https://xeniakoghilaki.com Xenia K Mon, 22 Apr 2024 09:29:35 +0000 https://xeniakoghilaki.com en https://xeniakoghilaki.com/Kopanima Mon, 22 Apr 2024 09:29:35 +0000 Xenia K https://xeniakoghilaki.com/Kopanima KOPANIMA (2024) <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/599ca0ae128fe5a7bcf9a331e6be9ff272fe510857307a07f8908f73f13a35fe/Xenia-Koghilaki--KOPANIMA-Mayra-Wallraff---low-resolution-114.jpg" data-mid="211217090" border="0" src="https://freight.cargo.site/w/1000/i/599ca0ae128fe5a7bcf9a331e6be9ff272fe510857307a07f8908f73f13a35fe/Xenia-Koghilaki--KOPANIMA-Mayra-Wallraff---low-resolution-114.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/fb67ec71de40df9be1abed1586a79217ff367353c8c2a426d3f4d9a1709f6c21/Xenia-Koghilaki--KOPANIMA-Mayra-Wallraff---low-resolution-107.jpg" data-mid="211217085" border="0" 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src="https://freight.cargo.site/w/1000/i/b0554113b8ce1a05d3939ad2cb6ae2c4593d908180fa9f8e4326314baeab3e97/_DSC9189-Enhanced-NRXenia-Koghilaki-Kopanima_WEB-Res_Gedvile-Tamosiunaite.jpg" /> <img width="1400" height="1000" width_o="1400" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b96147666da0f6674293527077e5a62f88e8fdc2642b86c3af85938caf3dee0d/_DSC9082-Enhanced-NRXenia-Koghilaki-Kopanima_WEB-Res_Gedvile-Tamosiunaite-2.jpg" data-mid="209463072" border="0" src="https://freight.cargo.site/w/1000/i/b96147666da0f6674293527077e5a62f88e8fdc2642b86c3af85938caf3dee0d/_DSC9082-Enhanced-NRXenia-Koghilaki-Kopanima_WEB-Res_Gedvile-Tamosiunaite-2.jpg" /> Following Bang Bang Bodies, which premiered as part of Tanztage Berlin 2023, and Slamming&nbsp;produced by Onassis Stegi, KOPANIMA is the third part of an ongoing performance series in which Xenia Koghilaki uses dance and choreography to explore the relationship between the subcultural practices of moshing and those of collective discharge in the crowd. In her new group work Xenia Koghilaki focuses on the forces, physical dynamics and embodied energies between collectively moving bodies. KOPANIMA transforms the movements and gestures from the mosh-pit into a staged echo, raising questions about physicality, vulnerability, and resistance - and at the same time reveals gestures of trust and solidarity. In this performance the concert crowd stands for a place of collective struggle and a ritualized form of social cooperation. The audience is immersed in an ambivalent feeling of togetherness and sensory stimulation. CREDITS Concept, choreography, performance: Xenia KoghilakiCo-creation / Performance: Noumissa Sidibé, Irini Georgiou, Julia PlawgoMusic composition: Ernesto Carcamo CavazosLight design: Vito WalterDramaturgical support: André UerbaChoreographic assistant: Nondas DamopoulosProduction management: Marina Agathangelidou Pictures: (1-9) Mayra Wallraff (10-11) Gedville&nbsp;Tamošiūnaitė A production by Xenia Koghilaki in co-production with Onassis Stegi and Sophiensæle.&nbsp;Funded by the Hauptstadtkulturfonds Berlin PREMIERE 08 May 2024 Sophiensaele Berlin FURTHER DATES 09.05.2024&nbsp;Sophiensaele Berlin10.05.2024&nbsp;Sophiensaele Berlin11.05.2024 Sophiensaele Berlin23.11.2024 Backslash Festival, Gessnerallee Zurich 14.06.2025 Tanz-ist Festival, Dornbrin Austria&nbsp; https://xeniakoghilaki.com/Slamming Mon, 22 Apr 2024 09:18:20 +0000 Xenia K https://xeniakoghilaki.com/Slamming SLAMMING (2024) <img width="1942" height="1295" width_o="1942" height_o="1295" data-src="https://freight.cargo.site/t/original/i/14f3fa92bc444ae72f3c8f8df998fc9df16989915eac82cc4da7d7f512b2634b/ODD_24_SLAMMING_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-9.jpg" data-mid="242257369" border="0" src="https://freight.cargo.site/w/1000/i/14f3fa92bc444ae72f3c8f8df998fc9df16989915eac82cc4da7d7f512b2634b/ODD_24_SLAMMING_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-9.jpg" /> <img width="1942" height="1295" width_o="1942" height_o="1295" data-src="https://freight.cargo.site/t/original/i/3e226a4932f9aed922af16294ae209ae016d10853f0d2334deb3f6f4e0680357/ODD_24_SLAMMING_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-13.jpg" data-mid="209462426" border="0" src="https://freight.cargo.site/w/1000/i/3e226a4932f9aed922af16294ae209ae016d10853f0d2334deb3f6f4e0680357/ODD_24_SLAMMING_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-13.jpg" /> <img width="1942" height="1295" width_o="1942" height_o="1295" data-src="https://freight.cargo.site/t/original/i/1ddf101a2962e4b475ff04d9e6ad6a3c9436bfda1ee997735ba0233cdb37192a/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-48.jpg" data-mid="209462431" border="0" src="https://freight.cargo.site/w/1000/i/1ddf101a2962e4b475ff04d9e6ad6a3c9436bfda1ee997735ba0233cdb37192a/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-48.jpg" /> <img width="1942" height="1295" width_o="1942" height_o="1295" data-src="https://freight.cargo.site/t/original/i/6849b3ad80fe9a770ebe853f8190426abd559b7f54690cb6fc4dd5c1bc2d9784/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-14.jpg" data-mid="209462427" border="0" src="https://freight.cargo.site/w/1000/i/6849b3ad80fe9a770ebe853f8190426abd559b7f54690cb6fc4dd5c1bc2d9784/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-14.jpg" /> <img width="1295" height="1942" width_o="1295" height_o="1942" data-src="https://freight.cargo.site/t/original/i/66da7b64baac7f4399253dc1fca42eda2d5b1008610278b904844d0f541a60b8/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-22.jpg" data-mid="209462429" border="0" src="https://freight.cargo.site/w/1000/i/66da7b64baac7f4399253dc1fca42eda2d5b1008610278b904844d0f541a60b8/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-22.jpg" /> <img width="1295" height="1942" width_o="1295" height_o="1942" data-src="https://freight.cargo.site/t/original/i/c796d6533a1f325492d1dec154296d5c689eeea9c4f0bee12215e391bc9d6454/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-44.jpg" data-mid="209462430" border="0" src="https://freight.cargo.site/w/1000/i/c796d6533a1f325492d1dec154296d5c689eeea9c4f0bee12215e391bc9d6454/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-44.jpg" /> <img width="1295" height="1942" width_o="1295" height_o="1942" data-src="https://freight.cargo.site/t/original/i/cd8d9dcb12d7fb48ea54b9564dda65ab3b67ab40e696a98c28e919d5b613a1a4/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-20.jpg" data-mid="209462428" border="0" src="https://freight.cargo.site/w/1000/i/cd8d9dcb12d7fb48ea54b9564dda65ab3b67ab40e696a98c28e919d5b613a1a4/ODD_24_SLAMMING_A_WORK_IN_PROGRESS_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-20.jpg" /> <img width="1942" height="1295" width_o="1942" height_o="1295" data-src="https://freight.cargo.site/t/original/i/ca42009d2ec73cf48b778477f6b2b747d1c9ab0b0fdf1d26562a927e2a68aa29/ODD_24_SLAMMING_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-51.jpg" data-mid="242257419" border="0" src="https://freight.cargo.site/w/1000/i/ca42009d2ec73cf48b778477f6b2b747d1c9ab0b0fdf1d26562a927e2a68aa29/ODD_24_SLAMMING_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-51.jpg" /> <img width="1942" height="1295" width_o="1942" height_o="1295" data-src="https://freight.cargo.site/t/original/i/d30c1a3278c2e7f9fdcb43b27fee19c55e00c672396ab096977abc3f79a5ee48/ODD_24_SLAMMING_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-21.jpg" data-mid="242257408" border="0" src="https://freight.cargo.site/w/1000/i/d30c1a3278c2e7f9fdcb43b27fee19c55e00c672396ab096977abc3f79a5ee48/ODD_24_SLAMMING_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-21.jpg" /> . Three performers commit to one shared agreement: a ritualistic dance that originates from slamming. They transform mosh pit practices on stage, oscillating between rage and softness, rawness and trust, ache and pleasure, violence and tenderness, exploring these notions not as dipoles but as interconnected elements within a sui generis dance form. The audience ‘sees’ the sweat dripping, the breaths intensifying, and the hearts beating faster while the three performers are wholeheartedly “caught into a mosh”. “Slamming” seeks emotional nuances in the aggressive crowd, reconstituting a collective ritual that lurks behind an ostensible rage. It approaches crowd dances not as something to be deciphered but as a site of experience, exploring the significance of collective movement as a practice of resistance. CREDITS Concept, Choreography: Xenia Koghilaki Co-creation &amp; Performance: Irini Georgiou, Noumissa Sidibe, Xenia Koghilaki Music Composition: Giorgos Poulios Lighting Design: Nysos Vasilopoulos Choreographic Assistant: Nondas Damopoulos Dramaturgical Support: André Uerba Artistic Advice: Elena Novakovits Styling: Marianthi Hatzikidi Production Manager: Olga Tsatsouli Executive Production: Howtomakeyourlifeharder Pictures: Pinelopi Gerasimou Guest mentor through ODD: Christian Rizzo Part of the "Slamming" research has been carried out at the BIT Teatergarasjen, Bergen, Norway, within the context of the Transmissions program supported by EEA Grants and the Norwegian Financial Mechanisms 2014-2021.Slamming is supported by the Onassis Stegi “Outward Turn” Cultural Export Program PRODUCED BY ONASSIS STEGI PREMIERE 23.02.2024&nbsp;Onassis Dance Days 2024 FURTHER DATES 24.02.2024 Onassis Dance Days 2024 25.02.2024&nbsp;Onassis Dance Days 2024 22.07.2024 8:tensions New Choreographers Series ImpulsTanz Vienna 24.07.2024&nbsp;8:tensions New Choreographers Series ImpulsTanz Vienna 27.09.2024 La briquetterie CDCN, Val-de-Marne France 19.10.2024 Oktoberdans Bit, Bergen Norway 20.10.2024&nbsp;Oktoberdans Bit, Bergen Norway 04.07.2025 Santarcangelo Festival Italy 05.07.2025&nbsp;Santarcangelo Festival Italy 06.07.2025&nbsp;Santarcangelo Festival Italy 25.07.2025 Kalamata Dance Festival Greece 21.08.2025&nbsp;SAAL Biennaal 2025, Kanuti Gildi SAAL, Tallinn Estonia 22.08.2025&nbsp;SAAL Biennaal 2025, Kanuti Gildi SAAL, Tallinn Estonia 09.09.2025 Dancehallerne Denmark 10.09.2025&nbsp;Dancehallerne Denmark 26.10.2025&nbsp;Réplika Teatro, Madrid Spain 19.12.2025&nbsp;Sägezahn Festival, Vienna Austria 25.09.2026&nbsp;steirischerherbst’26, Graz Austria03.10.2026 Open House Festival, Cyprus PRESS “The audience’s gaze cannot help but be sucked in by these multi-limbed chimeras that keep on holding on to each other, softening the falls and supporting the lifts, even as they rip clothes off and slam hips, gifting us with a wondrous moment of high-octane, collaborative care.” “ Thrash mob - Slamming at Oktoberdans 2024:&nbsp;CARE’S NOT DEAD” by Fransesco Chiaro, &nbsp;at&nbsp;Persinsala, 20.10.2024 “A great work, realistic, raw and mysterious, which stays fascinating from beginning to end.” Espaces Magnetiques: “Le festival Excentriques c’est du serieux” by Fabien Riviere, 1.10.24 “Xenia Koghilaki finds solidarity within brutality.” Spring Back Magazine, article: “Xenia Koghilaki finds solidarity within brutaliy” by Léa Poiré&nbsp;10 September 2024 “Brutality […] becomes caress, collision transforms into embrace. […] Koghilaki demonstrates how dance can perceive and recover the tribal component underlying contemporary practices.” “Not yet: the cry of resistance of independent theater at Santarcangelo Festival 2025”&nbsp; Emanouela Zanon, July 2025 “Through the ritual of collective dance, Koghilaki explores how community functions where the individual experiences, in their own flesh, the existence of a ‘we.’” “Il Santarcangelo Festival non ha paura”, Di Vito De Biasi, Harper’s Bazaar, July 2025 “Emotions alternated: tension, anger, brutality, but also trust, as if you were seeing a different form of intimacy being born before you, built on the chaos of tension.” “To Kαλοκαίρι Χορεύει στην Καλαμάτα” Γεωργία Οικονόμου, news 24/7, Ιούλιος 2025&nbsp; “The piece is a choreographically impeccable work in which the music, the light, the images constructed by the bodies, their power, their movements and actions keep you constantly attentive.” https://www.tea-tron.com/mambo/blog/2025/11/10/el-poder-de-un-gesto-seis-piernas-y-tres-mujeres/ Angela Million https://xeniakoghilaki.com/Bang-Bang-Bodies Thu, 27 Oct 2022 14:06:54 +0000 Xenia K https://xeniakoghilaki.com/Bang-Bang-Bodies BANG BANG BODIES (2023) <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/a59ac0fde19029e50adbdbd0e5b0654fcc3d5dbbbde4d9e90bffc987ef5abfe6/BBB_XK4.jpg" data-mid="173588411" border="0" src="https://freight.cargo.site/w/1000/i/a59ac0fde19029e50adbdbd0e5b0654fcc3d5dbbbde4d9e90bffc987ef5abfe6/BBB_XK4.jpg" /> <img width="1942" height="1295" width_o="1942" height_o="1295" data-src="https://freight.cargo.site/t/original/i/43d85831a2470f2f656e2a103e9e429e0b7b96bb9da651cf07c2621b739ad17d/O.D.D._2023_Bang_Bang_Bodies_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-50.jpg" data-mid="173589377" border="0" src="https://freight.cargo.site/w/1000/i/43d85831a2470f2f656e2a103e9e429e0b7b96bb9da651cf07c2621b739ad17d/O.D.D._2023_Bang_Bang_Bodies_Pinelopi_Gerasimou_for_Onassis_Stegi_Low-50.jpg" /> <img width="6311" height="4207" width_o="6311" height_o="4207" data-src="https://freight.cargo.site/t/original/i/4b29b05e4ad26602f1f852ddfac9cfa0a423e90f4cc46d0c53ead6703babdfb0/Bang-Bang-Bodies-6xompressed.jpg" data-mid="173588916" border="0" src="https://freight.cargo.site/w/1000/i/4b29b05e4ad26602f1f852ddfac9cfa0a423e90f4cc46d0c53ead6703babdfb0/Bang-Bang-Bodies-6xompressed.jpg" /> <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/150b19e37da0f9f5882222f45257182f790015d4676c3c9b1b44856c96c0317c/Xenia-Koghilaki-Bang-Bang-Bodies-61.jpg" data-mid="173594311" border="0" src="https://freight.cargo.site/w/1000/i/150b19e37da0f9f5882222f45257182f790015d4676c3c9b1b44856c96c0317c/Xenia-Koghilaki-Bang-Bang-Bodies-61.jpg" /> <img width="6654" height="4436" width_o="6654" height_o="4436" data-src="https://freight.cargo.site/t/original/i/f94affe306833658aa055f15f5d8cb1471a6feb95135559e9b80972325819498/BBB_XK6-Compressed-.jpg" data-mid="173588949" border="0" src="https://freight.cargo.site/w/1000/i/f94affe306833658aa055f15f5d8cb1471a6feb95135559e9b80972325819498/BBB_XK6-Compressed-.jpg" /> <img width="6619" height="4413" width_o="6619" height_o="4413" data-src="https://freight.cargo.site/t/original/i/ccf9cbf0f52bbbdccdb5f7f60ff7fa225f278706e28dc15862aa1cdf6e36f773/Xenia-Koghilaki-Bang-Bang-Bodies-compressed-29.jpg" data-mid="173588697" border="0" src="https://freight.cargo.site/w/1000/i/ccf9cbf0f52bbbdccdb5f7f60ff7fa225f278706e28dc15862aa1cdf6e36f773/Xenia-Koghilaki-Bang-Bang-Bodies-compressed-29.jpg" /> <img width="5417" height="3611" width_o="5417" height_o="3611" data-src="https://freight.cargo.site/t/original/i/7e31e42693781f84614d3bff0e445e6ed61dd95e76a221b653bd114555cd00c6/Bang-Bang-Bodies-compressed.140.jpg" data-mid="173588922" border="0" src="https://freight.cargo.site/w/1000/i/7e31e42693781f84614d3bff0e445e6ed61dd95e76a221b653bd114555cd00c6/Bang-Bang-Bodies-compressed.140.jpg" /> <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/f1e5f92496196af41aff6d6c383d43f33a52ed3e3675fa5f47ee0bd7c3531d30/Bang-Bang-Bodies-compressed.133.jpg" data-mid="173588483" border="0" src="https://freight.cargo.site/w/1000/i/f1e5f92496196af41aff6d6c383d43f33a52ed3e3675fa5f47ee0bd7c3531d30/Bang-Bang-Bodies-compressed.133.jpg" /> <img width="6587" height="4391" width_o="6587" height_o="4391" data-src="https://freight.cargo.site/t/original/i/7bd1e8b4becc2820bfb9d03f6c7872af805b66adf88ce4b413c70d08921c4808/BBB_XK10.compressed.jpg" data-mid="173588685" border="0" src="https://freight.cargo.site/w/1000/i/7bd1e8b4becc2820bfb9d03f6c7872af805b66adf88ce4b413c70d08921c4808/BBB_XK10.compressed.jpg" /> Bang Bang Bodies embarks on a choreographic journey into the collective imaginary. What brings bodies together? Where can the experience of togetherness be situated? Xenia Koghilaki focuses on embodied “discharge” (or physical release) associated with different types of crowds – from the metal and punk scene to meditative rituals and instances of mass protests. The work resituates the practice of headbanging, placing it on stage as an endless chain of reciprocity and exchange of space and time but also of sweat and breathings, of historical, cultural, and political particles between bodies, that is never static. On the contrary, it is always in a fluid and turbulent moving. Two female performers explore the effects of exhaustion through repetition bringing to spotlight how movement can bring out personal and cultural memories but also ideas of how we perceive our bodies in relation to others and how we imagine ourselves in relation to the world. CREDITSConcept, Choreography, Performance: Xenia KoghilakiCo-creation &amp; Performance: Luisa Fernanda AlfonsoSound Design: Ernesto Cárcamo CavazosLighting Design: Vito WalterOutside Eye: André UerbaΜentor: Kat VálasturTutoring: Janez Janša, Sandra Noeth Physical Training: Nodas Damopoulos for Athens Photo credits: Mayra Wallraff&nbsp; Created in Hochschulübergreifendes Zentrum Tanz Berlin (HZT) with the support of the Studienabschluss-Stipendium für internationale Studierende at UDK in the frame of&nbsp;MA SODA Final Works at Uferstudios Berlin / HZT, 26 &amp; 27 June 2021 SUPPORTED BYONASSIS DANCE DAYS Onassis Stegimentors: Christian Rizzo, Moriah Evans PREMIERE 05 January 2023 TANZTAGE BERLIN Sophiensaele FURTHER DATES 06&nbsp;January 2023 TANZTAGE BERLIN Sophiensaele 04 March 2023&nbsp;ONASSIS DANCE DAYS Onassis Stegi 05 March 2023&nbsp;ONASSIS DANCE DAYS Onassis Stegi 04 April 2024 Kommuna Warsawa Poland 05 April 2024 Kommuna Warsawa Poland PRESS:&nbsp; TANZTAGE BERLIN “Headbanging und lesbische Lust: Die Tanztage Berlin sind zurück” at&nbsp;www.berliner-zeitung.de “Centripetal Performance”, Article by Cory Tamler, 06 January 2023 at Tanzschreiber.de “Tanztage Berlin: Kraftvoll und politisiert” at&nbsp;www.deutschlandfunkkultur.de “Zwischen Kopfreisen Lapdance und mentaler Gesundheit” at https://www.rbb24.de ONASSIS DANCE DAYS WHAT’S THE HAIRY FUSS? PRODUCTIVE CONFUSION AND BODILY EXUBERANCE IN “BANG BANG BODIES” written by Anastasios Koukoutas at Artworks medium“Onassis Dance Days Οι Γυναικες Στη Σκηνή” Interview to Stella Charami for monopoli.gr“O χορός στη Στέγη είναι γυνακεία υπόθεση” Interview to Aspa Koulyra for olafaq.gr“Πέντε χορογράφοι του ODD- Onassis Dance Days μας μιλούν για όσα θα δούμε στη Στέγη” Interview to Maria Kryou for athinorama.gr “Χορεύουμε στη Στέγη με τη Νεφέλη Αστερίου και την Ξένια Κογχυλάκη” Interview to Ioanna Goumouza for athensvoice.gr - video on demand - https://xeniakoghilaki.com/Besuch Thu, 27 Oct 2022 14:06:54 +0000 Xenia K https://xeniakoghilaki.com/Besuch BESUCH (2021) <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/0e72253b42922100f2698e6fc9e44a5bd9f3168e3a2c27e3568864be4235306c/post_it.jpg" data-mid="157163793" border="0" src="https://freight.cargo.site/w/1000/i/0e72253b42922100f2698e6fc9e44a5bd9f3168e3a2c27e3568864be4235306c/post_it.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d16c3f7ed355a949a34cf19f99f3efa454e1351fb347982d5fbbec8555f08789/Xenia-Koghilaki-for-Besuch2.jpg" data-mid="157163796" border="0" src="https://freight.cargo.site/w/1000/i/d16c3f7ed355a949a34cf19f99f3efa454e1351fb347982d5fbbec8555f08789/Xenia-Koghilaki-for-Besuch2.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/cd9c3210e7efe5e1a611f47923f5503cce8ec9f664adc2c557b60dd6526720ba/Xenia-Koghilaki-toDimitris-Besuch2.jpg" data-mid="157163799" border="0" src="https://freight.cargo.site/w/1000/i/cd9c3210e7efe5e1a611f47923f5503cce8ec9f664adc2c557b60dd6526720ba/Xenia-Koghilaki-toDimitris-Besuch2.jpg" /> <img width="3460" height="1952" width_o="3460" height_o="1952" data-src="https://freight.cargo.site/t/original/i/9affc0460f1a703b4baf449d11db4aeb0a90704acfcb08d805b21a2932a1f905/XeniaKoghilaki-still3.jpg" data-mid="157163801" border="0" src="https://freight.cargo.site/w/1000/i/9affc0460f1a703b4baf449d11db4aeb0a90704acfcb08d805b21a2932a1f905/XeniaKoghilaki-still3.jpg" /> Five artists meet inside a digital collage, inviting the audience to tour within its narrative connotations. What kind of narratives arise by their common experience of intimacy?&nbsp; Besuch team explores a diverse range of performative and compositional strategies, approaching dance through concepts of telepathy, idiocy, sensuality, seduction among others especially at a time when proximity is becoming a critical stake due to the pandemic. A shared digital document of instructions filled with colorful ideograms, a microscopic plan made large-scale, a DIGI-persona, a painting of sensorial stimuli and a contract via post are the jointly common score to which the team commits. They exchange these five materials and promise to pay each other’s proposal a visit by means of a one-minute performance. Finally, they co-edit the 25 variations and thus compose “Besuch”. In turn, they are now inviting audiences to visit both the traces of their encounters as well as their collective artistic imprint.website: www.besuch.team CREDITS Besuch Team: Nefeli Asteriou, Venetsiana Kalampaliki, Efthimios Moschopoulos, Dimitris Mytilinaios, Xenia Koghilaki Website Design: George Psimenos Web Graphics: Marina Skoutela PRODUCED BY Onassis Stegi&nbsp; PREMIERE AT Onassis New Choreographers Festival ONC8, March 2021 https://xeniakoghilaki.com/JunkDance Thu, 27 Oct 2022 14:50:15 +0000 Xenia K https://xeniakoghilaki.com/JunkDance JUNKDANCE (2019) <img width="5481" height="3738" width_o="5481" height_o="3738" data-src="https://freight.cargo.site/t/original/i/18a10db92095e4b58ea18e82756e3117651e8bbfff66d2bfe9f8bc0da1269b8a/Xenia-Koghilaki-JunkDance-2.JPG" data-mid="157166563" border="0" src="https://freight.cargo.site/w/1000/i/18a10db92095e4b58ea18e82756e3117651e8bbfff66d2bfe9f8bc0da1269b8a/Xenia-Koghilaki-JunkDance-2.JPG" /> <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/57575de7967b1f0f52b14a0d0e147e18c71b2c3748508df634e2f3f2b4cdd067/Xenia-Koghilaki-JunkDance-4_27.JPG" data-mid="157166572" border="0" src="https://freight.cargo.site/w/1000/i/57575de7967b1f0f52b14a0d0e147e18c71b2c3748508df634e2f3f2b4cdd067/Xenia-Koghilaki-JunkDance-4_27.JPG" /> <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/a5a7733d3acf0bc8aed49b9ac0a44ff2719da294fc874aa29791490f1490d2aa/Xenia-Koghilaki-JunkDance-3.jpg" data-mid="157166568" border="0" src="https://freight.cargo.site/w/1000/i/a5a7733d3acf0bc8aed49b9ac0a44ff2719da294fc874aa29791490f1490d2aa/Xenia-Koghilaki-JunkDance-3.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f344a5aa74c12de9ab284cd86d579451e1a8c5ab583a043c365e2ba87b237afb/Nefeli-Asteriou_-Xenia-Koghilaki-JunkDance_DimitrisMamaloukos_1112.jpg" data-mid="157166553" border="0" src="https://freight.cargo.site/w/800/i/f344a5aa74c12de9ab284cd86d579451e1a8c5ab583a043c365e2ba87b237afb/Nefeli-Asteriou_-Xenia-Koghilaki-JunkDance_DimitrisMamaloukos_1112.jpg" /> Three performers selectively transfer movements from a popular video clip’s choreography on stage. They thus strip them of meaning and endow them with a new state of indeterminacy and ambiguity, akin to the experience of the virtual. What is the value and importance of movement as a decorative and descriptive element of an audiovisual product? Is it possible that the removal of a foundational meaning facilitates the presence of newfound interpretations? Could we talk about a phenomenon of “junk dance”?&nbsp; CREDITS Concept &amp; Choreography: Xenia Koghilaki&nbsp; Performers &amp; Co-creation:&nbsp;Nefeli Kadinopoulou Asteriou, Venetsiana Kalabaliki, Efthimios Moschopoulos&nbsp; Sound Design:&nbsp;Lambros Pigounis&nbsp; Light Design:&nbsp;Nisos Vasilopoulos&nbsp; Choreographic Assistant:&nbsp;Nefeli GiotiPromo photos: Giorgos Liamis SUPPORT Arc For Dance Festival and Dance Cultural Centre (DAN.C.E) PREMIEREArc For Dance Festival #11, Kivotos Theatre, Athens Greece,&nbsp;May 2019 ALSO PERFORMERD ATK-Gold Temporary Gallery, Lesvos Greece,&nbsp;August 2019 https://xeniakoghilaki.com/Nudes-and-Conspiracies Thu, 27 Oct 2022 15:20:46 +0000 Xenia K https://xeniakoghilaki.com/Nudes-and-Conspiracies NUDES AND CONSPIRACIES (2022) <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/58f80795116ea6e4b18edbcffc3af0b47d8ed657e72cbbee0c35f855a09afff9/XeniaKoghilaki_DorotaMichalak_JulekKreutzer_Nudes-and-conspiracies.jpg" data-mid="157167363" border="0" src="https://freight.cargo.site/w/1000/i/58f80795116ea6e4b18edbcffc3af0b47d8ed657e72cbbee0c35f855a09afff9/XeniaKoghilaki_DorotaMichalak_JulekKreutzer_Nudes-and-conspiracies.jpg" /> <img width="999" height="579" width_o="999" height_o="579" data-src="https://freight.cargo.site/t/original/i/cd49ef7d82d4863b7755a8026eac5c6db62d6fbd3e51ea07d8f1b7ceae93a10f/XeniaKoghilaki_Nudes-and-Conspiracies.JPG" data-mid="157167364" border="0" src="https://freight.cargo.site/w/999/i/cd49ef7d82d4863b7755a8026eac5c6db62d6fbd3e51ea07d8f1b7ceae93a10f/XeniaKoghilaki_Nudes-and-Conspiracies.JPG" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/821928cf8bbf1580fa3595dcc7f32f24f0aabde5a07ec37977d2861f1c28cd25/XeniaKoghilakiDorotaMichalakJulekKreutzer_Nudes-and-Conspiracies.jpg" data-mid="157167366" border="0" src="https://freight.cargo.site/w/1000/i/821928cf8bbf1580fa3595dcc7f32f24f0aabde5a07ec37977d2861f1c28cd25/XeniaKoghilakiDorotaMichalakJulekKreutzer_Nudes-and-Conspiracies.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d1b9d4635f7aea5f6dabcc1b1b39a4fff07306c67a6405b28def4ba210e24ea2/XeniaKoghilaki_DorotaMichalak_JulekKreutzer_Nudes-and-conspiracies-2.jpg" data-mid="157167362" border="0" data-scale="87" src="https://freight.cargo.site/w/1000/i/d1b9d4635f7aea5f6dabcc1b1b39a4fff07306c67a6405b28def4ba210e24ea2/XeniaKoghilaki_DorotaMichalak_JulekKreutzer_Nudes-and-conspiracies-2.jpg" /> <img width="3648" height="2736" width_o="3648" height_o="2736" data-src="https://freight.cargo.site/t/original/i/552357b2c663c6dd2485a3b618edf0ecf1434be58f4a2887b9186b80787ddda4/XeniaKoghilaki_DorotaMichalak_JulekKreutzer__NudesAndConspiracies3.jpg" data-mid="157167361" border="0" src="https://freight.cargo.site/w/1000/i/552357b2c663c6dd2485a3b618edf0ecf1434be58f4a2887b9186b80787ddda4/XeniaKoghilaki_DorotaMichalak_JulekKreutzer__NudesAndConspiracies3.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/eb3583e423d1107b205ce93ce6a37854ef1379fefd0fcf5b916dd86f42ee1ef7/Nudes-and-Conspiracies.jpg" data-mid="157167359" border="0" src="https://freight.cargo.site/w/1000/i/eb3583e423d1107b205ce93ce6a37854ef1379fefd0fcf5b916dd86f42ee1ef7/Nudes-and-Conspiracies.jpg" /> Nudes and conspiracies is a choreographic and body based field research aiming to investigate diverse notions of nakedness embedded within the site of a garden. How do we as humans understand “conspiring with” a garden? What are the different qualities of nakedness? Can nakedness enhance or enable “conspiring with” a garden? And finally, how can these enrich a choreographic practice?&nbsp; We consider a garden a protected space of co-existence and encounter not only between humans, but also between plants, insects, vegetal and mineral agents as well as different kinds of particles like chemicals, dust, or noises. Our aim is to explore it as a site from which situated knowledge can unfold, enabling to observe and learn from various corporealities. In the notion of nakedness we search for the potential to approach “what is behind”. What kind of associations does the notion of nakedness carry? What are the qualities of nakedness and how can we combine the human understanding and experience of it in order to create new conspiracies? With these as starting points, "Nudes and conspiracies" develops choreographic strategies that explore contradictory dipoles like permeability and resistance, camouflage and exposure as well as the possibility of hijacking concrete architectural and imaginary structures. CREDITSA collaborative research project with: Dorota Michalak and Julek KreutzerPhoto credits: Darja Lukjanenko SUPPORT Goethe Institut Berlin and Kinship Residency in Studio ALTA - Prague Czech Republic&nbsp; PERFORMED AT Studio ALTA - Prague Czech Republic, August 2022 PUBLIC WORKSHOP&nbsp;13.08.2022 / 13:00 - 16:00 14.08.2022 / 13:00 - 16:00 19.08.2022 / 18:00-21:00 20.08.2022 / 13:00 - 16:00 During the workshop, Xenia, Dorota and Julek invite the participants to join them in the attempt to conspire with what is alive and beyond human. In the frame of the ALTA-House of Kinship Residence program, the three choreographers explore the reality of a garden, its life and dynamics, through the notion of nakedness. With the participants of the two day workshop, we will explore what can be learned from a garden about collectivity, time and ideology. We will propose and test strategies, games, movement qualities, scores and through those discover and learn about the life beyond human socialisation. The choreographic practice is based on humble observation and participation in the life of a garden. trailerhttps://vimeo.com/793805587&nbsp; password: kinship https://xeniakoghilaki.com/From-Headbanging-to-Hairbanging-1 Thu, 27 Oct 2022 15:51:00 +0000 Xenia K https://xeniakoghilaki.com/From-Headbanging-to-Hairbanging-1 FROM HEADBANGING TO HAIRBANGING <img width="732" height="503" width_o="732" height_o="503" data-src="https://freight.cargo.site/t/original/i/9c27ad177dab2d0247cec9da7dba87c2b85cc294f5e5bf55ad8c9730ae13bfbf/HEADBANG.jpg" data-mid="168890479" border="0" src="https://freight.cargo.site/w/732/i/9c27ad177dab2d0247cec9da7dba87c2b85cc294f5e5bf55ad8c9730ae13bfbf/HEADBANG.jpg" /> A SELF-INTERVIEW ON A RESEARCH PROCESS How did you come up with practicing headbanging? What does it mean to dance alone-together? How can a singular dancing body uphold a possibility of becoming plural? These were questions that I was exploring, just before urgent discourses around how to protect community, networks and solidarity in times of a radical global situation due to the pandemic appear. &nbsp;Apparently, while during the pandemic outbreak I decided to continue under the same thematic, realizing that dancing alone-together apart from becoming extremely urgent, it also opened up crucial questions about how do we perceive our bodies in relation to others and how do we imagine ourselves in relation to the word (and all that is considered living in general). Researching around the role of the body in mass theory, I focused on the concept of the ‘discharge’. What caught my interest was the fact that discharge, is an action that comes after a state of waiting. It transforms a group of people who happen, for entirely accidental reasons, to be together, into something that finds some sort of communality. Following this, I focused my attention to the idea of discharge as a redeem of ‘anticipation’, of longing for something. For the philosopher and author of “Unworking Choreography:The notion of the work in Dance” Frederic Puillaude, gestures of discharge (as for exemple the applause of the audience after a performance) are the “delayed indication of a hope, in its ultimate and disappointed substitute.” So, coming back to your question, I used the action of headbanging&nbsp; as my case study and as a choreographic tool, with the wish to re-claim the hope in movements of discharge and explore aesthetic, political and social resonances from a dancer’s perspective. &nbsp; Headbanging is commonly associated with music genres like heavy metal, rock , punk etc.&nbsp; as well as it has become common in various electronic dance music genres. What is your personal relation to these music cultures? One can tell that headbanging has never been part of my movement vocabulary, as I have never considered myself being part of punk or heavy metal culture. However, I have been interested in exploring the cultural, and sociopolitical contexts with which an embodied collective practice is interacting. Headbanging apart from musicians on stage and fans of heavy metal music has been part of different cultures and traditions throughout history. It is part of Islamic devotional Sufi traditions, dating centuries back, as well as of the ascetic-dervishes dances in Iran. In mystical Sufi rituals, headbanging is used for remembrance and a meditative action for establishing a spiritual communion with God, while seeking enlightment while in Kurdistan Sufi men dancers are headbanging for protesting against the unlawful imprisonment of Iranian citizens who took part in anti-government demonstrations. Video YouTube Headbanging Sufis: Video Sufis in Headbang Session:&nbsp; In accordance to this, practicing headbanging creates for me a connotation of a community by default. It is a gesture of embodied ‘discharge’ of different type of crowds, which also has specific gendered connotations. It works on the precondition that it is connected with specific events and thus stabilized itself in a context of ‘collective memory’.&nbsp; I have been practicing headbanging with an intention to put up in negotiation any perception of stability concerning approached of collective identity. <img width="1440" height="1080" width_o="1440" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7bea08a7f5523dbc5b0ae97b1a8845e3aad301361aab9f9951e9b7b551920472/Headbanging-still-2.jpg" data-mid="168890635" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/7bea08a7f5523dbc5b0ae97b1a8845e3aad301361aab9f9951e9b7b551920472/Headbanging-still-2.jpg" /> What does headbanging mean to you then? Ιn first place, headbanging has been for me an action with which the beat of the music was emphasized. I’d say it was like tapping the foot on the ground or like practicing the what I call: ‘body-metronome’. Moving deeper in the research, headbanging became for me a movement that relocates relationships in time and make events slip across years. It is a point of recognition, a memory, personal and cultural. And in that sense it constitutes an endless chain of reciprocity and exchange of time, affects, sweat, breathing, historical, cultural and political particles between bodies, which is never ever static. Instead, it is always in a turbulent moving. In your work there is a strong interest for isolating and ‘individualizing’ dances and movements that are meant to have a social aspect. Is your intention to invert the public and social dimension that such dances propose? Indeed, headbanging acts for me as a cultural storage system, a moving archive of trends and aesthetic preferences but also cultural and historical contexts. But what is important for me in the ‘social dimension’ of it, is that it is developed and put to use by people who dance it. The same happens with popular and social dances, like for exemple traditional, folk or urban dances. In that sense, I explore collective resonances on the gesture per se, while experiencing a by default contrast when isolating the ‘social’ context that such a practice proposes and exploring it though a solo body.&nbsp; And significantly there is an interest in that approach which position my research in discourses about bodies in relation, coexisting, and being together, starting from the idea that the experience of togetherness is situated to an act of imagining.Trying to find ways to performatively connotate other bodies while moving, upholds for me the possibility of an imaginative engagement . And this is where the potentiality of being together starts to emerge. <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/896631cb9ebb9d8b4e8e3e799ac0a078fd8e06f989c36d5051c81498861205e7/200117200308_429710.jpg" data-mid="168890804" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/896631cb9ebb9d8b4e8e3e799ac0a078fd8e06f989c36d5051c81498861205e7/200117200308_429710.jpg" /> Headbanging is an action focused mainly on the motion of the head. What does it mean for you that isolation of this specific body part? At first glance, a sense of self is associated with the head. Throughout the history, the “I” (head) and “my body” (the rest of my body) existed as identifiably separate, partially because of vision’s extreme precision in coordinating with locomotion to navigate the word and partially because of one’s ability to see many other parts of one’s own body. (Choreographing Empathy: Kinesthesia in Performance, Susan L.Foster, Routledge, 2011). Notably this argument goes against the concept of kinesthesia about understanding movement through other sensations in moving bodies. But for me it is interesting how under the perspective of the head, headbanging proposes a quality of disorientation, of dizziness. This comes obviously forward, when I am practicing it. After 15 minutes for example of headbanging, I start feel unsteady. Dizziness creates this sense of spinning, of vertigo and thus destabilization. And this experience of “disorder of things” is something that I relate to a reformulation of relations and hierarchies, space-wise, perceptively wise but also a reconsideration of stability, rigidity, and thus a disobedience to universalistic regimes of perception, objectivized regularities and even stable historical scripts. For me the experience of dizziness makes&nbsp; things fragile, vulnerable and in that sense open to negotiations, hesitations, doubts and reformulations, revealing vague spaces of potentiality to appear. Were there unexpected associations that appeared throughout your research process? <img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/1f0b73cbbd51a1a839f27d9a189253790077345a207eb829b53b88a0a34e6bf4/20210130_131135.jpg" data-mid="168890846" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/1f0b73cbbd51a1a839f27d9a189253790077345a207eb829b53b88a0a34e6bf4/20210130_131135.jpg" /> Something that manifested itself uncontrollably and very clearly throughout headgbanging was the structure/the idea/ the texture of the hair. That’s when I reformulated headbanging to ‘HAIRBANGING’ and started researching on the idea of the ‘hair’ in different contexts: I started reading about ‘long hair throughout human history’, and looked closely to the history of hair in dance. So for example in 1800s, pulled-back hair was a sign of formality and respect. Ballet mirrored this formal society in its portrayal of feminine beauty. (How would a ballerina headbang?) Then Isadora Duncan in the early 1900s, came to stage barefoot, with her hair flowing. And more recently in the gendered tendency of female bodies of Pina Bausch or Anna Teresa de Keersmaeker, who are often represented with long hair freely moving back and forward, claiming their personal freedom as sensual beings. This aspect of gendered representation has become central while practicing hair-banging. And questions over feminism and femininity (women independence in 19th century women liberation in the 30’s), the emancipation of women and female sensuality were coming into surface.&nbsp; And still, in the visual representational realm, hair-banging proposed a kind of identity transformation which through repetition manifests itself through a constant shift. Another aspect that appeared was how hair-banging started to interplay with the fetishization of hair. Questions over the way popular culture addresses the marketing of hair through advertising campaigns, the language of hair and the material qualities of traits such as “shine”, “bounce” and “swish” in selling European hair- and hair products. And other connotations like: Hairography in drag performance or the hair as the reminiscence of the dead body. <img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/32c6611530e9e0d2efef366aad02d231edbbfc7f2888c49987fec3e34d0fb5c8/20210125_155239.jpg" data-mid="168890666" border="0" data-scale="78" src="https://freight.cargo.site/w/1000/i/32c6611530e9e0d2efef366aad02d231edbbfc7f2888c49987fec3e34d0fb5c8/20210125_155239.jpg" /> https://xeniakoghilaki.com/Personal-Movement-History Thu, 27 Oct 2022 16:16:11 +0000 Xenia K https://xeniakoghilaki.com/Personal-Movement-History PERSONAL MOVEMENT HISTORY <img width="881" height="343" width_o="881" height_o="343" data-src="https://freight.cargo.site/t/original/i/21bf79bd8a862f85c33f4496b1dce26d19364757b3b20142b010e96dc132540f/XeniaKoghilakiPMH13.JPG" data-mid="157701641" border="0" src="https://freight.cargo.site/w/881/i/21bf79bd8a862f85c33f4496b1dce26d19364757b3b20142b010e96dc132540f/XeniaKoghilakiPMH13.JPG" /> &nbsp; Personal Movement History is a video research series that revisits and reenacts choreographies from a personal archive of high school graduations, as these were captured by home-made VHS videos in the late 90s. The project aims to explore bodily manifestations of the self, as well as to investigate how movement-vocabulary is informed throughout different relations. The videos search for choreographic ways to enable a body’s re-location within specific socio-cultural conditions and to bring up more light on what a genealogy of movement can be. Revisit 1999, Choreography: Crazy Revisit 2000, Choreography: Let's Get Loud Revisit 2001, Choreography: Zombination https://xeniakoghilaki.com/Macarena-Afterlife Thu, 27 Oct 2022 16:21:06 +0000 Xenia K https://xeniakoghilaki.com/Macarena-Afterlife MACARENA AFTERLIFE &nbsp; Macarena Afterlife aims to explore performative tools of corporeal “transformation”, taking into consideration questions like:&nbsp; How can bodies be revisioned through transposition strategies? Or how strategies of transposition can challenge the triptych power-knowledge-body. Which are the conditions in which embodied knowledge, behavioral expectations, structured narrations can be intervened? My objective is to reflect on the corporeality within a broader context of politics of culture and to develop a dialogue with physical assumptions and inscriptions, as well as gaining an insight into western cultural stereotypes, patterns and tropes. My aim is to explore and analyze movement as a means, in which group-formation systems of corporeal behaviors are exercised and instructed within a broader bodily west cultural system. How our perception and imagination over possibilities of relations and perhaps juxtapositions within established structures can be challenged? A body-based performative investigation over the notion of “transposition”/”transformation” and its choreographic applications. Starting point <img width="1323" height="653" width_o="1323" height_o="653" data-src="https://freight.cargo.site/t/original/i/bbf80d6be795dac35b1987bac859274511fb4eb2c5c32cb2068ff5afb00992dc/macarena-screenshot.JPG" data-mid="168891751" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/bbf80d6be795dac35b1987bac859274511fb4eb2c5c32cb2068ff5afb00992dc/macarena-screenshot.JPG" /> The initial focus of the research was to search for choreographic strategies with which movement variations and mutations can be developped and explored. I started Macarena Afterlife by exploring movements that are meant to have a social aspect. I have been interested in dance as a group phenomenon, but also as a moving archive of trends and aesthetic preferences, of cultural and historical contexts.As a millennial myself, I have been attracted by the ways the majority of modern west millennial population consume culture, referring to popular culture, and its products. Moreover, coming from a dance background, I wanted to explore dance movements that have mass accessibility and appeal, considering dance as a composition of signs derived from its location in socio-cultural codes. Research questions <img width="4608" height="2592" width_o="4608" height_o="2592" data-src="https://freight.cargo.site/t/original/i/557b47bd2c178240ca0a1cc31861427a34857da71fb3abd72c2f175121a3c3b3/20191010_135013.jpg" data-mid="168891176" border="0" src="https://freight.cargo.site/w/1000/i/557b47bd2c178240ca0a1cc31861427a34857da71fb3abd72c2f175121a3c3b3/20191010_135013.jpg" /> In what ways a dancing format, that is developed by the people who “use” it, can be physically explored, and restaged, producing a different result in a different semantic frame?&nbsp; What movement modalities are looked on as comfortable watching? How can a movement be transformed? How does the user and performer of a movement deal with different mutations? What are the tools for transformating a movement score? Using the commonly acceptable dancing form as a starting point, Macarena Afterlife aimed to explore the tools that can redesign a formula of a choreographic motion and can decipher the code of communication this motion is reproducing. The project’s approach stemed from attempts to consider dance as a practice that constitutes its own meaning and efficacy and my interest layed on searching for choreographic transformation processes that can open up the possibility of re-creating a physical practice. Movement Transformation 1 / The practice <img width="484" height="600" width_o="484" height_o="600" data-src="https://freight.cargo.site/t/original/i/23c5bb3b879ed2ca0ecc48e395e8008ca03166bf293a791b4ce0782a5523664d/MacarenaSteps.jpg" data-mid="168891782" border="0" data-scale="49" src="https://freight.cargo.site/w/484/i/23c5bb3b879ed2ca0ecc48e395e8008ca03166bf293a791b4ce0782a5523664d/MacarenaSteps.jpg" /> I encountered the dance of Macarena as a simple score that consists of a variety of hand and hip movements.&nbsp; I slowed down and I deconstruct the score into component parts, devoting myself to possible variations coming out from repetition. What generated my dancing was more the interest of using the score as a trivial dance material rather than a nostalgic impulse or melancholic urge. It could be called learning, imitating, or simply doing another’s steps. Hopefully, in Macarena, as in most social and group dances, there are no legal copyrights so I overcome questions about authorship, ownership and originality of movement. Movement Transformation 2 / Transformative effects of language <img width="1273" height="654" width_o="1273" height_o="654" data-src="https://freight.cargo.site/t/original/i/15ef458e5b9565095cc1bfaa9d6d1994c7cefc9fdf8442832b804323ef4d56e6/D2.jpg" data-mid="168891637" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/15ef458e5b9565095cc1bfaa9d6d1994c7cefc9fdf8442832b804323ef4d56e6/D2.jpg" /> What is the relation between movement and language? How can a dance score be described with words? What is the process of encoding and decoding movement to text and vice versa? Taking into account that in every notation system there is a procedure of selection, I selected language as a strategy to explore and collect Macarena’s movement variations. I invited friends to perform Macarena as a score made of language instructions. I experimented with observation through the interface of skype and video calls and found ways to invite them into my practice. I recorded and collected their movement variations, while this method generated an experimental medium for transforming and crafting the simple movement sequence. What seemed to be at first glance a three-minutes talk with friends in order to execute a dance routine, it unfolded to be a fruitful re-meeting. A discussion with friends. An intimate encounter. A trial of finding a common time in order to execute the task. Writing messages and arranging. Planning the meeting. Formulating the intention for communication. Booking the date. And then the time of the call. The meeting. Once done, it never stopped only in the talk. There was an intention of communication which was framed in a format like: Greeting – executing the task – asking about it – exchanging life updates– arranging a meeting in the city-&nbsp; meeting in the city. When does choreography start / end? Transformations / Translations <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/de74509494a24fbb52ba4bd0249f6a0551b6e1a91608d7d84583d417c3740123/v22.jpg" data-mid="168891819" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/de74509494a24fbb52ba4bd0249f6a0551b6e1a91608d7d84583d417c3740123/v22.jpg" /> At first sight, thanks to the transformative effects of language and the differentiation of the means of engagement, a kind of dynamics came out. A variated physical material intertwined and mixed in a chain of unaware reciprocal exchange. A transformative system of movement appeared. A supposedly past dance routine was self- generated by a system of exchange of different givers to the same receiver. How does the feeling of intimacy between givers and receiver affect the process of movement transformation? What does it mean to collect movements from friends? Does the fact that the movement is considered “a friend’s gift” affect the quality and the performance of it? What I consider “choreography” started to appear into the whole process of translations. From the original video, to body movement, to video tutorial, to language, to video call, to friend’s bodies,to my body again. In this case, choreography became the structure of fascilitating invitations of different transpositions, disconnected from any kind of representation. And in that way, it was considered in an ever-expanding sense: in the moment of translation, in-between all meetings.Choreography existed in the moment of orchestrating the time with others, in the moment of sharing common time and space, or in the time of intentionless commitment: of trivial information sharing. Of exaggerating the unimportant. Of making visible the one that is there and not seen. Of re-finding the things that are there. I consider this choreographic activation of Macarena dance as an endlessly creative transformational force. <img width="1287" height="724" width_o="1287" height_o="724" data-src="https://freight.cargo.site/t/original/i/acdbaeb294a9276971dab893512b091e0e1de48e0f5d1683d4ba9719ace39e14/Xenia-Koghilaki_Macarena-AfterLife1..jpg" data-mid="168891827" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/acdbaeb294a9276971dab893512b091e0e1de48e0f5d1683d4ba9719ace39e14/Xenia-Koghilaki_Macarena-AfterLife1..jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/cce06e12171b52ae1ea0f375b2a2d25123733b88409e4b753fe9ca9091ba99d2/Xenia-Koghilaki_Macarena-AfterLife.jpg" data-mid="168891830" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/cce06e12171b52ae1ea0f375b2a2d25123733b88409e4b753fe9ca9091ba99d2/Xenia-Koghilaki_Macarena-AfterLife.jpg" /> References Lepecki, Andre. 2016. “Singularities Dance In The Age Of Performance”. New York: Routledge Benjamin, Walter. 1996. “The Task of the Translator”. In Walter Benjamin: selected writings. Volume 1:1913-1926 MA: Harvard University Press Certeau, Michel de. 1988. “The practice of everyday life”. Berkeley: University of California Press Brandstetter, Gabriele, Klein, Gabriele (eds). 2013. ‘Dance And Theory’. Verlag, Bielefeld: trascript https://xeniakoghilaki.com/Gps-Drama-Patission Thu, 27 Oct 2022 16:05:26 +0000 Xenia K https://xeniakoghilaki.com/Gps-Drama-Patission GPS DRAMA PATISSION <img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/54d98b8f70aaa1ac5c0eb78b884edf65491dddefc04dbb48dbfe49a9d7ddc2a2/GPS-drama-Patission_Xenia-Koghilaki_Dimitris-Babilis_Eleni-Arapostathi_-Elissavet-Xanthopoulou.jpg" data-mid="157173110" border="0" src="https://freight.cargo.site/w/1000/i/54d98b8f70aaa1ac5c0eb78b884edf65491dddefc04dbb48dbfe49a9d7ddc2a2/GPS-drama-Patission_Xenia-Koghilaki_Dimitris-Babilis_Eleni-Arapostathi_-Elissavet-Xanthopoulou.jpg" /> <img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/2fd8440282b1175b97084c5aab46c8ecde7d1721c1fe625bc86100db8ecd64dc/GPS-drama-Patission-5.jpg" data-mid="157173109" border="0" src="https://freight.cargo.site/w/1000/i/2fd8440282b1175b97084c5aab46c8ecde7d1721c1fe625bc86100db8ecd64dc/GPS-drama-Patission-5.jpg" /> <img width="663" height="416" width_o="663" height_o="416" data-src="https://freight.cargo.site/t/original/i/53f1ef2574b860bdc52151702c3c5ee1c0acf6088b4b8045785ab8ce09ee9cab/GPS-drama-Patission-1.JPG" data-mid="157348168" border="0" src="https://freight.cargo.site/w/663/i/53f1ef2574b860bdc52151702c3c5ee1c0acf6088b4b8045785ab8ce09ee9cab/GPS-drama-Patission-1.JPG" /> <img width="766" height="541" width_o="766" height_o="541" data-src="https://freight.cargo.site/t/original/i/81c20f28e7805f4fab02580ac92da35ed22152fa1062188b47b7c69f18e0d780/REFfast_o.gif" data-mid="157816681" border="0" src="https://freight.cargo.site/w/766/i/81c20f28e7805f4fab02580ac92da35ed22152fa1062188b47b7c69f18e0d780/REFfast_o.gif" /> A performative audiowalk in Patission Avenue “Gps drama Patission” is an interdisciplinary collective research project through Patission Avenue, one of Athens' longest and oldest arterial roads. The research explores location-based technologies in order to develop a performative audiowalk, giving light to the narratives that constitute a public space : personal stories of habitants and users, narratives of historical, social and political negotiations, visible and invisible systems, architectural and imaginary structures. The project is a result of a collective research work among four artists. It combines different analytical tools, such as fieldwork, interviews, architectural drawings, participatory observation, it engages with different disciplinary and theoretical fields and reflects the discursive histories of concepts such as: public sphere and dramaturgy. Starting from the belief that every facet of the public undergoes a subtle dramaturgy, we (Eleni Arapostathi, Dimitris Bambilis, Xenia Koghilaki, Elisavet Xanthopoulou) perceive public space, not only as a physical and spatial category, but more importantly, as a dialectical social network and sphere. In the midst of a period in which Athens’ public space is transformed by economic and political mechanisms, ‘Gps drama Patission’ understands the performative perspective as a useful tool to penetrate into everyday life by addressing current social and political issues. The concept of the public sphere as described by J.Habermas, freed us from the materiality of the city and helped us to determine the criticality of a social space, in which different discourses intersect, creating an open field of interaction, encounter and negotiation. Exploring the intangible sites that new technologies offer, we look for a broader dialogic context concerning public space, bodies and technology. CREDITS Rerformers Collective http://cargocollective.com/reformers&nbsp; Eleni Arapostathi Dimitris Bambilis Xenia Koghilaki Elisavet Xanthopoulou RESEARCH PERIOD September 2013 - June 2014, Athens