Nobody’s Indiscipline: Milan, IT

Nobody’s Dance Milan April 2016

Facilitators: Sara Leghissa, Eleanor Bauer, Annamaria Ajmone, Elisabetta Consonni, Elisa Ferrari

Documentation: Maria Giovanna Cicciari, Luca Chiaudano, Nassia Fourtouni, Eleanor Bauer

Participants: Annamaria Ajmone, Francesca Antonino, Eleanor Bauer, Sarah Barberis, Alessandra Bordino, Emanuele Braga, Glen Caci, Ilenia Caleo, Biagio Caravano, Mara Cassiani, Sara Catellani, Luca Chiaudano, Maria Giovanna Cicciari, Elisabetta Consonni, Marzia Dalfini, Matteo De Blasio, Erica De Crescenzo, Francesca De Isabella, Laura Dondi, Liber Dorizzi, Gloria Dorliguzzo, Simone Evangelisti, Elisa Ferrari, Elena Fontana Paganini, Nassia Fourtouni, Maddalena Fragnito, Giulia Franceschini, Chiara Frigo, Ginevra Ghiaroni, Hélène Goutier, Alice Guazzotti, Jacopo Jenna, Francesco Laterza, Sara Leghissa, Maria Giulia Leuzzi, Roberta Mosca, Serena Malacco, Gilda Manfri, Jacopo Miliani, Paola Stella Minni, Roberta Mosca, Laura Pante, Camilla Pin, Lola Posani, Titta Raccagni, Alice Raffaelli, Konstantinos Rizos, Cristina Rizzo, Michele Rizzo, Carlotta Scioldo, Valerio Sirna, Barbara Stimoli, Davide Tidoni, Gabriele Valerio, Flora Vannini, Ariella Vidach

List of practices:

Monday 18 April – Macao

1) Name: Untitled practice

Shared by: Elisa Ferrari

Origins: a practice that comes from a choreographer Ambra Senatore and Raffaella


Notes: –


– The focus of the practice is to arrive to a movement quality that is more

influenced from the others than from yourself- come altogether, almost in contact

– Follow the natural oscillation of the body

– When you are touched by somebody, you follow that

– You try to feel each part of the body that is touched and also the parts of the

bodies of the others that are touching you

– Eyes closed for the first 15 minutes

– Continue with eyes open

– When you open your eyes you also can try to leave the group, always keeping this

kind of quality, and starting to get in relation with space around you

– When you are completely alone, with no more contact with other people and you

are sure to get the quality you can also start to work with dynamic and (the first

part of the practice is really slow)

Duration: 45 minutes

2) Name: Unlearning process

Shared by: Gabriele Valerio

Origins: a collective in Berlin, MataNicola, proposing Unlearning Method which is a

box with tools for improvisation and composition, coming from exercises of Meg

Stuart and more.

Notes: –

Directions: In music, do a movement in a loop and change it every 5 seconds

(indicative time, it just needs to be short with sharp changes). When the music

stops, you keep doing the same movement you are doing at that exact time until

the music starts again.

Second phase – in two groups, one group is watching and the other is dancing –

keep the same rule but now the music stops only once (indicative, you can do

longer sessions and decide with the group how many stop there will be). The last

stop makes the group come together, phisically close to each other. Every single

person keep their own loop, until the closeness with other people transforms the

movement and create a common thing. This “thing” can be an appearing of a new

common movement, rhytm, shape, energy, or everyone gets influenced by the

stronger one, or there will be splits into smaller groups or, or… – repeat one more

time, the same practice in two groups.

Duration: 1 hour and 15 minutes

3) Name: Walk like an Egyptian / the frontal issue

Shared by: Gabriele Valerio

Origins: his own practice

Notes: –


– In duets

– Performing in front of an audience

– Frontal relationship to space

– Keep in mind the basics of improvisation about space and architecture

– There are not set rules for this practice because he is still experimenting

(listening to the other person dancing with you and to the music, creating

architectures in space in duet, playing with the gaze and with the intersection of

the two bodies in space, moving together: appreciated)

duration: 15 minutes

4) Name: –

Shared by: Eleanor Bauer

Origins: a practice by Olga de Soto, from her piece Murmures. It is a practice she

has used as a process of creating material, but is itself also an interesting practice

as such, related to one’s own movement vocabulary.

Notes: On memory and relation to the unknown or yet-un-learned. Interesting in

relation to recognition in improvisation, recognition of habits, education, reference,



– The aim is to dance a dance that you don’t know.

In couples, one is dancing the other is observing. (then inverse the roles after

going through the whole process described below)

1) The first person dancing performs movements that they have never before done

for 7-10 minutes.

Stillness is included as inhibition from moving in automatic pilot, to avoid recourse

to habits.We acknowledge that everything we can imagine or do is in some way a

composition or recombination of things we already know, but we still aim by

whatever means — of outlandish imagination or by “weirding” things we know or

otherwise — to invent movements we have never ourselves done before.

The relationship to memory for the dancer of this 7-10 minute dance comes by way

of doing things you have no previous memory of having before done.

2) When the dancer finishes her/his 7-10 minute dance, the observer who watched

the dance performs the dance to the best of their ability and accuracy, as they

remember it from having seen it just before. – 3) ADDITIONAL STEP (from Lisa

Nelson’s tuning scores, shared in Nobody’s Business Brussels by Dolores Hulan)

Then the person who performed the dance in step 1 and has now seen its

reproduction by their observing partner in step 2, performs for the observing

partner the way that they just watched the dance 2, reproducing all the

movements they executed while observing the other person dancing. (added from

Lisa Nelson’s Tuining Scores – proposed in Brussels by Dolores Hulan)

Switch/invert the roles, repeat steps 1-3.

Duration: You will observe that the dances 1-3 become shorter and shorter, as

memory of what we’ve seen has holes in it, and memory of what we’ve done while

watching also has holes in it.

5) Name: –

Shared by: Sara Leghissa

Origins: a practice that they have developed with the dance company she is

involved (Strasse)

Notes: This is a practice about looking/watching, and observing a performance

anywhere. The fact of doing it in a group produces a certain kind of performance in

itself, as we are placed as an installation of a group of people watching in a single

direction, to a passer-by we are unusual, but our aim is not to perform but to watch

what is in front of us.


Choose a place in public to sit together and observe in the same direction for 20

minutes. The field of view in front of us/the group is the frame of the action.

After some time, minimum 5 minutes, individuals in the group can choose to leave

the observing group and enter into the scene/field of observation as an actor, but

with an effort to blend in with the happenstance performers/passers-by, trying to

blend into the given scene, rather than to stand out as unusual to the rest of the

activity in the given field of action/observation.

Duration: 20 minutes

19 April – DID Studio

1) Name: an automatic writing practice

Shared by: Paola Stella Minni

Origins: She made it up now, for the concern tonight

Notes: –

Directions: aim – to make a nobody’s song for the concert tonight

– Choose a practice to do for a minute (fast breathing, being conscious of your

breath, etc.)

– Automatic writing for 45 seconds- send all the material to her and she will make a song of that

Duration: 2 minutes

2) Name: a meditation practice

Shared by: Elisabetta Consonni

Origins: from Vipassana meditation

Notes: Directions: – In a circle, everybody is sitting on the lotus position, use a

pillow if you want- Eyes closed or eyes open

– Take care of not allow your body to collapse, but keep your attention and stay in

the position

Duration: 30 minutes

3) Name: Sensible practice

Shared by: Valerio Sirna

Origins: 1) Sensible movement, 2) Authentic movement (Waterhouse), 3) a video

from a performance by Tino Sehgal, 4) a video/excerpt from the Sleeping Beauty

Notes: –


– In two groups, 10 minutes for each group

– You start from a standing position and you go on the floor in your own timing

– You think that all movement is initiated by the torso and that the limbs are only


– Do the practice twice inside, and twice outside

Duration: 40 minutes

Name: The Clouds

Shared by: Elisa Ferrari

Origins: Matteo Ceccarelli from a practice invented by Stephanie Tirsch

Notes: –


– It starts in a standing position close one to each other. Following the natural

obsillations of the body we follow the input that come from other people and we try

to pass the physical information to others. I should do it in a quite scientific

way,\but I can decide how long and intense should be the movement. Also, you can

decide how big it should be the movement.

– The focus of the practice is to experiment a movement quality that is not

necessarily decided and really goes into the sensation shared by the group.

– in two groups

– and then in one group

duration: 20 minutes

4) Name: 2k16 iconography

Shared by: Mara Cassiani

Origins: her own practice



– the practice is divided in three parts

– 1) dance a song

– the more pop and the less contemporary you can

– 2) then watch altogether the video clip of the song

– the next song will be more minimal, less contemporary, more pop- now the dance becomes more concrete

– 3) divide in two – contest/battle

Duration: 50 minutes

5) Name: –

Shared by: Maddalena Fragnito

Origins: –


Directions: a game of questions

– Did you find yourself losing time in your practice? a) where/when, b) with whom,

c) ‘we’ did what/how

– Did you discover something unexpected in the wasted time? a) where/when, b)

with whom, c) ‘we’ did what/how

Duration: 50 minutes

20 April – Circolo Everest

1)Name: Untitled practice

Shared by: Biagio Caravano

Origins: a method that MK dance company used in the process of working Jules’s

Verne “Around the world in 80 days”

Notes: –


– all the work is to try to arrive the further you can from your physical body and

arrive to create a posture of the body through the other bodies, the bodies that are

close to you

– leave your self and your body available to get information from the outside in

order to transform this information and give back this information, in a different


– you put your body in a condition that is not the one that you usually know

– propose and be influenced

– your personal dance exists from the moment that you allow the dance of the

others to exist around you

– keep in mind: use all space, inside and outside space, tempo

Duration: 30 minutes

clouding: Eleanor – a relationship of this practice with David Zambrano’s “Passing


2) Name: Untitled practice

Shared by: Jacobo Jenna

Origins: a practice that he explores in his work, he experiments with different


Notes: –


– in two groups

– to move in a way similar to free stream of consciousness

– the only restriction is to choose a horizontal space, a line in space and move only

in this line, freely, like thinking

– in music

– embody, dive in a form

– 20 minutes each group

Duration: 40 minutes

3) Name: continuation of yesterday’s practice

Shared by: Mara Cassiani

Origins: –

Notes: –


– first song: dance the less contemporary you can

– then watch altogether the video

– then divide in two groups in space and do a battle – with the same song


4) Name: The feedback practice

Shared by: Davide Tidioni

Origins: his own practice



– On the one side of the space, there is a speaker and the microphone connected

with it is on the other side

– One by one should take the microphone and try to prevent the feedback from the

speaker while going towards it

Duration: 40 minutes (10 minutes per person)

5) Name: Bad things

Shared by: Francesca De Isabella

Origins: her own score, based on her interests

Notes: –


– You are listening to a song and you dance

– You are listening to the same song and you repeat your dance but in a way that

you don’t like

– Three people each time

Duration: 1 hour

21 April – apache teatro

1)Name: a voice warm-up exercise

Shared by: Paola Stella Minni

Origins: Sofia Diaz and Victor Roriz, Portuguese performers that work with voice

and use this practice in the workshops they give

Notes: –

Directions: Dance with your soul, dance with your soul dancer, dance with your

soul, Lord is gonna save your soul – she made up the words, the initial words were

something about water, maybe a baptism song

Duration: 10 minutes

2) Name: a voice practice

Shared by: Jiulia Francescini

Origins: Alecio Castellacci, a workshop in SMASH Berlin, three years ago

Notes: –


– In two groups or altogether

– Use ear plugs in order to concentrate on yourself and the sounds of your body

– For five minutes, write down what you thought or discovered

Duration: 45 minutes

3) Name: a speaking and moving practice

Shared by: Francesco Laterza

Origins: a variation of a practice from Guy Cools (dramaturg), that he proposed this


Notes: he has an interest on narration of not important things and the relation that

is based on the rhythm of the words/sounds and the listening, but not in a

theatrical way


– one person talks about what they do in the morning, the other makes sounds and

the other moves

– each one is on their own trip but also connected to the other two

duration: 15 minutes

Paola refers to Jennifer Lacey’s exercise, where you don’t say what you did in the

morning but dreams

4) Name: –

Shared by: Paola Stella Minni

Origins: –

Notes: –


– In the circle again, the same as before

– “I am not a lazy dancer” in a chorus

duration: 10 minutes

5) Name: Cherry blossom scene

Shared by: Roberta Mosca

Origins: Braingym Method invented by doctor Dennysonn, principles of Laban

theory and Forsythe choreographic tools and artists involved in the creation of the

pieces of Forsythe company

Notes: this is coming from a scene she made with another dancer, George Reichel

when they were in the studio, and there was a window you could see a cherry tree


– Crossing movements: crossing the central line and touch the opposite side – the

basic crossing movement and variations of that

– Imagine of specific points in the body and then in space

– Experiment with this movement and see how it moves you

– Play with these points in space around yourself

– Try to catch the points, see how many points you have

– Touch the point with one part of your body or more body parts

– Direct or indirect

– Grab a part of your body and move

– You can now connect two points either with a curve or a straight line or otherwise

– Move from one side of the room to the other with the same idea

– In trios, while moving from one side to the other, you use the text: Hey you! Who?

George. Look. Where? There.

Duration: 45 minutes

6) Name: Corpo sonoro

Shared by: Elena Fontana Paganini

Origins: Sabine Uitz, an actress , director and teacher – her group is called Via Rosse

Notes: –


In couples, one person manipulates, the other person receives

The person who is manipulated is th one that let the sound go out, closed eyes,

pen mouth, almost passive, trying to not articulate the voice and the sound, trying

ot to control it. The person who manipulates stays behind the other one and pays attention to which movements touch permit to the other person to let more voice go out-

then, the manipulating person leave the other that continues to experiment alone

Duration: 10 minutes each person

7) Name: Danza trapassante

Shared by: Ginevra Ghiaroni

Origins: by Claudia Castellucci, in a workshop called La cadenzaNotes:


– In darkness

– Constant transformation

– Music supremacy on the knowing of the body

– Phenomenological movements that can be contained in a continuous history

– Music piece: Giacinto Scelsi – Maknongan, per contrabasso, 1976, Joelle Leandre,

Le reveil profond, Olivier Messiaen – L’alouette calandrelle, Gorecki – Goddnight –

3. Lento, Largo: Dolcissimo, Cantabilissimo

Duration: 20 minutes

Friday 22 April — Spazio O’

1)Name: BoleroEffect

Shared by: Cristina Rizzo

Origins: piece called Bolero, by Cristina Rizzo, 2014

Notes: This is the movement principle and practice that is also the piece, this is a

concept or possibility within the body that found a form, a form with many levels

with a simple common point: an interest in movement itself, with no extra

representational or personal layer, but impersonal and without intentional

meanings. Working with the score of Bolero (Ravel), which sounds quite simple but

involves complex participation of a large orchestra, and which Ravel wrote while

going mad, and asking what is the impact or meaning of this famous piece of

music today, she worked with a DJ to compose a DJ set for this dance that gives a

“Bolero Effect” (it starts slowly, rises, grows to a climax, resolves, and finishes in a

party). Danced with a partner, or a group, the movers support one another in the

ability to dance without stopping for 50min.


The proposition is to adhere completely to the music and to what music evokes and


With all the levels of complexity that can arise, but the first relation to the music is

basic, while you know you can reach a kind of refinement and precision.

Dancing side by side, the practitioners, in partners pairs, do not look at each other.

They can talk and they can move through space but they maintain a side-by-side

relation. Both leading and following, the aim is unison with the partner.

Duration: of the piece, 50min, of the practice, variable but minimum 40min

2) Name: Higher

Shared by: Michele Rizzo

Origins: from his last performance project called Higher (2015) inspired by the

experience of clubbing

Notes: my intention as a workshop is not to recreate a club, but to reflect on

movement and on dance, and the inevitable question of what is dance. There is a

research on “flow” following a psychologist named Mihaly Csikszentmihalyi, who

speaks about how we arrive in a flow without even knowing it, but when we arrive

in it we recognise it, from which we arrive at an ability to control the flow, which

produces a state of relaxation because of being able to control it, which passes into

a state of apathy, which passes through worry, then anxiety, then excitation, and

back to flow. One state follows the other and produces a cycleDirections: Following a DJ set, taken from a club in Berlin, whose volume goes up &

down, with instructions ongoing. Starting introspectively (as an “inside job”) and

then opening.

Instructions (with music)

Start in a space with a radius of 1m surrounding you

Listen to the beat and try to stay on the beat

First thing to do is to realise that you are working on dancing alone, by yourself, try

to alienate from the group.

Focus on yourself in spite of the instructing voice.

From this oscillation, move towards stepping with the piece

Music have the supremacy now, this is the principle

You are activating the music

From stepping start moving through the space

If you have a problem to choose where to move in the space, try to imagine that

you are not in a group of people, but in a group of things that are moving.

With two elements: 1) the binary movement 2) the space that is opening around

you. Continue to abstract yourself from the group, it is the most difficult thing to

maintain, but treat it as a simple fact without value judgement.

Step up to the double tempo. As the volume of the music raises, raise the intensity (amplitude and/or frequency) of your movement (still binary, still traveling through space) [music raises]

Continue with little variations of the base of binary movement, keeping in mind the

idea that you are producing the movement, particularly with movement of the legs,

and with the image of the hands/arms as steering the boat

Keep your eyes down because it will help you to be focused inward [music raises

again]. In the next part we will start to raise the eyes, and start to look at the other people we were previously considering objects.

Even if you start to consider that you are in a group of people, continue to dance

for yourself, not with the others. Explore the use of your own eyes, seeing the others, but not interacting with the others. If you meet the gaze of the others, you will probably produce a resonance which effects your movement, but try to continue to dance for yourself without escaping the eye contact with the other.

Try to give equal importance between the moment of meeting eye contact to the

moment of breaking it.

[music raises again for a long time]

Additional proposal:

Now all starting from one side of the room, for 15 minutes, one by one go on the

other side and dance alone, and the one on the other side dances thinking he’s

alone, without concern of the others. After the solos, finish in a circle.

Duration: minimum 45min, variable

3) Name: (Untitled)

Shared by: Davide Tidioni

Origins: Davide’s work on listeningexperiences/performances/practices/interventions


Directions: Everyone in the group chooses a position in space. One person closes

their eyes and moves until they touch another person (without reaching with hands

or feet, just the sensing proximity with the whole body). The two then move

onwards (not necessarily in touch with each other, in any direction) until they meet

with others, who then close their eyes and wander, etc until everyone in the group

has their eyes closed. The last person claps their hands to indicate that everyone

has their eyes closed. Then the structure reverses: the wandering people with their

eyes closed move until they touch someone; when they reach someone they open

their own eyes. (The people with their eyes open can also avoid the touch) until

everyone in the room has their eyes open.

Duration: as long as it takes

4) Name: (Untitled)

Shared by: Maria Giovanna Cicciari

Origins: three years so far of collaboration with Annamarie Aimone, and also Sara

Leghissa, working as a filmmaker/videographer and also being interested in the

movement of her own body as a mover of a camera within the work.


Directions: One person has a camera and the other creates a “narration” with the

person with the camera. The aim of the exercise is to create a subtle relation

between the person dancing and the person filming, as a duet. The body can be

filmed whole or in detail, anywhere in the frame, partial or whole. The person

dancing makes a relation with the

Duration: 10 min nonstop

5) Name: (Gaze weight shift thing with blind follower open/closed eyes)

Shared by: Eleanor Bauer

Origins: –

Notes: –



6) Name: Spirit Animal Cards

Shared by: Sara Leghissa

Origins: –

Notes: All the animals are good

Duration: open


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