Art stations fundation - by Grażyna Kulczyk

We meet in the practice and we practice the meeting.
Stepping on ancestors shoulders,
we delve into the presence.
And transform the future.

POLYPHONIES is the continuation of the project made in 2016 in collaboration with Vivadança festival in Salvador de Bahia, Brasil. It was based on a discovery (in 2013) of Polish dance artist Yanka Rudzka (1916-2008) that at the end of 50s of the XXth century emigrated to Brasil to establish there first ever department of dance (at University of Salvador) and to become one of the seminal figures for the development of choreography in Brasil. Totally unknown in her homeland, Yanka Rudzka revolutionised the local contemporary dance scene of Salvador, Bahia and turned out an outstanding choreographer and visionary dance educator combining (both in teaching and in her choreographic practice) modern dance (of German expressionism as well as of classical modern American style) with elements of local Afro-Brazilian culture, in particular the music and the rituals of the African spirit possession cult known as candomblé. Rudzka’s (then) revolutionary, controversial, and consistently implemented conviction was that contemporary culture could not develop without in-depth knowledge of its own sources an local traditions. Thus her artistic gesture of fascination with traditional culture, its deep analyses and strategy of transcribing it into contemporary choreography has inspired the project that has been implemented with the support of the Adam Mickiewicz Institute as part of the Polish Culture Year in Brazil 2016. The result was an exciting journey which took us to our dancing roots (and back to the present), and the performances of LEAVENING: an original choreography, created by Joanna Leśnierowska and Janusz Orlik as the result of a three-week residency in Salvador whose final presentation brought together on stage nine Polish and Brazilian dancers.

THE YANKA RUDZKA PROJECT: POLIPHONIES is the continuation of the project co-organised by the Adam Mickiewicz Institute as part of POLSKA 100, the international cultural programme accompanying the centenary of Poland regaining independence (as part of Choreographic Territories).
This time it brings together artists of Armenia, Georgia, Brasil and Poland which traditional culture seems at first so much different! However, when researched in the ethnochoreological perspective, next to fascinating and inspiring differences, it does reveal also fascinating similarities. These similarities include often their histories and accompanying narratives, organic relations with the ritual, universal values passed down from generation to generation, and the roles these dances fulfilled in communities, and some common basic principles of work with the body (such as flat footwork, indicative of the dialogue with the earth, or the low center of balance, or the idea of the vibrating body whose energy comes from the soil, or the occurrence of the same patterns of spatial and formal dance organization, not the least of which is the presence of the dominant circular pattern) - all of that can be encountered on almost every continent. As well as, last but not least, the fact that traditional dances are inherently group practices that bring us closer regardless of our beliefs, nationalities or skills, and they hold since always the very important power to create a COMMUNITY.
Establishing another step in our artistic journey to the dance roots, we are still very much convinced that without recognizing its own artistic sources contemporary art cannot fully develop. Practiced and deepened by reflection, non-stylized folk culture - both of dance and inextricably linked with it music - can become a major inspiration for contemporary choreography practice. Tracking not only the specific forms, but above all the narratives and values that accompany traditional culture, regardless of latitude, are an interesting contribution to the study of the community and ecstatic dimension of dance. Working on LEAVENING, the concrete strategies for processing movement material from the traditional culture area were clarified - both in terms of specific dances / steps, compositional patterns, and in the area of represented values (pride, joy, independence a.o.) and qualities – such as the intensity of energy levels, rhythms, the complexity of forms, the quality of particular life elements (such as water or fire, for which we find specific physical representations). In the course of our work, we pursue deep formal analysis traditional choreographic – decomposing them into the primary elements - deconstructing and re-constructing in the context of contemporary choreographic practice. These strategies will also be the basis of the work in the Caucasian edition of the Yanka Rudzka Project.
The theme of the work and a starting point for the performance is - inspired by the local musical tradition - a quest into the possibility of "polyphonic body" and "polyphonic choreography". We will focus on finding and practicing a “body of many voices” capable of "polyphonic" action by activating many parts of the body at once. At the same time, during improvisational sessions, we will be thinking together about the possibility of "multi-voiced" composition of movement - both at the level of quality and narration. The search will focus on the physical practice of the "polyphonic body" as well as on the theme of polyphonic choreography - composition - the "melody" of dance composed by many different bodies (voices) ad hoc, in the real moment (real time composition concept). Finally, we will also introduce a practice of “noise in the body” - a practice of movement research conceived by Leśnierowska/Orlik based on a search for physical representations of corporeal polyphony (and cacophony), a language of body containing a multitude of coexisting voices, the body that tries to communicate (through) them.
THE YANKA RUDZKA PROJECT embarks on a journey guided by the questions: where do we come from? What does our dance tradition entail—what narratives, what values, what formal elements that can potentially inspire contemporary choreographic practice? The imperative of the proposed journey and its undeniable value is the meeting of cultures —meeting through practice, which enables us to comprehensibly explore, understand, and confront with the unknown, foreign culture but also - with our own. The project allows a unique meeting with one’s own tradition, perceived and experience through the eyes (and bodies) of the Other, and leads to – often unexpected - discovery of that culture for contemporary choreographic practice.

Janusz Orlik (Poland), after graduating from ballet school in Warsaw became a student of Brucknerkonservatorium Linz (AT). During his studies he became a founding member of x.IDA Dance Co. and performed in productions created by Olga Cobos, Peter Mika, Catherine Guérin, Rebekka Murgi, Nicole Caccivio, Charlotte Vincent. Since 2002 Janusz has been a regular member of Vincent Dance Theatre (GB). Simultaneously, Janusz creates his own choreographic works, including “Exérèse monobloc” (2004), “and thy neighbour as thyself” (2006), “Live on stage” (2008), “The Rite of Spring” (2011), “Insight” (2013) awarded by The Minister of Culture and National Heritage of the Republic of Poland for Janusz Orlik and Joanna Leśnierowska for the best choreography granted as part of Polish Dance Platform 2014. His latest work “Mute” premiered in 2018. In 2007 he performed in “nothing” by towarzystwo gimnastyczne and in 2009 in “Happy” by Nigel Charnock, in which he was also involved as choreographer's assistant. In 2010 he joined Kwaad Bloed Company (BE) performing in “Forces”. In 2011 he joined Nigel Charnock + Company (GB) to create new work “Ten Men”. In the same year he collaborated and performed in “Reconstruction” by Joanna Leśnierowska and in 2012 with Gary Clarke (GB) performing in “Horsemeat”. In 2013 he began a collaboration with Daniel Landau (IL). In 2014 he performed in “… (Rooms by the sea) from the series Exercises in Looking” by Joanna Leśnierowska, in “Unintended Consequences” by Sjoerd Vreugdenhil, “Back to bone” by Rosalind Crisp and “Collective Jumps” by Isabelle Schad. In 2015 he performed in an excerpt of “Shirtology” by Jérôme Bel. In 2016 he worked as a movement director in “Ojczyzna” (Polish Theatre in Poznań), collaborated and performed in Polish-Brazilian production “Yanka Rudzka Project: Leavining”. Other works include “High heels” for the ballet ensemble of The Opera House in Kraków, “Alpha” for The Contemporary Dance Scene in Poznań, “Adagio” for the Musical Theatre in Poznań. As well as performing Janusz delivers dance workshops in various venues and dance schools in Poland and abroad. Scholar of the Ministry of Culture and National Heritage of the Republic of Poland in 2011 and 2018. www.januszorlik.com

Helena Ganjalyan (Poland) Actress, dancer, choreographer. Graduate of The Ludwik Solski State Drama School in Cracow – Dance Theatre Department. She cooperated among others with the world – renowned directors such as: Romeo Castellucci, Guilherme Botelho, Sabine Harbeke (MEDEA) a.o.. She also collaborated with such choreographers/collectives as Kaya Kołodziejczyk, Harakiri Farmers, Idan Cohen, Dzikistyl Company, Flesh System, Les Gens d’Uterpan (Paris), Jerzy Stuhr, Jacek Głomb, Lech Raczak. Helena’s solo MELT inspired by Shakespeare's Ophelia received an award at the 20th Shakespeare Festival in Gdansk. Her solo piece “Lady L. – unicut” was awarded at Solo Dance Contest 2012, 321 DANCE – choreography contest and SoloDuo + Friends in Cologne. Helena also works as a movement director for videos, photo shoots, commercials, and drama theatre. Helena was born in Armenia and as a kid moved with her family to Poland.

Anderson Danttas (Brasil) Actor, dancer, producer. Graduated in Business Administration (UNOPAR) and dancer (FUNCEB) is a member of the Other Theater Company, acting and producing. As an actor, he integrates the spectacles: Ruin of Angels; CLEAR [of how time reveals you], Patch Patch and What of you stayed in me. As a dancer, he danced to important Bahian choreographers, highlighting the show "Seeds", a result of Bahian and Polish artists, for the VIVADANÇA festival in 2016; and Sertanias, by Lia Robatto. In the production area, he worked at the VIVADANÇA International Festival from 2013 to 2015; besides working on projects of assembly and circulation of spectacles such as At the edge of the Sea, Patching the Bahia, Other Scenes and Foot on the Road, Ruin of Angels, What of you stayed in me and CLEAR.

Agnieszka Kryst (Poland) is an independent dance artist and choreographer; graduated from the Warsaw School of Economics (with MA diploma in Marketing and Management) and the Fryderyk Chopin University of Music in Warsaw with a MA diploma in Choreography and Dance theory. In 2013 she received a scholarship from the Alternative Dance Academy (Old Brewery New Dance, Poznań, Poland). In a frame of Solo Project Plus (of art Stations Foundation) program she created and performed solo piece ‘A Score’ (premiered in December 2015). In 2017/2018 she created her last work “The Archers” in a frame of art residency program founded by BWA Municipal Gallery in Bydgoszcz (Poland). As dancer and performer she has collaborated with Karolina Kroczak; Tomas Nepsinski; Juan Domìnguez Rojo; Małgorzata Haduch; Sjoerd Vreugdenhil; Marta Ziółek; Joanna Leśnierowska & Janusz Orlik and lately with Rebecca Lazier on her last performance ‘There might be others’ presented at New York Live Arts in march 2016.
She is a member of Centrum w Ruchu (Centre in Motion), an association of Warsaw-based choreographers and dance artists.

Neemias Santana (Brasil) Brazilian dance artist, based in Salvador (Bahia - Brazil). Graduated in dance from the Federal University of Bahia, he acts as choreographer, dancer, teacher and curator. He is a founding member of “Nii | Colaboratorio”, a platform that gathers creators, dancers and dance producers in Brazil, with projects of creation, education, artistic exchanges and research. He is choreographer of works "70porcento" (2013), "nii - nothing new under the sun" (2015), "Percurso Nebulosa" and "Essay for Muse" (2017), "The Gaze" (2017) and "Estio" 2018). He directs creative and research projects awarded by the Brazilian government, with an emphasis on physicality, visuality and cinematographic narratives. He is a freelance dancer, collaborating with artists of the visual arts, theater and dance, and integrating works such as SEMENTE (2016/2017), directed by Joanna Lesnierowska (Poland) and Janus Orlik (Poland), in co-production with Vivadança International Festival (Brazil) . As a teacher, conducts investigative processes based on the aesthetics that constitute his creations. In parallel, develops a technical approach focused on the qualities of fluency of movement.

Kote Liparteliani (Georgia) actor and dancer; he was four years old when he moved with family to Tbilisi from mountain Svaneti region and eight years old, when his mom took him to learn Georgian national dance. He also trained Wrestling styles and Judo. He graduated Ilia State University, Faculty of Since and Arts, acting specialization. Then continued study in Theatre and Film Georgia State University, drama faculty. As actor, Kote participated in a lot of plays, leading and secondary roles. He also have done episodic roles in several feature films.

Megi Zarkua (Georgia) Dancer, graduate of the course of the choregraphical studio “Fartsa”. In 2009 she finished also Sukhishvili’s Studio of Georgian dances and choreography, after full course of 4 years. In 2013 Megi graduated Art Gymnasium with the specialization of actor-dancer and choreographer of Sukhishvili’s Studio. From 2014 she is studying at Shota Rustaveli State University of Theatre and Cinema, on the faculty of Drama, with the specialization of choreographer of Georgian dances. Now she is a 4th year student and also works as a choreographer and dance teacher in the dance studio of the Art School “Iveria”.

Karen Khachatryan (Armenia) Actor and dancer/choreographer. In 2008 he graduated from the Yerevan State Institute of Theatre & Cinematography's (as actor of pantomime theatre) and since 2010 he has been a soloist at the Yerevan State Pantomime Theater. Upon graduating from the studio of the State Dance Ensemble of Armenia "Barekamutyun", he worked in this ensemble for the period of 2004-2011. In 2011-2012, he was invited as a Ballet Dancer to the Armenian National Opera and Ballet Theater. Karen is the Founder and Soloist of the dance ensemble "Interdance." He took the second place in the second season of the Armenian version of the project "So You Think You Can Dance". He has participated in a number of dance projects in Armenia and abroad. He teaches and does choreography as well. In 2017, for the ballet "Watches of Visions" (co-authored with Rima Pipoyan, Tamara Aydinyan and Ara Asaturyan), he received the national theater award "Artavazd".

Katarzyna Sitarz (Poland) Freelance dancer, performer, choreographer, voice and movement researcher. She studied Dance and Choreography at Rotterdam Dance Academy (NL), Slavic Philology at Wratislavia University (PL) and Experimental Physical Performance at SMASH Berlin (DE). Katarzyna deepens the secrets of traditional singing (Slavic white voice in particular), as well as vocal and improvisational techniques studying with Meredith Monk, Andrew Morrish, Irena Tomazin among others. In 2016 in the frame of Solo Projekt Plus at Art Stations Foundation in Poznań she created her newest solo „Per-sona”, which began an extensive research on the relation of voice, body and movement in contemporary choreography. She regularly creates, performs and teaches in Europe, guesting also in Brazil, Argentina, USA, Canada and Asia. In the past she collaborated with artists such as La Fura dels Baus (ES), Kud Ljud (SI), MAAS Theater and Dance in Rotterdam, Rui Horta (PT), Cecilia Moisio (FI/ NL), Sjoerd Vreugdenhil (NL), Lisa Nelson (US), Marta Ziółek (PL), Marysia Stokłosa (PL), Iza Chlewińska (PL) and Nowy Teatr in Warsaw.

Hasmik Tangyan (Armenia) art historian, performer, choreographer, dance therapist. Graduate of National Academy of Fine Arts and Institute for Contemporary Art (ICA Yerevan). She works at ‘My Way’ Educational and Rehabilitation Centre and at Save the Children organization as a dance therapist specialized on children and adults with disabilities (autism, CP, ADHD). Also in 2012 she cofounded Art Therapy Centre in Yerevan. In 2012 she founded BA-AR-DI-A Dance Movement Laboratory in the art school after Avet Terteryan and started her experiments in choreography. The laboratory is inclusive, without age limit and specialized for children and adults with disabilities in all groups. With the teenagers and nonprofessional dancers of this laboratory, Hasmik produced dance performances and video installations (Vacuum (2012), Schools (2014), Perfume (2014), The Thirst and The Drops (2015), On the Roof (2015), Voteris (2016), I am on you, you are on me (2016), Srban (2016), Pool Party (2016), There is something in me (2017), The Rocking chair (2017)). In a conditions of not having a regular space for trainings the laboratory stops producing. Her last performance “Girl is a girl is a girl is a girl” created in 2017 (with performers Mery Bayatyan and Karabina) was about the attemts of two girls to digest the accumulated emotions through workouts and famous pop songs. She collaborated with Roberta Miskowska (Poland), Duygu Bostanci (Ankara), Valeria Khripach and Olga Rabetskaya (Minsk), Olia Sosnovskaya (Minsk) and also with local composers and sound artists Vardan Harutyunyan, Arash Azadi and LSD Sound Out Union.

Joanna Leśnierowska - It is since 2003 when, parallel to her work as dance writer and curator, Joanna has developed an independent practice as dramaturge and performance maker and often also light designer for her own works and works of other Polish and international artists. Holding MA in theatre science ( Jagiellonian University in Cracow) she was one of the first professional dance writers for leading Polish theatre journals, published on Polish dance abroad and lectured at the universities of Poznan and Cracow. In 2004 she has created first in Poland regular dance space/choreographic development center within Art Stations Foundation in Poznań (www.artstationsfoundation5050.com) where she continuously supports development of Polish dance artists.
In 2003-2009 Joanna co-created Towarzystwo Gimnastyczne (performance collective and association) within which she conceived and performed 3 full evening works: “whatever you wish” (2003) “Foreignlanguages-ness” (2005) and “NOTHING” (2007). She worked with Arkadi Zaides, Lia Haraki, Márta Ladjánszki, Jurij Konjar, Janusz Orlik, Renata Piotrowska and Maria Stokłosa a.o. In 2011 she created her first fully-own performance, Reconstruction. In 2013 she worked with Janusz Orlik on Insight, which was awarded the Best Choreography prize at the Polish Dance Platform in 2014. In January 2014 she premiered her trio “...(rooms by the sea). From the series Exercises in Looking”. In 20015/2016 she conceived an run an exchange The Yanka Rudzka Project between Polish and Salvador (Brasil) dance communities. Following artistic ideas of lately discovered Polish choreographer, it brought together dancers/choreographers into creative dialogue fueled by the traditional culture/dances of both countries. One of main outcomes of the project was premiere of group choreography “Semente” at VIVADANÇA festival in Salvador (April 2016).