The tools you learn in the workshops are physical and you are encouraged to follow your physical pleasure as we work to expanding our own authentic movement imagination. We only work with positive feedback, and it you will give and receive plenty of positive feedback in every workshop. You will be guided by choreographer and dance artist Kristine Nilsen Oma. Kristine has 20 years of experience in teaching, choreographing and performing. She has given workshops in physical improvisation practice and had several showing with a group called “På Stående Fot” in many different settings and locations in Bergen. If you attend workshops regularly you will be invited to perform in showings; if you like.
Be aware that the workshops are intense both on a physical as well as on an emotional level, and you are constantly asked to go out of your comfort zone. You do so in a group of maximum 6 people and are guided throughout to also listen to yourself and respect your own process. Feel free to ask any questions via email to Kristine directly: firstname.lastname@example.org No question is wrong, if you are interested to know more or book a particular workshop please dont hesitate to get in touch.
In Norwegian we have a saying that describes doing something with no preplan; “På Stående Fot”. Directly translated it means standing upright. I loved that direct translating from Norwegian to English, because it implies integrity. To do something upright and improvised; one has to have courage, and if one has trained and developed a compassionate nature; I find that you cant go wrong. The improvising becomes a sharing of a moment there and then, in the meeting with the people in that particular moment.
Relational esthetic, creative tools, focus and discipline are all themes I feel strongly about. In the workshops I have started to occasionally teach again, I attempt to take the participants deep into how to develop both; a strong stage presence AND a compassionate nature. When these two are nurtured simultaneously, it is my experience as a teacher and choreographer that the improvisor is truly coming to play. One without the other doesn´t feel satisfying. “På Stående Fot” has become the company name of the people I have had the good fortune of working with for longer or shorter periods of time. And people that participates in my workshops are sometimes asked to perform within different settings, if they like. This years workshops has been full, but if you like to have information about workshops in the future, please send an email directly to me at: email@example.com
I love working with both the very trained performer and the untrained. The toolbox we work with are available to absolutely all levels of experience. Of course the tools come with shades of different kinds: technical and personal elements that I encourage you to investigate further in your own time. Any questions, feel free to ask, no question is stupid!
As the post exertion malaise PEM has fully taken over my body I am still on alert, doing all I can to be prepared for the second and final performance of “In between” Saturday the 11th of May at Kulturhuset Danckert Krohn. It costs 100NKR that you pay directly via VIPPS to 19311, and show your receipt as you arrive to join us. Link to Facebookevent
As my PEM is in full bloom, I am lying in my bedroom resting and trusting this to be the most efficient way to have enough capacity when Saturday arrives. I, together with about 20 other involved photographers, dancers, voluntary assistants, and a curator; invite you into the room we are creating in. You are welcome as a participant in our process of showing our photographs, our dancing and in return sharing with us your presence. Its showing up on many accounts: giving awareness to ME, but most importantly giving our art attention. I believe in what we do as a sharing that I hope inspires to more creation, more art, more creativity and more generosity.
I have found that creativity coupled with generosity produces joy. And joy makes life worth living. And this joy is true success and makes you feel full.
A process with all its belongings and in betweens moments, its rawness and the flaws. The process is the art work in the exhibition. I want an audience to be with us in our process. Like life, we all go through life, with flaws and life experiences, ups and downs and all the in betweens. In between details on Facebook
I always found myself more interested in process showings through the years, as suppose to the polished and perfected finished product of a performance. I love the rawness of what happens in between. Where life is. What life is. A series of in between moments whilst you are planning for other stuff to happen. That is life. And so in this exhibition we are sharing of our in betweens as photographers, dancers and me as a choreographer. The expression is raw, unpolished and highly emotive from most of the dancers, including myself. The pictures are definitely more polished, but I like to think of them as raw, newer, not grown to stylistic or something like that….. I love the pictures, and the dancers are giving them their own life, literally. Perhaps very distant to what the photographer saw in their own picture, perhaps not, can it still be a sharing? A meeting? A communication beyond words?
I think strange is cool, yet: the beautiful and profound is the always the aim. Being a little strange is so much part of who I am, that it can be shocking to realize that for people whom are not so familiar dance art, it can stir up feelings of otherness, uncomfortability and uncertainty.
I believe in the value of the process, I believe in a dancing process of discovery and growth. And in this process no ego is allowed as myself being an artist, producer and choreographer: this is part of the art. The humanistic values and the art merges together for me. I need to be humble in the meeting with critique, and appreciate it. I can only hope that I am met with the generosity of spirit I myself aim for and aspire to be. For I believe honesty is conveying our truths as a positivity, regardless of how we might feel about it. That is true strength of character and my vision for myself to be.
Every opinion is valid, the humanistic choreographers role is to listen, appreciate and bring new thoughts on the table: that hopefully opens up a way forward and further opens up a room to “be”. As the walking of the picture above might suggest: don´t worry about what other people think, just keep enjoying the process and keep pursuing pleasure. The only way to create true art is going through the process, and sometimes it hurts to grow. But the only way is through.
To have an audience again, and performing in a more or less street-art setting within the frame of Basic Income Network felt wonderful. I loved how my “being” responded to an audience. My voice came alive, the audience seemed to come with me into my world. Gathering the audiences focus, and pulling out material from the depth of my “being”.“Being” in performance is a challenge in staying absolutely honest and true to the moment there and then. “Performing” in performance requires an awareness of the audience, and a sensing of whats needed in order to keep everyone watching the person forming/performing=being on stage. I have inner, peripheral and outer focus on high alert, and I need to constantly pick and choose of what I need to emphasize on a split second basis.
To see the shoes from #millionsmissingnorway again brings tears to my eyes. I haven´t seen them live since last time I performed this work in 2017. Its still as relevant as ever, and I am inspired by the reaction of the audience in Oslo, and my own pleasure in performing again; to pursue doing actions towards awareness of ME and research to end this disease. The above quote is an audience members own take on the importance of being alive. I agree.
Photo/Art/Live interpretations through contemporary dance/performance art
A photo exhibition that lives
Choreographer Kristine Nilsen Oma has been a participant in a creative cluster of photographers who has been participating at @okfotokurs The group and the exhibition was initiated by one of the photographers: Tine Kjelbye
The photo exhibition shows a form of social choreography as a way of living, moving and sharing. The relational esthetic has been a central component in the work with the exhibition, and bases itself on improvisations both in taking pictures and the dance that presents itself in the opening and closing of the exhibition.
The photographers in the exhibition has been chosen by the photographer, and the pictures are taken by: Tine Kjelbye, Morten Thomassen, Eva Håvik, Mari Strøm-Rødseth, Jorunn Ingvarda Rødseth Pedersen, Mette Karina Søreide, Elizabeth Lee Grongan, Marit Eknes, og Anja Wroldsen
The exhibition is organized through Folkeakademiet Bergen Sentrum and with good assistance of creative curator Per Rutledal and photo supervisor Ole Henrik Kongsvik.
Date: Monday the 29th of April and Saturday the 11th of May
Place: Kulturhuset Danckert Krohn downstairs
Prize: 100Nkr to VIPPS 13911 goes directly to research towards a cure for ME, you can also pay cash in the door. To register that you are coming or invite someone you know follow the link: In between
In between is financially supported by Bergen municipality and Folkeakademiet Hordaland
Improvisational practice with ethics of positive feedback towards oneself, and others, are of great value in my existence as a human being. I have missed teaching and choreographing within this frame of esthetics; as I had a year of pause from it, in order to reevaluate my priorities due to my chronic illness that demanded my full attention. It is such a wonder to discover the pleasures of this practice again, in the meeting with old friends that haven´t given up on me, and they are producing the goods; of movement, magic and wonder.
“Be aware as you move that the breath is part of the movement….” as the instruction comes to me watching the group of 6 wonderful improvisors warm up; I notice how their response to my instruction breaths life into their presence. 6 people is the magic number. We are enough people to feel other peoples energy around us, and few enough people to let emotional risks come through without too much fear. Its also a good number for me, as my ability to observe, give attention and be present is limited. Now as we are moving towards a presentation in front of a larger audience who are not necessarily aware of our relational esthetic, the emotional risk will show its nerve. If we rely on our physical risk, I trust we will land in a good place in the meeting with new people, photography and produce new magic in our «being». Come see us here: In between
Performing a revised version of Please Body Follow at a conference for basic income earth network on Sunday 7th of April 1.30pm at Chateau Neuf (Address: Slemdalsveien 15) in Oslo. Come along if you like to see a tight, intense and heartfelt version that I am proud to deliver in this context. It is what it is, not so much performed as lived; not showing off, but a showing of : Check Please Body Follow
For more information on the conference visit: Basic Income Conference
Thanks to Ingrid Sørensen for connecting us to this conference! Basic Income is a cause worth promoting, and in my opinion: a birth right.
Photo: Øyvind Toft
Its a journey in itself to re-visit material I haven´t been able to perform for 2 years. This version becomes something new; in the meeting with the older material, and it excites me. New openings and connections of interpretations emerges, and as I myself have lived another 2 years of my life, the work grows with me. As my physical self is weaker than before, due to the ME, its also confronting process.
Photo: Eva Håvik @stubbornly_stepping
The joy of working towards performing material is deep. The material never left the body. The physical performance will go as far as the body allows. I am excited.
The picture shows perhaps the opposite of this blogs title, but the picture is motionless as for the fact that its a picture. Its what I here call a: choreographic, that shows motion, but in reality it has no movement. The choreographic is still. A picture cant move. I move in the choreographic: Like a wind perhaps.
I move on, I move away, I dance, I breathe and I transit through. It deals with an anxiousness that doesnt get to attach itself; as long as I move. An impossibility (that it doesnt attach itself)when I am living with a chronic disease, but I find my way through my choreographics.
The choreographich becomes an imprint of a moment I passed through in (e)motion. Its both emotion and motion, the two cant really be seperated in moments of totally being and dancing. I observe my motionless choreographics, after the fact, after the event, after I moved, danced, presented, was being. The choreographics capture my moment of transitioning, and I become aware as the picture reveals sometimes an (e)motional truth after the fact.
My being has a thinker attached to it, and I have learned myself not to entertain the thinker too much. I dwell in the moving, and let the thinker come through moving and my truths reveals itself with greater clarity. The after-fact: the choreographics, becomes distant rememberings that inspire to keep moving, growing and never stop.