Eeva Muilu

 

I am currently working on the piece 〰 〰 〰 , which will have its premiere at this year’s festival.

In the beginning of this creation process, I recognized a need to do ’planning’ by dancing – not by starting conceptually with books or the computer, but by going into the rehearsal studio to dance and to write about dancing. I wasn’t searching for anything specific, but I believed that the process would lead into something. Dance begins to talk and create thoughts and ideas.

This practice of dancing and thinking about dancing sparked one primary question for the piece: what is dance before choreography. Or how can dance be before everything; before thought, language, or definitions. How can we, as a working group, create the circumstances for dance to appear and become to be, without us making it into something particular. How can a piece be constructed in such a way that it functions as a place and environment for dance to appear. And how to sustain this openness of dance in the final form of the performance, yet striving for exactness and specificity.

I consider myself a choreographer and dance artist, and in that sense there is nothing peculiar about my desire to work with the question of dance. But it hasn’t always been like that. When I first appeared at this festival with my solo Sold Out (2007), I found it important to think that the performance doesn’t need to have any dance at all, if it doesn’t come naturally. At that time, I was working on topics that weren’t necessarily connected to dance at all. I was more interested in treating those topics in a performative way and all expressive means were possible.

During the past decade, my topics have gradually become choreographic or danced. I guess I have fallen in love with dance as an art form again. I feel that dance has a huge potential and speciality. Working in the art of dance is practicing a certain bodily philosophy. I find it extremely interesting to dance with certain thoughts and to let the dance create new thoughts. Or to ask what thinking in dance is; and what happens if one stops thinking with the brain, if thinking happens in the whole body; or if one doesn’t even call it thinking anymore but rather receiving, or connecting, or giving space to continuous happening in the bodyspace. And if the dancing bodyspace is larger than the space defined by skin. What if the body is porous and permeable, instead of a solid mass and structure. What if clear borders between phenomena disappear, and names and identities blur and dissolve. What will dance become if it is not guided by the choreographer or the dancer?

The practice of dancing and dance thinking has lived alongside the thinking and making of the piece. Where and how the performance eventually comes to be is a mystery. We can name the members of the working group, who all bring their own mind and language and body into the making, but in the end the performance comes to be somewhere between us, perhaps in the airspace that vibrates as words come out of one’s mouth, and another’s ear vibrates with them, and the vibration travels into the body and out of it, transformed, and bounces off the wall somewhere else. Words, actions, sounds, movements, space and light all vibrate and undulate us. And while we are thinking about something intensively, suddenly a certain kind of sunlight radiates into the studio, that everything appears so beautiful, even though we didn’t do much, only gave space and time for things to happen.

 

Eeva Muilu

 


Moving in November has previously presented Eeva Muilu’s solo Sold Out (2007) and In Human Disguise (2010) by Eeva Muilu and Milja Sarkola. Festival 2016 includes the new work by Eeva Muilu,  〰 〰 〰.


 

 

Moving in November festival has coproduced new works by Finnish dance artists for over ten years, To celebrate its 30th anniversary, the festival has invited artists 2007–2016 to write and discuss their artistic practice. These texts are published in the festival catalogue. On the Birthday Brunch on Oct. 5, 2016, the artists will discuss the texts together with the audience.

 > Read all artist texts