Collective Jumps as part of German Dance Award @ PACT Zollverein, Essen

FR, 18.10. 19 Uhr
Feierliche Ehrung für Isabelle Schad und Jo Parkes
Anschliessend Performance ›Collective Jumps‹ von Isabelle Schad und Laurent Goldring.

In ›Collective Jumps‹ Isabelle Schad and Laurent Goldring investigate the utopia of community building in dance. A bodily formation evolves from a group of 16 dancers, fluctuating between form-creation and freedom. In a fluid process, a rhythm develops from the movements of the individual bodies, the limbs of the dancers enclose, connect to and encircle each other like a single organism. Can the production of this infinite, united, monstrous body represent a setting for cultural opposition? ›Collective Jumps‹ adopts elements from folk dances and separates the movement material from its original context. Concentration and variation of familiar movements leads to an hypnotic current of continual overlappings, in which the boundaries and hierarchical relations between bodies are dissolved, without thereby dissipating the subjectivity of the individual.

See online : PACT Zollverein

Published 28 October

Ehrung für die künstlerische Arbeit / Verleihung Deutscher Tanzpreis in Essen

I am grateful to receive this honour in the frame of Deutscher Tanzpreis 2019 in Essen !!!!

Isabelle Schad receives an award for outstanding artistic developments in contemporary dance Dancer and choreographer Isabelle Schad studied classical dance in Stuttgart and has danced for numerous choreographers. Since 1999 she has been producing her own choreographic works at the interface between dance, performance and visual arts.

Isabelle Schad explores the body. The search for internal impulses of movement, for that which moves in the body, forms the starting point of her choreographies. This means that the body is not simply a tool to create choreographic figures or a certain expression but rather undergoes continuous metamorphoses, is observed and brought into play again and again. Her dance and the bodies of her dancers seek less to create a fixed image or a clear form of expression than to help us to experience how movements turn into art. And when these processes are applied to the dancers, completely new forms of collective work emerge. This particular creative process has had a decisive influence on contemporary dance in recent decades. Isabelle Schad’s works are outstanding examples of this.

AUS DER LAUDATIO FÜR ISABELLE SCHAD
ANNEMIE VANACKERE, INTENDANTIN/GESCHÄFTSFÜHRERIN HAU HEBBEL AM UFER, BERLIN
„Isabelle Schad kann man als Pionierin bezeichnen: Sie hat nicht nur gezeigt, wie sich somatische Praktiken in die choreografische Arbeit integrieren lassen, sondern auch, welche Bedeutung sie für soziale Gefüge haben können.
(...)
Und darin liegt das zutiefst Politische in Isabelle Schads Arbeit: Es geht ihr nie nur um die innere körperlich-subjektive Erfahrung des einzelnen Menschen, die in der somatischen Arbeit Empfindungen von völliger Freiheit auslösen kann, sondern immer auch darum, wie man sie für andere sichtbar, teilbar machen kann.
(...)
Die gerade auch formale Schönheit von Schads Arbeiten beruht entsprechend weniger darauf, dass irgendwelche Figuren oder Bewegungsmuster von allen ‚gleich‘ oder ‚perfekt‘ ausgeübt werden. Im Gegenteil dient sie oft eher dazu, eben genau diese – im Grunde Leistungs- und Distinktionsprinzipien entstammenden – Kategorien zu überwinden.“

See online : Deutscher Tanzpreis

Published 28 October

adaptation Der Bau @ Cango, Firenze

Due to unexpected circumstances, we have had a last minute change of program and have had the pleasure to stage an adapted version of Der Bau at Cango on 12+13.October 2019.

See online : Cango

Published 28 October

Workshop and Presentation @ Cango, Firenze

I have been happily working together with 11 dancers from over all Italy.
We were sharing our work on nudity and landscape on 12+13.October 2019 at Cango with a large public.

How are body work and somatics becoming sculpture?
Based on her production Pieces and Elements (2016) Isabelle Schad (Berlin) will present her unique artistic practice and develop an installation work Pieces and Elements / Nudity and Landscape within the frame of a 3 days workshop.


The workshop will introduce into different types of movement techniques around the energetic body, using principles of Asian practices such as Aikido, Shiatsu, breathing techniques as well as other somatic practices such as Body-Mind Centering. The questions at stake are concerned with the notion of form and what ‘in-forms’ a form: We are dealing with inner-outer relationships, the relation to oneself, and the self within a group in order to experience togetherness in doing.
After a time dedicated to the Ki-training described above, we will work with the nude body as materiality, as a landscape and as a sculpture. The focus is on the body-mind unit as a process and materiality - in the same time as part of experiencing oneself - revealing the nude body in a non-sexualised and pure way.

pic: I.Schad, all rights reserved

See online : Cango

Published 28 October

Open Practice Sessions 1.-3. Oct19 @ Wiesenburg

After the wonderful experience during the Open Practice Sessions (OPS) in August, I would like to continue sharing my research on spaces of contemplation within a practice around energetic principles, in which time and attention is given to freeing the inner self from jumping thoughts, psychology or personal matters. From sensing freedom within oneself and one’s movement we can more easily become -an organization, an organism, sculpting energies and movements without any further purpose than the work itself.

The next three OPS focus again on body work based on principles coming from Zen related practices like Zen-Aikido, Zen-Meditation and Shiatsu. The work concentrates on continuation of movement, breath and Ki (energy), the unity of body and spirit, the understanding of weight shift and axis rotation, on cellular consciousness, on relating body parts and organs to one another and to one’s center of gravitation, both in our individual work, in partner work and in the work within a group. We will also do some energy work with the sword that we learn to hold and move with.

On the first day, the OPS will last 3 hours which I will fully dedicate to the training and movement research as such, without any further goal of producing choreographic materials.
On the second and third day, I will propose one more hour of research, during which I would like to explore the notion of nudity as part of our origins of sensation and movement.
We will re-visit some of the body work done clothed on cellular consciousness - getting - in a very simple way - rid of our clothes, to find a pure and non-sexualised approach to sensing ourselves and one another - close to landscape and nature.
This experiment is surely proposed on voluntary basis. You can also choose to only participate to the 3 hours practice during all 3 days.

Published 6 October