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Peak Middle-Age Bougie / Old Cunt On A Bike

Late-December last year, I got paid in one hit for a bunch of work on a couple of projects, that contemporary dance thing in Europe of getting cash after the work was done. One of those was the solo which got canned a few days before première (thanks poor response in Germland and EU to global pandemic) which we’d been working on since January.

So, I had mad cash and, for possibly the first time in my life, no pressing obligations. Also not mad enough cash that I could do bougie middle-age things like get a mortgage. Cash enough I’ve been working my way down a list that’s a decade old in places of stuff I need to buy. Like new underwear and socks.

And then there’s the big items. Big for me and pretty much everyone I know. The kind of things which cost up to a couple of thousand and actually cause me cold sweats when I think of doing the spend. ’Cos what if, tomorrow, I’m fully povo again and a couple of hundred is the difference between eating, making rent and all? Except this year I already have work till August and money-wise — ’cos I’m good at living on fuck all — I’m kinda sorta maybe doing ok.

I’d been struggling with training over winter. My back blew out in November, I was feeling well too soft to be doing 90-minute rides in below zero weather, and my base training felt majorly on a plateau. I’d been thinking of buying an indoor trainer for years, very attached to the idea of getting rollers rather than one of those remove the back wheel direct trainers, but somehow over the last few years (thanks bogan mountain bikers on a YouTube channel I watch far too frequently), I went for the latter. Went for multiple times and nah nah nah I’ll come back in the morning, need to sleep on this massive decision, only to find them sold out for more weeks, repeating this until a month ago when there it was in the morning, still available.

It arrived within days and sat there, unboxed for three weeks. Because I needed a 10-speed cassette for it, and decided to get an isolation mat and cadence sensor and new heart rate monitor and … and … absolutely spraying money around. And I knew I’d need a calm few hours to do the setup, get it all working, get a feeling for it. On Monday, I did that.

And joined Zwift.

Total fucking bougie middle-aged cunt on a bike.

Yeah but I’m also a semi- / ex- / occasional- athlete-ish dancer-ish professional who knows very well how much I fall apart if I don’t train and it’s work and an actual work expense and a serious commitment and investment.

For the moment I set up in my kitchen. My balcony has some weird, complex slopes I need to make a trip to the Baumarkt to get some levelling blocks to sort out. I put myself through the intro 5-day training plan, 30 minutes each ride and fuuuuck me I have to face the shame I might have never pushed myself as hard — or maybe as structured and intense within that structure, even though I like suffering. It’s very different having actual numbers on a screen to correlate to feeling, and to have to stay at certain numbers for more seconds or minutes than I’d do when doing laps at Tempelhofer Feld and doing it on feel. Mostly it feels like what I get in 30 minutes on the trainer is about what I’d get from an hour at the airport. And if I did my casual longer warmup and cooldown, 15 minutes either side, it’d maybe be comparable. Still though, I haven’t ridden since November, and very not in endurance and high-intensity shape, and I might be in love with how good a fit an indoor smart trainer is for me. Especially because I can set it up at 9pm and do a session in the dark.

And it occurred to me over breakfast that I needed a trainer if I ever wanted to make those solo endurance works, Preparation, and Hell of the North. And now I have one.

Yeah but the bougie, white, racist, cisgender, heteronormative, ableist, masc-centric, middle-class and all miasma is what cycling soaks in, road cycling especially, and online smart training environments even more so. There’s almost not a day that goes by where there isn’t another story about legislation to ban trans kids or athletes — almost always girls, femmes, and women — from sport, competition, changing rooms, swimming pools, and all. I barely ever see a rider who isn’t white — and yes, this is why riders like Ceylin del Carmen Alvarado and Teniel Campbell and Ayesha McGowan are important but aren’t in themselves or as ‘representation’ enough alone. I’m acutely aware of who I am when I’m in lycra on a bike in that environment. I’m acutely aware also, when I’m in queer and trans spaces, that my decades-long relationship with and love of physicality, training and the discipline that is part of professional dance which I carry into riding, climbing, and everything else, all this has a very uneasy, fraught and painful relationship of its own with and in those spaces. How my trans-ness, femme-ness, queer-ness bangs up against cis AFAB queer spaces has a history of exclusion that has an eerie familiarity with sport.

Shit’s mad over-complicated. I just wanna ride and thrash shit.

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Seen at Rosenthaler Platz: Me on a Tram Pole

That’d be me, Francesca d’Ath, and my toes, yesterday while biking to rehearsals.

Pandemic and very delayed sensible government response allowing, I’m performing at Sophiensaele next week. A double bill of two solos, the other with Claudia Tomasi, and both started with Isabelle Schad way back in January.

I don’t know if we’ll even get to perform next week, carrying on like we will, and it feels dead weird to be art-ing while shit goes exponential in Neukölln, Berlin, Germany, Europe … In case we don’t or if we do, here’s me looking well tasty.

And for everyone who saw that poster around Berlin-Mitte, yes, that is me, yes that person is trans femme and serving deep trans femme energy, and yes, even a glance at a poster of me will turn your children trans.

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Francesca d’Ath, Isabelle Schad: Knotting (at Wiesenburg)

Me back performing again.

I pretty much had made peace with moving on from dance and all in the last couple of years, enjoying training for myself and finding myself at a distance to those worlds. Then, late-last year, Isabelle said, “You’re doing a solo!”

We’ve been rehearsing irregular weeks since late-January, slowly building a work that finally got a formal-ish public outing on the weekend in Isabelle’s studio at Wiesenburg (masks and physical distancing and pandemic attentiveness obviously). First time performing in more than two years, and, after a decade living in Berlin, first time I’ve performed here — in a formal, dance scene context at least, not counting small, more private art-ing.

It’s been huge, a lot of work physically, mentally, emotionally, spiritually, and a lot of responsibility in being seen. Being seen by both the audience, some of whom recognised parts of themselves in me, and understand what that means, and being seen by those who came before, aunties, mothers, old ones who visited, who I called on ’cos I needed their strength and support and approval, and I needed them to see me, us like this. And my babaanne, wandering around after just out of sight. I am grateful for them all, and for those who came up to me after, who were the ones I needed to fully see me, and who I needed to see also.

Another pause now, then — as always, pandemic allowing — at Sophiensaele in early-November.

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Gesundbrunnen Humboldthain

Walking to the U-Bahn after rehearsing with Isabelle in Wiesenburg. Best part of Berlin is Wedding.

Michel Serres

More than Deleuze (with or without Guattari), more than Foucault, somewhat more than Derrida, so different to Butler, but like her someone I returned to again and again, for the quiet care and poetry, for the love of movement, one of that first group of philosophers I got introduced to by the same person at a moment in my life where they resonated, and — like only Butler from those names — continue to, 25 years on. I knew it was coming, likely sooner, but still, I lost my breath for an instant, I stopped.

The more I dance, the more I am naked, absent, a calculation and a number. Dance is to the body proper what exercise of thought is to the subject known as I. The more I dance, the less I am me. If I dance something, I am that something or I signify it. When I dance, I am only the blank body of the sign.

and

To dance is only to step aside and make room, to think is only to step aside and make room, give up one’s place.
To leave at last the page blank.

and

Laughter is that little noise, uttered in blank ecstasy.

Isabelle Schad — Reflection, at HAU1

I saw the second full run-through last Sunday of Isabelle Schad’s new work, Reflection, wrapped in the proscenium arch on the HAU1 stage. Everything I could hope for in the continuation of her group works. Opens May 30th.

Isabelle Schad / Reflection / HAU1

Thursday, 30.05.2019, 19:00, world premiere, HAU Hebbel am Ufer (HAU1)
further performances:
31.05.2019, 19:00
01.06.2019, 19:00
02.06.2019, 19:00

A group of performers negotiates the theatre as a space for social gathering, (re)presentation and an apparatus whose motors interact with the biomechanics and different energies of the human body’s movements. Reflection is the last part of a trilogy on the collective body. From the community that we form (Collective Jumps) to the analogy of nature (Pieces and Elements), Reflection brings the focus to energetic and physical forces that make us move and the importance of the singularity to move others.

Credits:
Concept & Choreography: Isabelle Schad | Co-Choreography & Performance: Jozefien Beckers, Barbara Berti, Frederike Doffin, Ewa Dziarnowska, Naïma Ferré, Josephine Findeisen, Przemek Kaminski, Mathis Kleinschnittger, Manuel Lindner, Jan Lorys, Josh Marcy, Claudia Tomasi, Nir Vidan, Natalia Wilk | Dramaturgical & Artistic Collaboration: Saša Božić | Artistic Assistance: Claudia Tomasi | Composition & Sound: Damir Šimunović | Light Design & Technical Direction: Emma Juliard | Costumes: Charlotte Pistorius | Costume Assistance: Maja Svartåker | Theoretical Collaboration: Elena Basteri | Production Management: Heiko Schramm | Production: Isabelle Schad | Supported by: Wiesen55 e.V.

In the frame of Performing Arts Festival Berlin / 28. May to 2. June 2019 / Performing Arts Festival Berlin 2019
more informations: Isabelle Schad / HAU

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Neukölln from KINDL

In the middle of Isabelle Schad’s 3-hour performance series, INSIDE OUT at KINDL, Neukölln and Berlin bringing it on a hot summer evening.

Isabelle Schad — INSIDE OUT, at KINDL

Isabelle Schad, in the first space I’ve seen her in, whose architecture really deserves her work (outside of Wiesenburg, of course), at KINDL in Neukölln for INSIDE OUT. I saw first rehearsals on Thursday last week, almost 3 hours of being transfixed. Still the best in town.

  • Thursday, 16.08.2018, 18:00 – 21:00, world première
  • 17.08.2018, 18:00 – 21:00
  • 18.08.2018, 15:00 – 18:00
  • 19.08.2018, 15:00 – 18:00

Admission possible at any time

In her performative exhibition INSIDE OUT Isabelle Schad shows choreographic sculptures that are experienced in their powerfully sensuous moving forms. Her work situates itself between dance and visual art, draws on her ongoing fascination with Aikido-Zen, community building and her long-term collaboration with Laurent Goldring, whom she invited to participate in INSIDE OUT. With subtle exactness they form bodies, material such as clothing, lengths of fabric and movement into sculptures which define their own space and evolve a contemplative quality.

Credits:

  • Concept & Choreography: Isabelle Schad | With the participation of Laurent Goldring
  • Artistic Assistance: Claudia Tomasi
  • By and with Jozefien Beckers, Barbara Berti, Frederike Doffin, Naïma Ferré, Josephine Findeisen, Przemek Kaminski, Mathis Kleinschnittger, Manuel Lindner, Adi Shildan, Claudia Tomasi, Nir Vidan, Natalia Wilk
  • Lighting & Technic: Bruno Pocheron, Emese Csornai, Emma Juliard
  • Sound: Damir Šimunovic
  • Costume Consultancy: Charlotte Pistorius, Lydia Sonderegger
  • Production Management: Heiko Schramm
  • Production: Isabelle Schad
  • Co-Production: Tanz im August / HAU Hebbel am Ufer Berlin

Funded by: Senatsverwaltung für Kultur und Europa. Supported by: Wiesen55 e.V., with kind support of the Croatian Ministry for Culture and defacto Zagreb, Institut français, Polish Institute Berlin, Embassy of Israel in Berlin

In cooperation with KINDL – Zentrum für zeitgenössische Kunst

Isabelle Schad — Fugen, at HAU3

Isabelle Schad’s Fugen, for which I was artistic assistance, returns to Hebbel am Ufer this week, for two shows, followed by a return of Solo for Lea at Sophiensæle on the weekend.

Dear friends and colleagues,

We would like to invite you to the reprise of the pieces Fugen and Solo for Lea by Isabelle Schad.

Both pieces are part of a series of works that Isabelle Schad subtitles as portraits and will be shown as Double Bill on the same weekend in HAU Hebbel am Ufer and Sophiensaele Berlin.

We would be very happy to see you here or there.

Fugen
Thursday, 05.04.2018, 19:00
Friday, 06.04.2018, 19:00
HAU Hebbel am Ufer, Berlin (HAU3)

Solo for Lea
Saturday, 07.04.2018, 19:30
Sunday, 08.04.2018, 19:30
Sophiensæle, Berlin

Fugen “… is a complex work that challenges both the choreographer Isabelle Schad and her audience in previously unseen ways. And thus creates opportunities to go beyond borders.” (Katharina Schmidt)

With Fugen, Berlin choreographer and dancer Isabelle Schad continues her work between musical concepts and their expression in movement. Coming from a music background and a lifelong interest in the polyphonic work of J.S. Bach, she attempts to look at her own (hi)story and the origins of (her) movement between discipline and pleasure. Fugen is an autobiographical work in which the performer’s body serves as an example for the construction of the individual within disciplines and systems one cannot escape from.

Solo for Lea, “A study in minimalism, a physical portrait and a sculpture in motion … a sublime draft.” (Elena Philipp)

Solo for Lea is a meeting between Isabelle Schad and Lea Moro. The work attempts to draw a very personal portrait of Lea Moro, dealing with the specificities of her body, its rhythms, its contours, colours and energies, playing with form-aspects of cubism and Picasso’s drawings in one dash. Together Schad and Moro engage in constellations of forming and disfiguring, in which the body itself becomes the stage: the space, place and matter that is the subject of observation.

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Ottensheim from Landgasthof Rodlhof

I found this photo, cleaning out my camera before yet another trip to Gemäldegalerie: the Danube is behind the line of trees.