instant composition

Instant composition is a form of real-time creation. We generate work spontaneously as a living and evolving being, composing movement, sound, and spatial dynamics. Drawing from the fresh unpredictability of live sound and text, fractured rhythms, variations in texture, dissonance, harmony, and silence,  the unknown is embraced. There is no pre-written score, only a dynamic web of awareness, instinct, and trust. In this space of genuine immediacy, we expose ourselves to being seen without filter, shaping a composition that is never fixed, but always in becoming. 

My performance inhabits a space of layered presence and emotional depth, in which the body is allowed to waver, drift, and unravel. While moving I embrace vulnerability as a creative force, inviting moments of raw, unfiltered expression. I strive for a sense of deep listening and sensitivity in presence, in which each gesture feels necessary, each silence charged. What unfolds in performance is never fixed, always alive: a fleeting, unrepeatable encounter that is both intimate and human.

wonderland collective

As free-lancer I perform improvisation based pieces for children with wonderland collective by Makiko Ito   

video and photography credits: Kristján Martinsson

Een ontmoeting van 4 musici, 5 dansers en 1 lichttechnica.

MUZIEK: felicity provan – cornet, stem, michael moore – clarinet, alto saxophone, marta warelis – piano, tristan renfrow – drums, percussie

DANS: anna heuer hansen, makiko ito, julyen hamilton, raoul germano, weijke koopmans

LICHT: ellen knops 

Jasper Stadhouders, Alfredo Genovesi, Anne van Balen, Ingrid Berger, Raoul Germano

Tail Collection arose out of a genuine shared interest in studying dance improvisation as a means and basic ground for performance. The majority of the approximately 8 dancers and musicians are generally engaged in choreographed/composed and/or semi-improvised works. We work both in our completeness and in a variety of different constellations within the collective itself, depending on the occasion. Our temporary aim is to challenge our own capability of creating high quality dance, intuitively and on-the-spot. Developing a regular, common practice through which we constitute a ground, a history and a trust, we lay the fundament for flexibility in our artistic values and for staying flexuous with our guidelines. The essence of our collaboration manifests in a physical, intelligent body that is looking for solutions through its own motion, independently and with the other. We try to avoid falling into or confirming a pre-existing codified dance environment and also to limit our potential by censoring our vocabulary. The notions of our practice contain a variety of more or less conventional techniques of improvisation. We try to base our work solely on interest and to follow each other’s needs and desires in order to physically elaborate a practice we can stand behind. The collective is a raw, lust-driven, unpretentious organism. We keep “practicing the performance of the choreography” (Deborah Hay) through expanding our skills in improvised dance.

Robbert van Hulzen, George Headow, Kristine Sonneville, Birgit Gunzl, Kenzo Kusuda, Raoul Germano

This is a process of constant rediscovering, defining and redefining ourselves and our relationships right there. We want to invite ourselves and you to put aside our rational minds for a couple of minutes and to listen to what comes up. Allowing us to be surprised by the multitude of interactions, associations, possible images created; supported by an all-rulling-emptiness. Placing an amplifying glass on the occasional moment, to rip it from every day reality, and help us realize all the scary, hilariously, ugly, the hidden, in the cracks of our being. 

Raoul Germano, Gábor Hartayáni, and basilicum plant (subbing for Birgit Gunzl)

Theme for this series:

Recovery of sound, estimation of silence, omission of noise, reverting the complement. To what? General Concept: With three simple elements: Raoul, spectators and empty space; an interaction is created with the here and now. An inner landscape of primitive emotivations, reactive to the (social) context, is shared. Bursts of behaviour genuinely appear in the here and now to weave an absurd poetry of (useless) self-reflection.

Kunst-stoff Arts San Francisco

 

My gratitude goes to Kathleen Hermesdorf for her guidance and generosity