Embodying presence

09D01CD0-EB76-4424-B0C8-7C8C802FAF27To stand up for oneself, to stand up for others, to stand up for justice, to stand up for growth, to stand up for the moment and to stand up in the morning and on and on it goes. Standing, still, still standing, still, standing, standing still. All the variations that can be conceived in that moment in time. Embodied through being as aware as can be. In what is as it is resulted from life experiences, choices, memories, moments, feelings and everything else.

Maybe its the culture, the very readily acceptance of theory, or just wordy arguments, as something truthful in itself, maybe its the landscape, the chill in the air that stiffens the body, maybe its feelings that got stuck somewhere….the sensing, the spiritual, the vitality, the faith, the something more than logical….the improvising, the subconscious, the sensing, the instinctual, the things left unsaid or the things said.

Its been my experience that I love the unpolished, raw, the chaos, the wondering, the real and improvisation has provided me with fulfillment as a performer, audience member and choreographer. Determining to interpret the experience from an angle of enlightened feedback; the likes, the interest, the pleasure, the nuances of the likes provides for endless of inspiring conversations that opens up a way forward. With joy.

Welcome to “Standing” Click on link for: Performance details

Standing

To truly feel something, and to own it with authentic integrity. Standing in the moment, whatever that moment is. We aim to share what is; between us and within us. Inner focus, attentive peripheral focus with deep respect for the outer world. Emotion, movement, pedestrian, abstract, beautiful, profound and sharing.

 

Morten Brun and Ragnhild Jordahl are performers and human beings that have worked with me for years in “På Stående Fot”*: *a physical improvisational company that bases itself on my methods as a social choreographer. The methods are inspired by teachers and choreographers that I have had the good fortune of working with in my life.

Our performance will be a perfect performance of what is in the moment it becomes. The tools we use is to enhance our moment of “what is” for each of us. The tools are grounded in physical and emotional risk. We commit and surrender ourself to total physical expression of “what is”, in order to take our audience into our human beings. My wonderful director and teacher Al Wunder in Theatre of the Ordinary says: Performing = person forming.

Welcome to our human beings: Standing. It will happen in Bergen some time this year. Time and place to be announced asap.

On Performing with physical and emotional risk

MarilynGrete

Marilyn Monroe´s last 20 minutes before committing suicide.

Photography: Grethe Mikaelsen

Performing in rain and cold created a natural physical risk for my body. I believe in using “what is” as an inspiration to enhance the performance presence; I commit myself to use it in the moment there and then.  I do think this challenge woke up the work to something new within me both physical and emotional. A person in the audience had clear associations to Donald Trump with what I did, and shouted as I did the work. I was intrigued by the liveliness of what can happen in such a public space. A plane crossed the sky and provided unexpected sound score to the works caricature singing. Having an audience provides me naturally with an emotional risk, it never gets safe or comfortable, but it does give a sense of belonging. (Belonging must become a theme of another personal blog post another day).

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Marilyn Monroe’s last 20 minutes before committing suicide.

Photography: Siri Ansok

The physical risk I was confronted with was the cold of the water, and at the same time staying within the set material that conveys the intentions of the work. It became a meeting of discomfort, caricature mode (Marilyn Monroe inspired) and real life utter fear of freezing. As I kept falling in the water it gave the impulses of struggle, that again gives associations of an emotional struggle. Physical risk often leads naturally to the emotional risk in my experience.

Its such a joy to do this work 10 years later than its original. And it gave me an opportunity to remember some emotional struggles that is a chapter of my past. The distance in time to the material seemed to allow for a greater range of play which I enjoyed particularly to take in the audience with me eyes, and actually direct them to participate with me in certain parts of the monologue. That my body had become stiffened by the cold water, enhanced the emotional risk for me inside the Cornerbar during the second scene, as I had to push the body to be active, engaged and doing the dramatic poses of the set choreographic material; again my argument is that this “live” struggle allows for a stronger presence in performance.

I loved doing the work again, also for the fact that today I am in such a different mental state in my life. With all the lovely responses I have gotten I feel certain it wont be the last time the work is performed given that my health allows. Emotional and physical risk makes me feel absolutely alive and happy.

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Marilyn Monroe’s last 20 minutes before committing suicide.

Photography: Ole Henrik Kongsvik

Marilyn Monroe´s last 20 minutes before committing suicide.

MarilynMalaysia

This picture is from Malaysia and an Arts Residency I was at outside Kuala Lumpur in 2010. It was the first time I performed “Marilyn Monroe´s last 20 minutes before committing suicide.” I dont think I was the best version of myself either as an artist or as a human being at that time, but the owners of the residency treated me with great compassion. The work reflected a tough transition in my life from a painful break up; to trying to find my feet again. That I the following year was diagnosed with Myalgic Encephalomyelitis (ME) could explain  my somewhat erratic behavior and feelings at this time. It resulted in a fragmented work with this blogs title. I showed the work at Marilyn Monroe´s actual birthday and was at the same age Marilyn was when she died. The 4 mosques that surrounded the residency started praying as I started my work and created an atmosphere never to be reproduced.

At the festival Dans. Et sted. in Bergen 2014 I created a new version of the work where the picture below was taken by Alexander Kleppestø. Friday the 6th of September at 730pm I will perform extracts from the work, based on the original, starting in the sea by Cornerteateret . Its free of cost. I will also perform a sequence from  the work later in the evening, this time inside Cornerbaren.

Its all part of the NO Fringefestival and it might be worth your while to come by and experience this short work, and others work during this Friday nights happenings. I am certainly looking forward to play this version, 9 years after the original was born.

mormor gravplass dag lørdag..

Physical Improvisation Practice

9DB73ECB-5407-4565-8083-E4D3179FCFEE.jpegWorkshops 2019

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: kristinenilsenoma@gmail.com No question is wrong, if you are interested to know more or book a particular workshop please dont hesitate to get in touch.

 

Standing upright

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.

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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: kristinenilsenoma@gmail.com56BD9543-0972-419A-B444-6603B23EE89D

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!

Success/full

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 FacebookeventCD7DFF6D-AF22-4169-9B2F-C0177B1E6E52

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. F15A91B5-73D7-4BC8-85F3-7B34321F36F9

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.

Process as the actual artwork

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 FacebookE84738B8-40D2-403B-B542-41C76F91B8D8

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? 38A7DB3F-FAE8-4125-BAD9-984E8D4E781D

Through

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. D7B7A672-FE64-4238-9D7C-38145F1568D6

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. FEE71D3D-0ADF-4F44-B246-7B6616902A9A

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. 49C82C67-8836-431D-8F93-CE210A501B9D

Performing – person forming

DA52F358-2C63-4B40-8E8D-E11C2AE1DC66To 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”.58AE9407-152D-4413-889F-76CBB8062B8D“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.81AE3EAB-335B-47A5-AAAE-670AB7C34B16

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.