Performing to the world from the living room on Monday

Monday the 23rd of November 2020 you can see the choreographic artivism work Karantena #millonsmissing (You will find the link to the live-stream of you click on these letters) as part of Melaka Arts & Performance Festival. The live-streaming starts from 12pm central European time and the link is available for 24 hours, to accommodate the timezones for audiences all over the world.

As the corona pandemic in going on all over the world the festival is this year run online, and as this performance is made to be live-streamed you will get the whole artistic experience by watching it on your own device.

Its an experimental performance work that combines contemporary dance, text, vocal song/improvisation (parts by Malaysian artist Siew-Wai Kok). Its an honor to be sharing the work as the first artist performing during the festival. You are welcome to tune in and support the #millionsmissing.

The artwork will be performed again during the Christmas holiday to fundraise more for the MEAction network, and the #millionsmissing (To support all those with the chronic illness ME/CFS myalgic encephalomyelitis). Check out the work on Monday and consider to buy the work as a Christmas gift. A more authentic Christmas gift will be hard to find, and you contribute money for a good cause. Follow this blog for more information. Welcome!

Photography by @okfotokurs @folkeakademietbergensentrum

Surrendering. Hengivelsen.

You can see my newest work 29th of October at 5pm Norwegian time zone if you buy access via this link: Karantena #millionsmissing Kristine Nilsen Oma The work is being presented at the Oktoberdans 2020 international festival amongst many other exciting new works. I am of course excited to be given the opportunity to participate at the #dansenfest part of the festival. In fact any opportunity to create awareness surrounding the life condition of the chronically ill and the #millionsmissing #meaction network is a good opportunity. It feels extra special to be included in the professional network of @BITteatergarasjen Feeling included is not normal neither as a human being or a professional artist anymore. And so it comes with a great satisfaction to know in my heart that this work is a work I am proud of and that it integrates my illness as part of the art itself. I never thought myself to be excluded until I felt included.

Du kan se min nyeste forestilling 29 oktober kl 1700 på USF verftet om du kjøper billett via denne linken: Karantena #millionsmissing Kristine Nilsen Oma. Forestillingen blir presentert som en del av den internasjonale festivalen Oktoberdans 2020 blant mange andre spennende koreografier. Jeg er selvsagt begeistret over denne muligheten til å delta på #dansenfest delen av festivalen. Enhver anledning til å skape oppmerksomhet rundt livet til de kronisk syke og #millionsmissing #meaction network er en god mulighet. Det føles ekstra spesielt å bli inkludert i det profesjonelle nettverket til @BITteatergarasjen. Å føle seg inkludert er ikke normalt hverken som menneske eller profesjonell artist lenger. Og det kommer med stor tilfredstillelse å vite i hjertet at denne forestillingen er et verk jeg er stolt av samtidig som sykdommen er en integrert del av kunsten i seg selv. Jeg tenkte aldri på meg selv som eksludert før jeg følte meg inkludert.

Photography/Foto: Eva Håvik @stubborny_stepping

Surrendering can be part of any choreographic tool. It can be about the level of commitment, trust and willingness to give it all, with no hold back on any level. Your whole body and mind/spirituality/cognitive is emersed in the task at hand. In this picture I seem to be surrendering by allowing the head to fall back and opening my jacket for you to see my bra and chest.

Hengivelse kan være en del av alle typer koreografiske verktøy. Det kan være om nivået av dedikasjon, tillit og villighet til å gi alt, med ingen tilbakeholdenhet på noe nivå. Hele kroppen og sinnet/spirituelt/kognitivt er oppslukt av oppgaven. På dette bildet ser det ut til at jeg hengir meg gjennom at hodet er lent langt bakover og at jakken er åpen slik at du kan se min BH og mitt bryst.

Oktoberdans2020 #dansenfest

Hva/What: Karantena #millionsmissing et hybrid kunstprosjekt som oppstår i grenselandet mellom scenekunst (samtidsdans/performance art)  og det visuelle feltet (Film/live streaming). Hvordan danser jeg nå som jeg er syk? Kan Covid19 bidra til en økt empati for de kronisk syke?

Karantena #millionsmissing is a hybrid artivism project that comes to live inbetween stageart (contemporary dance/performance art) and visual art. (Film/live streaming). How do I move now that I am ill? Can Covid19 lead to an increased empathy for the chronically ill?

Dato/Date: Torsdag 29 oktober/29th of October

Tid/Time: 1700/5pm Norwegian time zone

Sted/Place: USF Verftet eller over nettet/over the net (net access will be sent via a link 40 minutes before performance starts)

Pris/Price: 50 NKR Kjøp tilgang ved å trykke HER/Buy access by clicking HERE

Processing choreography

Have I gotten so used to working with positive feedback that I am now incapable of seing what I need to improve? I like the work and of course I can improve some parts of it. If I do improve it I loose the rawness I appreciate as an esthetic, and so the work has to be this way.

I defy the odds of what a chronically ill person does, or even should do, using ones logical mind. But for me choreographing and dancing is vital to have a sense of joy. The choreography of movements are influenced by the illness but not limited by it. Because the theme is integrated in my life situation it makes the process very real. I have left some parts open for improvisation with thematic intentions* as a rule. Working on Karantena #millionsmissing has given me vitality and growth as an artist that certainly hasnt benefitted the inflammations that runs through my body. Life could be so much worse. I will spend the time it takes to rest and hope that my health is ready in time because now part 2 starts. We are happy to be invited into the October dance festival the 29th of October.

*”Thematic intention” is a term I use to describe a tool you use in choreography when you have pre-determined the mode, feeling, movement or idea with great clarity before execution of the work. Thematic intention could also be not to have a clear thematic intention and see what happens. In order for one to use this tool you have to have an awareness of it for it to work either way.

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Har jeg blitt så vant med å jobbe med positiv tilbakemelding at jeg ikke er i stand til å se det jeg trenger å forbedre? Jeg liker faktisk arbeidet mitt, og jeg kan selvsagt forbedre noen deler av det. Og om jeg forbedrer det vil jeg miste noe av råheten som jeg verdsetter som estetikk, så arbeidet må være slik det er. 

Jeg trosser normen av hva en kronisk syk person gjør, eller bør gjøre, om man bruker sin logiske tanke. Men for meg er det å koreografere og danse vitalt for å kjenne glede. Koreografien av bevegelser er i dette arbeidet influert av sykdommen, men ikke begrenset av den. Fordi det tematiske i min prosess er veldig virkelig. Jeg har gjort noen sekvenser åpen for improvisasjon med tematisk intensjon* som regel. Å jobbe med Karantena #millionsmissing har gitt meg vitalitet og vekst som artist, og samtidig har det ikke gitt fordelaktige goder til betennelsene som løper gjennom systemene i kroppen min. Livet kunne vært verre. Jeg vil bruke tiden det tar til å hvile og håper at helsen er klar i tiden fordi nå starter del 2. Vi er glade over å bli invitert til Oktober dans festivalen #dansenfest 29 oktober.

*Tematisk intensjon” er en terme jeg bruker for å beskrive et verktøy jeg bruker i koreografi når en har bestemt på forhånd hvilken atmosfære, følelse, bevegelse eller ide man har med stor klarhet før en går i gang med arbeidet. Tematisk intensjon kan også være det å ikke ha klar intensjon og derifra se hva som skjer. For å bruke dette som et verktøy må en ha stor bevissthet rundt det en gjør for å mestre verktøyet.

Emotionalism/emosjonalisering

9FC70CBF-D181-4D86-83D8-3D7A18DC13B2In my choreographic tool box there is a made up term I call «emotionalism». This tool can be explained as: chasing the body to emote, through intense physical devotion when improvising. Usually «emotionalism» comes through the body when repeating a movement again and again, allowing and being consciously aware that the breath is part of the movement. Its an exhaustive tool that comes to life through total physical commitment and sincere devotion. A person will find their own authentic body expression through committing to mastering the tool. In my research over the last 7 years I had the pleasure of working with many different people that came to my workshops. I came to see the tool as a guarantee for high level drama in both trained and untrained people in improvisation. The deciding factor of the mastery of the tool isnt how trained people are, but the sincerity in the execution of the tool. You cant fake “emotionalism” in order for it to work, it needs total devotion and commitment, and it is exhaustive. You can reach the mastering of this tool through devotion to physical risk. And to reach “emotionalism”, you have to be willing to explore emotional risk. I will write more about this in my next blogposts.  Click for info on new work!
On a personal level this is the tool I love more than any other, and it is a tool I rarely can use anymore due to my chronic illness. But my awareness of the tool allows me to use it when required as I “energy economize”. This I have been forced to in my journey as a chronically ill choreographer. Does this mean I cant create art on a high level anymore? It perhaps depends on the subjective view of the person watching. What is for sure is that it requires a very different process than I was used to, and it challenges the crafting of all aspects choreography.
We must not allow feelings of defeat to take root in our hearts. Daisaku Ikeda
Karantena #millionsmissing
I min koreografiske verktøykasse er der en terme som jeg har kalt for “emosjonalisering”. Dette verktøyet kan forklares som at du jager kroppen til å uttrykke en følelse som ikke trenger å være bestemt på forhånd. Dette gjøres gjennom intens fysisk dedikasjon i improvisasjon. Vanligvis kommer “emosjonalisering” gjennom å repetere en bevegelse igjen og igjen, mens en er bevisst om at pusten får lov å være en del av bevegelsen. Det er et uttømmende verktøy som kommer til live gjennom total fysisk forpliktelse og oppriktig hengivenhet. En person finner sitt eget autentiske kroppslige uttrykk gjennom å hengi seg til å mestre dette verktøyet. I min forskning over de siste 7 årene har jeg hatt gleden av å jobbe med mange forskjellige mennesker som har kommet til mine fysisk improvisasjon praksis workshops. Gjennom observasjon fant jeg at dette verktøyet garanterte et høyt dramatisk innhold i både trente og utrente i improvisasjon. Det avgjørende i mestringen av verktøyet er ikke hvor trent folk er, men oppriktigheten i utførelsen. Du kan ikke fjuske om du skal få verktøyet til å fungere, du trenger en total hengivelse og forpliktelse, og det er uttømmende. Du kan mestre verktøyet gjennom å dedikere deg til fysisk risiko, og samtidig må du være villig til emosjonell risiko. Dette vil jeg skrive mer om på mine neste blogg poster.
På et personlig plan er dette verktøyet det jeg elsker mer enn noe annet, og det er det jeg nesten ikke kan utføre selv lenger på grunn av min kroniske sykdom. Men min oppmerksomhet om verktøyet tillater meg å bruke det når det trengs mens jeg energi økonomiserer. Dette har jeg blitt tvunget til som kronisk syk koreograf. Betyr dette at jeg ikke kan skape kunst på høyt nivå lenger? Det avhenger kanskje av den som ser. Det som ihvertfall er sikkert er at det krever en veldig annerledes prosess enn jeg pleide å ha, og jeg er utfordret i min skapelse av koreografi. Klikk her for å kjøpe billett til min nye forestilling! 
Vi må ikke la følelsen av tap rotfeste seg i hjertet. Daisaku Ikeda
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Karantena #millionsmissing

Exhausting possibilities/å slite ut muligheter

Exhausting possibilities is a term used to describe artistic explorations within training movement imagination, thematic intentions and all nuances to developing a work, with the aim of truly doing an in depth job of investigating all possible outcomes. The next step would be to make choices from the options the possibilities has offered. But what if one is exhausted by all the possibilities? What if one has to make a choice there and then, and trust that this outcome is the best possibility there is as there is no possibility for another outcome? What if life is narrowed down to as little as breathing, sleeping, eating and the art is about not exhausting, but trusting that the best outcome is there when it counts? This way of working comes with pros and cons, and perhaps this in itself is exhausting possibilities. “It is what it is” is a popular saying these days that is used to be real about a situations and indeed something cant be what it isnt. 

You can buy your ticket to the performance if you click on this link and follow instructions.

Å slite ut muligheter er et begrep som brukes for å beskrive kunstneriske utforskninger innenfor det å trene bevegelses fantasi, tematiske intensjoner og alle nyanser i dybde arbeid med å undersøke alle mulige utfall. Det neste steget er å ta valg utifra alternativene som har kommet frem under utforskningene. Men hva om en er utslitt av alle mulighetene? Hva om en må ta en avgjørelse der og da, med en gang, og stole på at utfallet er den beste muligheten som eksisterer, ettersom det ikke er noen annen mulighet for et annet utfall? Hva om livet er innsnevret ned til så lite som å puste, sove, spise og kunsten er å ikke slite ut og stole på at det beste mulige utfallet er der når det gjelder? Denne måten å jobbe på kommer med fordeler og bakdeler, og er kanskje i seg selv en måte å slite ut muligheter på. “Det er det det er” er en populær frase brukt mye i dag for å beskrive noe som er virkelighet, og det er jo slik at ingenting kan være noe det ikke er.

For earlier blog posts from the process click on these links: 

The ugly ph(f)aces 

Cronic choreography

Karantena #millionsmissing

The ugly ph/(f)aces

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Photo: Jorunn Ingvarda Rødseth Pedersen @ingvarda Dancer: @kristine.nilsen.oma

Accepting the limitations cronic illness comes with has been the hardest lesson to learn. And I am still learning. The hard way. And I hope the hard way can contribute to a better way. The anger and the depth of pain that I dont like to show has the tendency to emerge from the failure of managing the illness optimally. So here we go again, an ugly face in an ugly phase (PEM). Sometimes its not worth the energy to acknowledge the pain and the anger of life lost and triggered feelings, as it only leads to dwelling in it for even longer. To know your darkness is to master it. That is what my chosen buddhist mentor Daisaku Ikeda teaches me. So when I notice my anger in photographer Jorunn Ingvarda Rødseth Pedersen pictures of me from a year ago, I try to truly look at it as a lesson in looking at my truth. I certainly didnt pose to get this picture through, but she caught it and it made me aware. It took me over a year to digest it.

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Photo: Jorunn Ingvarda Rødseth Pedersen @ingvarda Dancer: @kristine.nilsen.oma

And when the fatigue shines through its a reality of living with severe ME that is hard to bear. Its there on a daily basis and its perhaps the truest picture you will ever see of me. Out of performance mode, into realness and out of control. I sometimes joke that I am well prepared for being an elderly. But it isnt a joke. It is reality. I would be the perfect coach in how to deal with bodily decline. Going from dancing professionally to not being able to be out of bed more than 4 hours a day would be a reality most people would find hard to deal with. I deal with it AND I find joy every day. From acceptance, practice and determination. You are welcome to see the performance I am working on to create awareness of the #millionsmissing around the world. Follow this link for updates, information and how to get tickets: Karantena #millionsmissing

Cronic choreography

I wanna shout, dance, scream, laugh, play, live, explore, investigate and have endless conversations with all the people I respect artists and friends alike. Right now I am quarantined again as the COVID19 virus is slowly increasing in Norway, again. The conflicting feelings of wanting to do more, and accepting whats real in my existence as severely ill is bothering me.  I am preparing for streaming my new work at the Fringe festival here in Norway 5th of September. The dancer ego in me is not bothering me too much fortunately, I am used to this life of endless rest in preparation, and visualization of the performance as I have done work in this cronic state before. I just miss doing more, thats all. And this longing drives my ambitions. To perform gives med the excuse to dance in a literal sense. I have concerns as my body is showing symptoms of pain and flu, if they are extra severe on the day of performing it will effect my ability to do what I am planning to do. Yet I have faith that its going to be as good as it gets. I hope you will tune in to this one off performance that might have a longer life. We will see.

Words are words, but they are also something more. They are imbued with spirit, with feeling. Daisaku Ikeda

Dance is dance, but dance is also something more. Dance is imbued with spirit, with feeling and I hope to find what Al Wunder calls “the beautiful and profound” in the abstract mode through my work. I wish you welcome to see this new work I am creating.

Karantena #millionsmissing

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Foto: Jorunn Ingvarda Rødseth Pedersen @ingvarda @kristine.nilsen.oma @okfotokurs @folkeakademietbergensentrum @grieghallen

In a series of artivism work choreographer Kristine Nilsen Oma addresses the issue of isolation due to chronic illness, and uses her quarantine to create a new work that will be live streamed at Norway Fringe Festival from the quarantine of her own flat. A lot of people have experienced quarantine since the COVID19 pandemic broke out this year. For the #millionsmissing living in quarantine is normalcy. Can this pandemic create a wave of change and empathy for the chronically ill, due to everyone having to experience this kind of life? Karantena #millionsmissing takes the audience closer to the quarantine life of the choreographer herself. Being known for her extremely personal work, this new work will be as personal in the context of whats going on in the world with COVID19. The work addresses the universal experience of isolation. With the laptop as a camera, the dogme film rules as inspiration, and the risky technique of live streaming on a cheap budget enhances vulnerability.  The movements are inspired by the limitation of the small flat and is a response to the meeting between the theme of isolation, the room, the laptops camera and the internal response to knowing an audience is watching live.  The audience becomes a spectator to the choreographer that is longing to dance.

The performance will only be live streamed once and is not available to see for the public after it is done. For information on tickets, time and place follow this link as the details are getting clear closer to the date: Performance details

Karantena

Karantena is a character that has had many lives. Now in this corona world she only leaves her quarantine for photo shoots that is being sent for a fellow artist in Lebanon and Malaysia, random friendly meetings on benches a 100 meters distance from her flat where one can sit with 1 meters distance, and for the last month also driving with her husband (who lives elsewhere) to empty spaces to avoid feelings of claustrophobia. She is sometimes weak and sometimes strong sometimes angry and sometimes joyful and so much more, but never bored. She is highly strung and has been a character in several of my art works. In Karantena she has gone slightly madder after months in quarantine and only seeing her green palm as a live living being, beside the random people passing outside that she can see from a distance from her balcony. She has lived through heartache, chronic illness, abuse, isolation, success and failure in her 46 year of age. At this point she feels she has earned the right say something about her current state in the world, and she is no shy at saying it and showing the very private life in her living room. She will most likely have to go back to total isolation when the presumed second wave of Covid19 starts to flourish. Perhaps Karantena can have some words of wisdom for those who struggle with this new threat to our world? Or perhaps she will only add to their feelings of despair? Karantena tries to be a humorous, deeply personal and real about the existential mood in our current world. Karantena will have its premiere at Fringefestival in Bergen, Norway. It will be livestreamed so you can tune in anywhere in the world so make sure to follow this blog for updates in the process!

Do you want to engage in secret feedback sessions as the work is being created? Send us a private message on Facebook Kristine on Facebook

 

Thank you to the wonderful photographer Jorunn Ingvarda Rødseth Pedersen who took these pictures of me Kristine Nilsen Oma at Ole Henrik Kongsvik course organized by Folkeakademiet Bergen Sentrum