Parades and Changes by Anna Halprin at BAM

My personal research around community-forming practices and its relation to representation - in dance history has began by witnessing and documenting the last couple of days of the working process towards the new version of Parades and Changes by Anna Halprin performed at the Berkeley Art Museum 15.-17.2.2013.

The scoring method created by Anna and Lawrence Halprin was an effort to bridge the divergent creative languages of the poets, environmental designers, psychologists, visual artists, dancers and others who gathered on her Mt. Tam dance deck in the late 50s/early 60s. Inspired by the non-traditional scores of composers at the San Francisco Tape Music Center, they set about making visible process-oriented, rather than product-oriented, methodologies.
Scores describe the process leading up to the final thing itself; they don’t necessarily correlate to the final action itself. They can be applied to many different disciplines and should extend and morph over time. The scoring method involves: 1) identifying and collecting resources (human, material, and environmental). 2) evaluating and analyzing resources to select possible actions. 3) Creating a graphic representation of the process that documents its parameters, instructions, and decisions. These can be open (variable) or closed (fixed). 4) performing/executing the action. This cycle operates in any direction and can start over at any point and move in different directions. It constitutes a way of dealing with ideas, theory, and concepts in an active environment.



For the Halprins, scores are not goal-oriented; they are meant to improve results by breaking down unoriginal habits and hierarchies, spreading around the creative decision-making power. The graphic representation of a score hopefully makes visible elements and deciding factors in a creative process, preventing hidden agendas and providing the tools for future revision. It is composed of a system of symbols that guide interactions between its constituent elements. Of course, architectural building plans, concrete poems, mathematical algorithms, football plays, choreographic labanotation, and urban street maps can be considered scores, but their success revolves around the intentions of maker and participants: what is controlled by the score vs. what is left up to chance and personal choice. The difference between scores used as a mechanism of communication versus those used to control behavior is very significant. When a score is primarily determined by a composer, the Halprins called it "closed." When it is determined by the performers/enactors, it is "open."

Parades and Changes was the second formal piece of choreography that utilized the Halprin’s scoring process. Anna determined the initial resources for the dance (dancers, environments and generalized tasks), but through arduous workshops she and the participants selected more specific actions that were incorporated into the final score. It was decided that the score would be composed of a series of cellblocks, where each collaborator wrote a series of actions on a set of index cards. For example, composer Morton Subotnick’s cell blocks might say 1) live music on a horn with a single sustained sound, 2) electronic sound, 3) percussive rhythms, and 4) Bach’s Brandenburg Concerto. Anna’s choreographic cell blocks read 1) dress and undress, 2) stomp dance, 3) embrace, 4) costume parade, 5) move with scaffold, and 6) paper dance. They were mutually developed so that they could be reassembled in infinite combinations, cell blocks could be added or removed depending on what worked best with a specific theater or audience, but they would be re-mixed in advance to derive a totally different result on every occasion of the performance. The Parades and Changes score is closed, in that it is predetermined, but the ways in which the performers select materials, interact with one another, react to the changing environment, and transition from section to section incorporates possibilities for chance and personal choice. Thus, the event is continuously composed during the actual performance, but is also rigidly structured.
(Scoring Parades and Changes as related by Dena Beard)

Published 23 February 2013

Reflection / Zoom sharing @ Hong Kong Academy for Performing Arts

I have had the pleasure to share this work with students and audiences connected to the Hong Kong Academy for Performing Arts. In collaboration with Goethe Institute Hongkong.

After sharing 30min excerpt from the piece on video, we have started a conversation around the topics, practices and concerns touching this work and my practices in general. I have been impressed by the questions coming from the students during this Zoom Meeting, thank you so much.
18. November 2020, 11 - 13h German Time.

pic: D. Hartwig, all rights reserved.

Published 18 November

Der Bau-Gruppe / Kids @ FRATZ

It is a real pleasure to be able to prepare and present our piece DER BAU-Gruppe / Kids for kids (and adults) from 3 years onwards.

We are also proud to present it in the space where it has been created and developed at first: at Tanzhalle Wiesenburg. It is now shown in the frame of FRATZ Festival Berlin 2020.

Eine Bühne voller schwarzer Säcke. Langsam erwachen sie zum Leben, sie richten sich auf, bewegen sich fort, erkunden den Raum. Plötzlich erscheint ein Arm, dann ein Bein, schließlich ein ganzer Mensch. In Franz Kafkas unvollendeter Erzählung »Der Bau« wird ein Tierbau beschrieben, gebaut von einem Tier, das in den unterirdischen Höhlen und Gängen Schutz sucht und sich dann zunehmend darin verliert. Die Erzählung dient als titelgebende Metapher und Ausgangsbasis für die Erforschung einer besonderen Beziehung zwischen Körper und Raum.
pic: D.Hartwig. all rights reserved.

Freitag 23.10.2020 : 9h und 11h
Samstag 24.10.2020 : 15h und 17h
Tanzhalle Wiesenburg Berlin. Wiesenstr.55.

Symposium:
Samstag 24.10.2020 : 20-22 Uhr
Klein, aber oho!
Choreograf*innen über die Arbeit für ein (sehr) junges Publikum

See online : FRATZ Festival

Published 20 October

Pre-Premiere @ Transart Bozen

In a set of two frames which take the center and mirror one another, her movements rotate and accumulate towards a complex, highly physical outflow.

pic: I.Schad, all rights reserved.

23.09.20, 20:00
Ex-Electronia
Via Macello 38
39100 Bolzano

See online : Transart Bozen

Published 26 September

Turning Solo @ Globe Theatre

Turning Solo @ Globe Theatre with Jasmin Ihrac
08.09.2020, 19:00 - anschließend Konzert mit dem Uli Geissendoerfer Trio
GLOBE BERLIN | PROLOG-BÜHNE
(Open Air am Österreichpark, Charlottenburg)
SÖMMERINGSTRASSE 15
10589 BERLIN

Nach vielen Aufführungen im Theater und in Museen ist TURNING SOLO zum ersten Mal als Open Air Performance im Globe Theater Berlin und in der Interpretation von Jasmin Ihrac zu sehen.

pic: D.Hartwig, all rights reserved.

"Nicht Ekstase ist das Ziel der hoch konzentrierten Selbstverschraubung, sondern die meditative Ausstülpung von Bewegungsenergien, die dem Sog des erzeugten Strudels standhalten. Eine beglückende Doppelmeditation, die die Welt auf jeden Fall besser macht." (Astrid Kaminski)

Published 26 September

Showings@Tanzhalle Wiesenburg

“Knotting is movement that never begins, never ends, ongoing and infinite, repetitive and everlasting performed with highly physical engagement.“

pic: I.Schad, all rights reserved.
When | Friday 4th September 2020 • 20:00h
| Saturday 5th September 2020 • 18:00h • 20:00h
+ Where | Wiesenstrasse 55, 13357 Berlin – Wedding

See online : Wiesenburg

Published 26 September

Showings @ Tanzhalle Wiesenburg

Rotations asks for a basic trust in motion, consciousness and universal energies: everything is already there

28th + 29th August at 18:00 and 19:30 o’clock
Wiesenstrasse 55, 13357 Berlin – Wedding

Visitor capacity is limited due to the current corona regulations.
Please reserve seats in advance by email at: schrammheiko@gmx.de
pic: I.Schad, all rights reserved

See online : Wiesenburg

Published 13 August