After last week, preparing this time was somewhat more orderly, though we moved everything but the sofas out of the space, and seemed to have more of everything, though taking up less space. The same group again, Antek, Andreas, Rui, Monica, Ursula, Hartmut, Dasniya, and myself. Me mostly being outside photographing and occasionally making something with the rope, Hartmut making tea (no, he is not Teapot), and the other six dealing with the table.

Dispensing with a warmup, once we’d got through costumes and makeup, and were sitting around the table discussing last and this week, come 17h the ‘audience’ promptly arrived. Very prompt.

We’d talked about having an hour or so on our own to get things going, and so expected their arrival around 18h, and for people to come and go more like in a gallery. So, taken by surprise and the number of people who wandered in right on time, and finding it being regarded more as a performance than installation, we decided in future we’ll never mention the time we’re starting at, just sticking to from when anyone should make an appearance.

It got off to a fast start then, being nothing like some nerves to focus attention. And yes, by 18h when we’d hoped people would show up, it was getting decidedly interesting, with two long ‘scenes’ dominating the final hour.

Maybe to mention the limitations, as this was a rehearsal of sorts. It would be really nice to do this in Uferhallen proper, the vast space and us populating it, giving a background that is both visually interesting, a very specific light from above combined with blue-grey, concrete, oily steel colours, as well as the void between us and it. This space is vital to be able to create some balance between absence and objects across all scales.

The lighting also is obviously not so nice. Even a few cans from above would pull focus and shape the room and action. A few more and that would be all that’s necessary to attain a heightened sense of otherness in what’s being observed. It doesn’t need a huge rig and multiple states, but it really does need attention to this.

And obviously hiring some baroque costume frippery and a grass floor (and the occasional goat) would round it out nicely.

We tried without any sound this time, just that of Hartmut making tea, and this also seemed to leave the room too empty, with nothing for us to sit on. It might be appropriate to mic the space and then process the audio so it’s not intrusive and somehow can be sensed to come from the room.

As for what went on, the performance, installation, the people in it … this was so qualitatively far from last week. There were some quite excellent arrangements, scenes, progressions, starting especially from when Rui mimicked Dasniya on the floor, both suspending one arm. This was about the end of the first hour, so it seems it does take that long to build a bit of mess in the space and get through the establishing of everything.

Ursula wandering out to have a cigarette, causing a few people to follow her to see what was going on … Rui tying Antek over the table while Ursula read from The Soft Machine, “cocks ejaculating, soap in asses, cocks shooting like fireworks in the sun …” and so on (I later swapped it for Negarestani’s Cyclonopaedia, which was even stranger), with Andreas, Dasniya and Monica sitting along the wall next to Hartmut – this scene went on for a while and became decidedly uncanny in its stillness with the text.

Antek remained there till the end, joined by others at various times, and in somewhat symmetry by two suspended at the other end of the table. Many other smaller things interspersed.

This then, was our first attempt at an anarchic unshibari installation/performance. There’s a lot we could continue with, and shambling towards putting it in a proper big space with all the required accoutrements would be very nice.

(And very many thanks to the unshibari-ists who spent the last two Sundays in a mess of ropes to try this all out!)

Jute Disintegration – Books and ropes on table

Jute Disintegration – Rui

Jute Disintegration – Hartmut and tea

Jute Disintegration – Andreas’ wrist

Jute Disintegration – Hartmut and Dasniya

Jute Disintegration – Beginning, eating

Jute Disintegration – Andreas, foliage

Jute Disintegration – The table and reading

Jute Disintegration – Legs

Jute Disintegration – The table and reading again

Jute Disintegration – Ursula

Jute Disintegration – The table, Dasniya, Hartmut

Jute Disintegration – Reading, listening, suspense

Jute Disintegration – Andreas, Antek

Jute Disintegration – Suspended with table

Jute Disintegration – The entire mess

Jute Disintegration – mess again

The distinct piggy horsey barn-y whiff of hemp arrived with the opening of the door, and there lay all variations on rope one could desire. 3- and 4mm hemp up to 30mm or larger. Devices for hanging, wire rope plaited, with or without rings, and about a third the price of Jute rope from Japan, though nonetheless having a nice enough feeling to know it will work well. And 300kg breaking strain for the 6mm stuff makes for happiness.

We drew up a list of quite a lot. As with Parsifal, a lot isn’t so much once it’s binding a body, and even less when it’s in a messy style. But with four or five people needing to be tied, it’s self-evident that the number of metres approaches the thousand mark. Which would be a very nice amount to play with.

After a short discussion with the wholesaler (and much salivating over the contents of the catalogue – circular ropes! Imagine tying with a Moebius rope…), we visited the workshop – mainly I wanted to look around the ropewalk, though a tour of the warehouse with, and the discovery of pre-oiled rope for use by chimney sweeps was a delight (as was the naked ladies on the wall calendar).

I could easily imagine making use of all the ropes here and coming back for more. It’s a little gluttonous, no?

The Lusche rope workshop

Piles of rope coils

We’d been meaning since then to ask again for the person’s name, as the only Swiss photographer with that name seemed to not have made a history of hanging up large masses of people in dirty machine halls. And as we’ve been slowly working on mass suspensions in such places, it seemed unseemly for such a thing to happen in Uferhallen without us. Sunday though, the ladder was required once more.

Dasniya returned with ladder and with someone I thought might be a extra for our rehearsal.

Actually, he was that Swiss photographer, and the ladder had neatly intervened to arrange our meeting precisely as we began our own rope installation. We talked briefly, and perhaps twice during the rehearsal (once amidst ‘responsible/unhelpful 30 second shibari’) he returned to watch.

Some talking, some phone calls made to Dasniya. Leading to this afternoon in Matthias’ studio with a score of people here to film Michel Comte’s Madame Butterfly – The little girl from Nagasaki, and some buckets of clay. Massive sculptures and friezes fill the space, into which dancers shall be dressed in gauze kimonos, tied (yes, in our beloved anarchic unshibari), and suspended.

An attempt was made on Dasniya after lunch, using our dear Parsifal ropes, and the vats of clay, draped across a work-block and more than smothered in the slippery sticky goo. Embedded in handfuls rubbed and squeezed into the ropes until hands, feet, torso were rough, unshaped clumps. The ropes have never been so surprised, and for the first time no amount of delicacy could extract them – if they could even be found in the benthic geology – and so scissors were resorted to.

Which is to say, Dasniya and I have found ourselves working with Michel and a large group on his film for the next week or so. So much for going to Paris, and all because of a ladder.

(I have photos and even video, but perhaps I am becoming responsible, and shall confer before uploading.)

The vaguest of general ideas was that it might be nice to do all this with quite a few people, and over quite some hours, until it becomes mundane or unaffected. Yet it’s also something to perform, and so resembles the act of performing. I’m fairly sure I can’t say anything concrete of what it’s about, as I’ve decided it’s better to say nothing precise than to risk in saying something causing that to be what it manifests as. Nonetheless, anyone who has been reading me writing on this stuff, or knows my or Dasniya’s work will not find it entirely unfamiliar.

Sunday then. We are starting in the afternoon, and it will probably get interesting after 17h, or possibly 18h. You might like to come along and watch for a while. Café Pförtner will also be open as usual, so coming and going, missing things, hoping for something interesting, seeing things change, might work well with wandering around Uferhallen.

There are many people and many ropes. Some are tied/tying themselves to/on/ around/above/below a long table; others are self-suspended/partially suspended/ mostly on the ground; others might just have one rope wrapped around them. Time passes, and this changes. Someone/people might move from one place to another, suspend themselves or come to the ground, join or leave, form or disband a group.

It is an anarchy of shibari; repetition and difference. It is It is also somewhat baroque, or ‘dressed up’; something of an installation, something of a performance.

We played with some tasks, instructions, methods or organizing ourselves and each other, of my newly-discovered “30 second responsible/unhelpful shibari figure technique” … I was reminded to think of Hans during Settlement, and the various improvisations and tasks that caused a certain inventiveness by exhausting the most obvious ideas and the subsequent ones also.

The last couple of hours found us arranged around a table, Rui reading from Burrough’s The Soft Machine, Dasniya having an idea for this with food as her next unshibari project, me trying to fit in and take photos, Monica, Antek, Ursula and Andreas also at seats, while Hartmut prepared Matcha for us.

Next Sunday, we repeat again. Possibly with more people, possibly with people watching.

Something of what it was…

Jute Disintegration – Rui reading

Jute Disintegration – Andreas

Jute Disintegration – Rui and table

Jute Disintegration – Monica and Antek

Jute Disintegration – Dasniya’s legs

Jute Disintegration – The table

Jute Disintegration – Dasniya above table

Jute Disintegration – Rui reading again

Jute Disintegration – Table tableau

Jute Disintegration – Rui and Andreas reading

Jute Disintegration – Dasniya and Hartmut

Jute Disintegration – Andreas

Shibari + Yoga
Week3: July 30 – Aug. 3
17:00 – 20:00
Aresnal F
ImPulsTanz Workshops 2012 – Dasniya Sommer

Nawa Shibari means to wind, to knot or to bind with ropes. It refers to the ancient Japanese practice to tie up a person and was originally developed by Samurai in the 16th century. Today it is a technique to play physically, to perform or to experiment with the body and restriction. The workshop combines principles of Yoga with the tying technique Nawa Shibari. This Japanese term is usually translated as winding, knotting or binding a rope. Today it is a technique to play physically, to perform or to experiment with the body and restriction. The styles in Shibari are noticeably versatile, yet one can say that there are basic figures to use ropes effectively.

A crucial aspect of this is the combination of functionality with aesthetic rules. There are particular shapes and angles to tie ropes, which create a certain look and a sense of solid limitation at the same time. This is comparable to a moment of embracement, which supports the body and enables the tied person to relax into the ropes. In this sense the material can be understood as an extension of arms. A firm hug.

By starting a 3 hours with a short Yoga practice, the perception of the body gets refined before we engage into partner work. The Asanas (Yoga postures) focus on the effcient use of muscles or on alignment of the torso, head and limbs. Rotation of the spine or balance exercises can be tried in variously challenging postures.

Then there is the Kinbaku side in Shibari which is more concerned with the biochemical or psychological effects. In Japanese tradition they speak of capturing a persons heart, to connect to the partners spirit or to touch them soulfully. This experience of fragile intensity can happen in both directions. The tying person and the person being tied can direct the scene from their individual angle. The notion of power shifts within the constellations and is often not as straightforward as it appears from the outside. To guide the mind in an enjoyable way and to bring it back on the ground is a matter of sensitive touch with ropes and care. To shape the figure from inside is an equally minimal and a seductive task. Beside the serious and almost orthodox way of Shibari technique there is an utterly playful and animal like experience in ‘play’.

Bring comfortable clothing, a snack and your own ropes if you have.

Dasniya Sommer

Dasniya is based in Berlin. Her present focus in choreography is ,Shibari‘-Japanese rope bondage. Her work gained wider recognition in contemporary dance through her solo performance MA√ 15 { idiosyncrasy } || sin x = ly – fx²¯, using ballet, meditation, and self-suspension techniques, presented by Tanztage Berlin in 2009, Arte and City of women Festival (Ljubljana).

In 2011 she was part of the artistic team in Roméo Castellucci’s staging of the opera Parsifal at La Monnaie | De Munt in Brussels. Dasniya coached Shibari for the theatre production “BurkaBondage” by Helena Waldmann. In 2010 she was invited to perform this piece in India and Sri Lanka. Initiated by Tudelisuuden Tutkimuskeskus the Museum of contemporary Art Kiasma in Finland presented Dasniya‘s participatory rope installation as part of the Theatre Now Festival.

In 2012 she continued to collaborate with the finnish theatre group.The first showing of “Archetypical Encounter” was shown this year at the Performance Centre (Helsinki).

Her research is strongly influenced by her theoretical studies in philosophy, analytical feminism and aesthetic, which she undertakes at the Humboldt University of Berlin. She reflects on questions of body concepts and ethics in her stage work as well as her teaching. Her current artistic collaboration with the performer and choreographer Frances d’Ath focuses on structural aspects of Shibari, without following traditional notions of gender roles and its fetishised aesthetic.

Dasniya Sommer (Foto Patrick Siboni)

Yoga + Shibari at Charleroi Danses

Table Shibari at Alte Kantine Wedding

Shibari Installation Brussels

Dasniya tying Thomas

For English please scroll down/ Please forward to people who might be interested

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Bonsoir liebe Kolleg_innen!

inspiriert aus Paris findet Ihr anbei unsere Maiveranstaltungen. Jeden Mittwoch geht es in Berlin mit ‘Yoga & Shibari’ weiter, sowie mit einem jungen Performance Projekt zum partizipieren. Es handelt sich um eine Seilinstallation für die wir noch experimentierfreudige Teilnehmer_innen suchen. Außerdem freuen wir uns diesen Sommer beim TanzImPulsFestival in Wien zu unterrichten. Für mehr Details bitte runterscrolen.

Herzlich,

Dasniya und Frances

1. Yoga & Shibari Berlin
2. Self-Suspension Workshop-Berlin
3. ‘Jute Disintegration’ 
4. Einzelunterricht
5. Sommerprogramm

Foto: Self Suspension Workshop Berlin, in den Uferhallen TEATRIS / Alte Kantine Wedding.

1. Yoga & Shibari 

Dieser vierstündige Workshop kombiniert Yoga mit der japanischen Seiltechnik ‘Shibari’
Workshoptext
Yoga Der Yoga Kurs kann unabhängig vom Shibari/Bondage besucht werden.

Termine: Mittwochs 9.,16.,23.,30. Mai 2012
Von: 19-23 Uhr
Ort: Uferhallen Kulturwerkstatt, Alte Kantine Wedding / TEATRIS, Uferstr. 8-11, 13357 Berlin
U8 Pankstr/U9 Osloerstr.
Kosten: 20/15 Euro

2. Self-Suspension Workshop am Sonntag den 27. Mai, 14-20 Uhr. In diesem Kurs behalten wir die Seile in den eigenen Händen. Üben Aerial-Multitasking, das bedeutet Seil- und Atemtechniken mit physischen Intensitäten, Entspannungsmomenten und Kraft zu koordinieren. Und verwenden knotentechnisch traditionelle Figuren, sowie unseren liebgewonnenen Anarcho- Style.

Ort: Uferhallen Kulturwerkstatt, Alte Kantine Wedding / TEATRIS, Uferstr. 8-11, 13357 Berlin
U8 Pankstr/U9 Osloerstr
Kosten: 50/40 Euro. Anmeldung und Info: email hidden; JavaScript is required

3. ’Jute Disintegration’ – Eine partizipative Seilinstallation

Es gibt viele Leute und viele Seile. Einige sind verflochten/binden sich selbst an/auf/unter und um einen langen Tisch herum; andere seilen sich zur Hälfte oder gänzlich in die Luft/bleiben ebenerdig. Wieder andere haben Seile um sich drapiert. Zeit vergeht und diese Dinge verändern sich. Möglicherweise bewegen sich Personen an andere Stellen, suspendieren Körperteile oder landen. Spiel mit oder lös die Gruppe auf!

Wann: Sonntag 13. und 20. Mai. Mehr Infos zu Proben und Teilnahme hier.

4. Einzelunterricht oder kleine Gruppen können flexible organisiert werden.

Mehr Infos unter: email hidden; JavaScript is required

5. Sommerprogramm 

Shibari/Yoga Workshop beim TanzImPulsFestival Wien: 30. Juli- 4.August; Mo-Fr jeweils 17-20 Uhr

Im Juli werden wir vorraussichtlich in Brüssel unterrichten. Die Infos gehen asap raus!

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Bonsoir chère colleagues et amies!

back from Paris and happily inspired you find enclosed the May prgram. Every Wednesday there will be ‘Yoga and Shibari’ in Teatris, Berlin. Additionally we are working on a young installation performance and are still looking for people who want to participate. We are also happy to announce that we’ll be teaching at ImPulsTanzFestival this year. For more details please scroll down.

Hope to see you there!

Dasniya & Frances

1. Yoga & Shibari

The workshop combines principles of Yoga with the tying technique Nawa Shibari – Workshop Text (english) May 2012.pdf.
Yoga- Yoga can be practiced independently from Shibari /Bondage

When: 7-11 pm
Dates: Wednesdays, May  9, 16, 23, 30, 2012
Location:  Uferhallen Kulturwerkstatt, Alte Kantine Wedding / TEATRIS, Uferstr. 8-11, 13357 Berlin
U8 Pankstr/ U9 Osloerstr.
Costs: 20/15 Euro

2. Self-Suspension Workshop on Sunday May 27th, 14-20 Uhr. We will take apart the complex art of self-suspension. Coordinating rope technique, strength, breath, relaxation and physical intensities while being suspended with ropes. Using traditional tying figures and our beloved anarchic improvisation.

Location:  Uferhallen Kulturwerkstatt, Alte Kantine Wedding / TEATRIS, Uferstr. 8-11, 13357 Berlin
U8Pankstr/ U9 Osloerstr.
Costs: 50/40 Euro.
Registration: email hidden; JavaScript is required

3. ’Jute Disintegration’ – Eine partizipative Seilinstallation

There are many people and many ropes. Some are tied/tying themselves to/on/around/above/below a long table; others are self-suspended/partially suspended/mostly on the ground; others might just have one rope wrapped around them. Time passes, and this changes. Someone/people might move from one place to another, suspend themselves or come to the ground, join or leave, form or disband a group.

It is an anarchy of shibari; repetition and difference. It is It is also somewhat baroque, or ‘dressed up’; something of an installation, something of a performance.

When: Sunday 13th und 20th May. For more information and participation here.

4. Individual training or small groups can be organized spontaniously.

More information: email hidden; JavaScript is required

5. Summer program

Shibari/Yoga Workshop at ImPulsTanzFestival  in Vienna: July 30th -  4th Mo-Fr from 17-20 pm.

In July we will most likely teaching in Brussels. We’ll send the updates asap!

Dasniya Sommer TEATRIS Self-suspension

More important than my reading habits, for those of you in or near Paris, Dasniya is teaching a shibari workshop this weekend. All the details are below. (And another excellent piece of news shall be announced shortly.)

Salut, Dear Friends,

Below I have attached the rider for the Shibari workshop in Paris:

This Saturday, April 28th
Location: Point Ephémère, 200 quai de Valmy, 75010 Paris,
Metro: Stalingrad
Hours: 18-22 h
Registration: email hidden; JavaScript is required
Costs: 40 Euro

I am super delighted to teach for the first time in this city and more over in such a vibrant location!
Looking much forward to see some of you there.

Dasniya

WORKSHOP Techniques de Shibari à Paris .pdf