourself to the floating techniques
you failed in the navigation; you went wrong
authority instructors touch your body and try to remove you
We are the plural voice of disruption
The corrective performs direction-less, it performs eventual, not linear.
The complaint of the politics, correcting us, is moving us.
The step we make sidewards may be a wrong correction; but one which is outside the language of the corrected.
We occupy a new fugitive terrirtory; created by the sheer bodily living presence in the present.
We are the plural voice of disruption.
We occupy a new terrirtory; created by the sheer bodily living presence in the present.
the future of this corrective leg work is unknown to us;
only known by the bodies not-to-be-readable intelligence.
We move next to each other, so we can be beside ourselves.
It matters how long we have to do it; stepping back and forward
transform counter-social energy.
Our own positions
We move looking for a weapon and keep looking to drop it.
For the others, this step is unsufficient
We’re already here, moving;
We’ve been around.
Every time it tries to catch us in a decision, we’re
undecided. Backwards; touch anew; but we are unwilling to be taken.
Every time it tries to represent our will, it is failing
Every time it tries to propose a path we change (because we’re already here,
moving in the opposite).
We overcome asking what to do and how we shall be moved, here, where we
dance beyond the contract of correct citizenship.
Score for the auto-generation of movement:
In this piece movements are accumulated into a whole, but every addition effects an change, and alters the emerging body.
Its existing texture is resistant to the reading of the outside, but only determined from inside forces, yet without intellegibel conscious or language. That through which every addition composes the whole operates beyond the symbolic;
But the body`s generousity creates the paths;
The direction is not linear.
Movement must fully situate itself in the real world that it wants to change, revealing the symptoms and contradictions in their undisguised form.
Making shame more shameful by offering it to the audience,
Teaching people courage by showing them how to be terrified of themselves.
The main goal of criticism is not to reform or improve an existing structure, but to reveal all of its flaws to the point that they provoke nothing but indignation. It is then that conditions begin to “dance“.
Situated criticism; Situation and provocation.
! Human dancers have the tendency to disappear entirely as economy takes their space. Our task is to re-install their bodies.
There are times when you can’t just sit still, Marx is saying; you have to join the dancing, even if the choreography is all wrong.
A score for Little lefty
Move towards each other (in abstract ways); move backwards; criss-cross patterns of movement emerge. Repeat on the floor and in the kneeling position.
Use dance as a form of social education in the organisation of mass movement.
We are dancing on the periphery because every movement is a conversion point that ends up in somehting unknown, yet to be learned; in that way we are right at the center of a new emergence.
Mass dance is a choreographical and pedagogical form providing a more complex social organisational model.
If one person was taking a severe beating, we would practice other people putting their bodies in between that person and the violence, so that the violence would be more distributed and hopefully no one would get seriously injured.
We train state resources. They resonated with meaning beyond mere non-compliance. They force police, and those who watch to envision the body as helpless, as incapable of moving itself.
Rather than register pain or suffering, we are encouraged to announce our actions in advance and to observe the effects of another’s actions on them, e.g. “You are hurting my arm.” (What does security do???? describe feeling).
The Red Dancers collaborate with ACT Up Groups.
We are conducting a workshop with mebers from the Training program CORE - committee on racial equality, who are conducting sessions in rehearsing non violient direct action.
Through the use of nonviolent tactics, the ACT UP demonstrators prevail in exerting their agenda during chaotic and sometimes violent situations. This resilience attracted considerable support for their cause and also contributed to their individual senses of making a difference. Inter- viewing one protestor, Solomon argues that many ACT UPers, new to activism, envisioned demonstrations as a kind of role-playing.
Different configurations create solidarity in unabashed opposition to police and in support of the people.
We are in dialogue with the trade unions’ march and demonstration against new labor policies.
Act Up Protestors advice on how to avoid injury, how to maintain solidarity during arrest, and possible answers to standard questions that protestors might encounter.
The score holds us together, it creates a group; while rehearsing we create a group affinity; the scores organizes our group. while at the same time it reherases the group in its affinity.
You have chosen the flow, a form of movement that does not reside nor stagnate; but progresses forward; your body is continously in a conversion point, in alliance with others.
Edna Ocko: What you need is a radical emotion; to know where you link and send your desires towards; who is the reveiver of your algorithm which you stimilate second by second? Who benefits from the human energy at the receiving point in every algorithmic force? What does the rupture do?
The fish movement knows no end; it is an endless rutpure into the uniform of conformity: its vital flappers help it dissolving into life as an ever-recreational force;
! Dance to organise life into a living organism that knows is interiority; its body parts; its boundaries through which it confronts reality as a battlefield of contradictions
Make dance technique a rehearsal for mass movement; onw that turns life into a living organism that knows is interiority; its body parts; its boundaries through which it confronts reality as a battlefield of contradictions.
so that we can turn into a form of life.
organise it in small sections; each according its own needs. The youth joins it and folds and unfolds it through algorithmic pleasure.
Preparatory exercises for mass dance indicate how cooperative motion escapes regimentation to become socially significant:
In order to give the memers of the group an understanding of what it means to move together as a group, a few simple exercises should be given:
Standing together and swaying from side to side, walking together backwards and forward, sinking down and rising up.
For this one does not need steps. What is required is the movment of the bodies as a group in space.
! „Mass Dance was part of a regulated infastructure“
Security apparatus create technologies in order to catch the body that shows resistant to the outer world;
The security appartus create technologies of invisible violence: The body as a whole is the target of shooting. For the security the body is a synthetic hell; its totaliy is to be removed.
Weapons are targeted at the the body`s auras; are created for bodies as atmospheres.
Weapons are invisible gases and fluids that violate the body besides itsself;
the immaterial performance of violence.
The weapons of hell are trying to erase the fishbody, and the fish-ineess in us.
Within the of water as the flow of empty and emptied information.
In the process self-transformation and self-translation.
Algorithms are capable of targeting yourself by sensing the body in its totality;
Even more, it requires us to rehearse the physical techniques required for strikes developed by todays multitudes of fishes;
Those organisms that join the workers dance leagues on todays streets while trying to hide from and erase the chorus girls scores.
This is a voluntary force without subjection except to the interests of collective freedom.
The Hafencity demands chorus girls in order to exist. It only exists because it is valorized and fed by pinkish technologies; relating through establishd and well-defiend algorithmic scores to each other.
In the struggle for equality today: some of you buy freedom by dressing up as chorus girls; dancing through the newly devloped hafen city part; with the lightness and speed of a little fish; in a swarm of unknown family-animals next to you.
The fish movement contrasts the totalitarian image of state sovereignity; the wave-like form of movement opposes any highly regulated regime of domination. As the central condition for the algorithms form of power on us; power through which we float and swim (and free yourselves) through the world.
This contradictory force enables us to develop and expand our techniques through which we are resistant to the common oppressor, neoliberal souvereignity.
It renders an organisation highly sensible to its boundaries; between an autonmous inside, a yet to-be-defined.
Kinesthetic articulateness, active stillness and passivity. Filled with kinetic potential while seated, their stillness is not a state of non-action but rather a kind of motion, consisted in monitoring and refraining from casually abundant kinetic impulses.
The fishbody in move is in itself a radical metamorphosis. In this state of being it is hard for the police to remove you.
The multitude of fish are the core of our organisation; it builds a new contract with the surface on which it performs; the ground as a common ground.
allows for equal entries and exists within a newly created public; or a negated public space.
How could the organism of a forthcoming community be organised? A multiplicity of relations ist tranforming the language of scores through which it swims through life; itself a radical metamorphosis. An organism under continous change of how its body parts relate to each other. A plural symphony of choires changing the appearance of commodified chorus girls. The plural of fishes is the rascal that will becom the new sovereign.
The fish body seeking freedom of movment is to be found in Gramscis articulation of the „mass ornament“:
The game of dancing in fish-like multitudes; the gamic aspect of play transforms tropes of life into playing signifiers of life; an interchangeable forms of meaning.
We are women. It is to weep
The last privilege we keep
We are women and we bore
All the fighers in your war .
We are women and proclaim
This is the accepted time.
People men and women
children in the glowing morning
Make a ring around the aggressor
Disposses the dispossesor
Build the warm alliances
of humanity for peace.
Mayday scripts score.
beginn of introduction grey paper
fish resistance (2) exactly / mit comments