SAT 28 MARCH, 5pm
APT Gallery
6 Creekside, Harold Wharf
Deptford, SE8 4SA
Pay What You Can
£5 / £10 / £15 / £20
(suggested price £15)
Looping Practice #3
Hanna Gillgren
This project is initiated by Hanna Gillgren (UK/SE) in collaboration with choreographers/ performers Lorea Burge (UK/ES) and Ming (UK/US).
Taking the action of looping as a starting point for generating material, this first draft of the work examines the relationship between body, sound, and space, negotiating practices of insistence, repetition, transformation and transmission. The trio creates various rhythms that they distil, expand, chop and phase until they are not quite sure whether there is a beginning or an end.
The work touches on concepts of doubt, dithering and being in constant indecision. The performers insist on staying within the looped motion of the input, which in turn creates movement and sound relations as feedback and output. All three share the responsibility for giving, receiving, copying, transforming and pausing/cutting movement and sound from each other, blurring any individual authorship to generate collective sonic and spatial patterns.
Credits
Concept and Choreography: Hanna Gillgren
Created in close collaboration with: Lorea Burge and Ming
Dramaturgy: Martin Hargreaves
Outside eyes and feedback throughout the process: Rose ChorEographic School, artistic cohort 2024 – 26.
Sonic Feelding action #5
Lorea Burge
Sonic Feelding engages in a practice of Deep Listening* and explores the body in movement and its interaction with others and space as instruments for creating sound and music. I approach this research as an untrained musician and through both analogue methods (the body on its own) and technological techniques (looping and sampling). With an understanding of performance being a part of research I’ve been presenting snippets in the form of ‘performance actions’ in theatre spaces, galleries, and clubs. Action #5 presents two ideas:
Prelude (4mins)
For Palestine
Silence Moves (15mins)
Sound is everywhere, even in the smallest of things. All it needs is space to appear. My mind is occupied with mobilisation in activism and the impact even the smallest of actions can have over time. The voice of movement will ripple into change.
*Deep Listening is a term coined by Pauline Oliveros, and explores the difference between the involuntary nature of hearing and the conscious nature of listening.
Access
APT Gallery is a step-free venue with wheelchair access and toilets.
Look at their Visual Guide to find out more about the space. If you have any access requirements, please email michaelkitchinproducer@gmail.com.
ARTISTS
Hanna Gillgren’s research explores voice, movement, language and the choreography of hosting and facilitation. She is currently developing a collaborative movement and sound practice using loop machines and amplifiers. Hanna is a senior lecturer at Roehampton University, where she teaches and convenes Choreographic practice and this year, she is Programme Lead on the MA Dance Practice and Performance course. She is part of the artistic cohort at Rose Choreographic School at Sadler’s Wells, London (2024-26), directed by Dr Martin Hargreaves.
In 2021, Hanna collaborated with photographer/architect Ioana Marinescu at Beaconsfield Gallery, Vauxhall, London. They worked with the dynamics of Beaconsfield’s Gallery, bringing photographic archives into relationship with its specific architecture and history. This led to further research in Pompeii and Bucharest. Since 2000, Hanna has co-directed H2DANCE with Heidi Rustgaard, creating more than 16 trans-disciplinary works. They were Associate artists at The Place, London 2001/02. In 2017, H2DANCE started working on the choreographic series Amplified Edition, which centres objects from the black box and the gallery as primary materials The series is co-produced by Rosendal Teater, Black Box Teater, DansiT NO, Dansens Hus SE, Dance4, MetalCulture, Roehampton University, and Trinity Laban, UK.
In 2013, H2DANCE won the PlacePrize finals audience vote with DUET, and in 2005, Hanna collaborated with film-maker Rachel Davies on GOLD, which won the IMZ Dance on Screen Award 2005. In 2004, H2DANCE were commissioned by Guardians of Doubt/ Dance4 to make Choreographus Interruptus with Dance Critic Donald Hutera, and in 2002, Hanna was commissioned by Norrdans to create Storstark Cowboy.
Hanna has taken up artist residencies at Dansit, Union Scene and Scenerommet in Norway, Region Varmland Sweden, Pavilion Dance, Dance East, DanceDigital in Essex, The Place Choreodrome in the UK, Devir CAPa, (Centro de Artes Performativas do Algarve) in Portugal and Gaara Dance Foundation in Kenya.
Lorea is an interdisciplinary artist working across dance, experimental music, noise and installation, in both their own choreographic works and as a performer for other artists. Recent collaborations include working with Seke Chimutengwende, Emergency Chorus, Oihana Vesga, Hanna Gillgren, Lewys Holt, and Connor Scott. Lorea’s practice engages in deep listening and process as performance. They are inspired by DIY culture, rhythm, labor, activism and technofeminism. Lorea creates both live performances and recorded works which are currently presented under the name Sonic Feelding, and have been shown in the UK, Spain and Portugal.
Ming has worked as a dance artist, choreographer, lighting designer and technician for 8 years since graduating from Palm Beach Atlantic University. After graduating, she went on to become a production apprentice at New York Live Arts where she had the opportunity to work with artists, such as Bill T. Jones, Okwui Okpokwasili, and Miguel Gutierrez. In 2018, Ming graduated with an MFA in choreography with distinction from Roehampton University. Ming has also done several lighting designs for H2 Dance, Fubunation, and Resolutions Dance Festival. Ming is currently doing a PhD at Royal Central School of Speech and Drama, works as a visiting lecturer at Roehampton University and Royal Central School of Speech and Drama. Ming has performed in works by H2Dance, Nicola Conibere, Seke Chimutengwende, and most recently Emilyn Claid’s Trembling Forest.
Martin is a dramaturg and writer, his interests vacillate between boredom and hysteria. His research connects around performance and performativity and includes the recent histories of contemporary dance, queering practices and camp misunderstandings. Before taking up the Head of Choreographic School role, Martin was the Editor of Dance Theatre Journal and Programme Leader of the MA Body in Performance at Laban, and the Director of Research and Postgraduate Courses at London Contemporary Dance School. He has a visiting lecturer post at Stockholm University of the Arts and has also lectured and examined at institutions across the UK and Europe.