Rethinking the body in exile
"Every Artist is a Nomad"
Valeria Khripatch & Tatiana Antonova -
about "A Place" performace, laboratory of interactions and touch that matters
about "A Place" performace, laboratory of interactions and touch that matters
Valeria Khripatch is a Belarusian dance artist, choreographer/researcher, co-curator of the Laboratory of Movement, a participant of international projects and residences, among which “Sasha Waltz&Guests” dance company (Berlin, Germany), "Con.divisione 11" (Mola di Bari, Italy), and "Artist House Mousonturm" (Frankfurt, Germany).
Valeria's projects are aimed at overcoming traditional stereotypes of contemporary dance and performance, going beyond stage venues and formats by focusing on non-conventional spaces and interaction with the audience. In 2023, in collaboration with Tatiana Antonova, she finalized and directed "A Place" project which was presented in Radialsystem, Berlin. Before that, in 2022, it became one of the winners of Contemporary Dance Festival in Tbilisi, Georgia;
Another significant choreographic dance- and theatre-based piece is “Contact zone” (2023) - a three-piece performance which explores the forms of physical and spatial contact between oneself and the world. The project is produced by "InForm- Platform for Inclusive Minds" and cultural venue "Openspace" (Tbilisi, Georgia). See other projects by Valeria here.
Since March 2022, the artist has been based in Tbilisi, Georgia.
Valeria's projects are aimed at overcoming traditional stereotypes of contemporary dance and performance, going beyond stage venues and formats by focusing on non-conventional spaces and interaction with the audience. In 2023, in collaboration with Tatiana Antonova, she finalized and directed "A Place" project which was presented in Radialsystem, Berlin. Before that, in 2022, it became one of the winners of Contemporary Dance Festival in Tbilisi, Georgia;
Another significant choreographic dance- and theatre-based piece is “Contact zone” (2023) - a three-piece performance which explores the forms of physical and spatial contact between oneself and the world. The project is produced by "InForm- Platform for Inclusive Minds" and cultural venue "Openspace" (Tbilisi, Georgia). See other projects by Valeria here.
Since March 2022, the artist has been based in Tbilisi, Georgia.
Valeria Khripatch
Dance artist and choreographer/
researcher
researcher
Tatiana Antonona is a Belarusian dance artist, performer, and teacher of performance and body development practices and acting. Since 2020 -
a co-founder of "ArtaHata" space. In 2007-2013 worked as an actress in "Living Planet" theatre, in 2017-2019 - as an actress and choreographer in "Insight" theatrical studio.
Tatiana is a co-choreographer and a dancer of "A Place" (2023) and "Another Gender" (2017) performances, a co-curator of the Laboratory of Movement and afterlab performance “A Place” (2022), an actress of "The Last Witnesses” (2016), Two Arrows”, “Misunderstanding”, “Living Memory” (2008-2010) and other international projects and residences in Poland, Georgia, and Ukraine.
Since November 2021, Tatiana has been based in Tbilisi, Georgia.
a co-founder of "ArtaHata" space. In 2007-2013 worked as an actress in "Living Planet" theatre, in 2017-2019 - as an actress and choreographer in "Insight" theatrical studio.
Tatiana is a co-choreographer and a dancer of "A Place" (2023) and "Another Gender" (2017) performances, a co-curator of the Laboratory of Movement and afterlab performance “A Place” (2022), an actress of "The Last Witnesses” (2016), Two Arrows”, “Misunderstanding”, “Living Memory” (2008-2010) and other international projects and residences in Poland, Georgia, and Ukraine.
Since November 2021, Tatiana has been based in Tbilisi, Georgia.
Tatiana Antonova
Dance artist, performer, teacher
"I felt my body walking on its own through Tbilisi streets"
Valeria: I remember my mixed feelings during the first months after emigration: on the one hand confusion, as if my head was constantly spinning, and at the same time - some weird quietness and emptiness inside. I felt my body walking on its own through Tbilisi streets in search of a "grounding point". Our apartment, public transport, the city - all appeared too small, too crowded and tight; I lacked personal space and longed for solitude which turned out to be extremely important for me. However, I would suddenly have a strong desire to move, act, do something, with my inner "stove" radiating energy and readiness to work at full capacity.
Moving either a country or flat causes immense stress and tiredness, but even in such conditions I keep on following my principle to “dance when you are at a loss.” This is my own escapism, a chance to turn my mind off and tune into the right connection with the body. For me, it is best to take up a very intense workload and move with a group or in pairs. With a colleague from Ukraine, I have recently resumed the practice of "partnering" - a contemporary dance when choreographic elements are performed in pairs, based not only on technique and physical form, but also on sensations, trust, and the ability to listen to your partner. This is an excellent way to experience both an enormous pressure on one's body but also the lightness of flying, with a clear focus on the other person. However, as soon as you get distracted by thoughts, you immediately miss your next support element and end up having bruises.
Moving either a country or flat causes immense stress and tiredness, but even in such conditions I keep on following my principle to “dance when you are at a loss.” This is my own escapism, a chance to turn my mind off and tune into the right connection with the body. For me, it is best to take up a very intense workload and move with a group or in pairs. With a colleague from Ukraine, I have recently resumed the practice of "partnering" - a contemporary dance when choreographic elements are performed in pairs, based not only on technique and physical form, but also on sensations, trust, and the ability to listen to your partner. This is an excellent way to experience both an enormous pressure on one's body but also the lightness of flying, with a clear focus on the other person. However, as soon as you get distracted by thoughts, you immediately miss your next support element and end up having bruises.
Tatiana: Initially, I certianly centered on emotions. But I do remember well the moment when my body was struggling to locate itself in space. I often caught myselt not realizing where I was heading off to and why. I had severe disorientation issues. But on the other hand, after Belarus and constant pressure in the area of my shoulder blades and shoulders, the tension gradually started subsiding and I felt somewhat lighter.
I also caught myself paying attention to how Georgians themselves behaved and nagivated in the space - I noticed their bodies were erect and free, whereas mine was not. Mentally, it was hard to get it, "I am in a new reality. There is nothing to be afraid of any more."
There was another peculiar thought I had after a few months of exile. I realized the locals had a very relaxed living rhythm: they moved very slowly and tension-free, practically never being in a hurry, never rushing themselves even when late. On the subway, I observed the crowd floating by like a lazy stream and soon I was aware of also gradually switiching into this "slow-mode". However, it took me a long time to learn to just let it go and rediscover myself, to adjust my fast Minsk pace to the Georgian speed and find my own rhythm in this new surrounding.
I also caught myself paying attention to how Georgians themselves behaved and nagivated in the space - I noticed their bodies were erect and free, whereas mine was not. Mentally, it was hard to get it, "I am in a new reality. There is nothing to be afraid of any more."
There was another peculiar thought I had after a few months of exile. I realized the locals had a very relaxed living rhythm: they moved very slowly and tension-free, practically never being in a hurry, never rushing themselves even when late. On the subway, I observed the crowd floating by like a lazy stream and soon I was aware of also gradually switiching into this "slow-mode". However, it took me a long time to learn to just let it go and rediscover myself, to adjust my fast Minsk pace to the Georgian speed and find my own rhythm in this new surrounding.
My body got stronger, but as another year in emigration started, I am feeling totally drained... I have to learn to be more attentive to myself and accept the fact that after a few hours of rehersals, I need rest.
Valeria Khripatch
Dance artist and choreographer/
researcher
researcher
Tatiana: Talking about tactility, I relazed that in exile I need more of it. Now my home is very far away and I want to feel the warmth of others. And so, when there is no physical contact, no bodily practices or close people around, I can very sharply sense this lack and clearly nail it, "I want human bodily contact."
Another thing that I also noticed in Georgia is the warmth that we, Belarusians, have. Socialization goes extremely smoothly - Belarusian expats often make tactile contact simply when greeting each other. There is a need in hugging, shaking hands, or kissing. It is almost impossible to feel alienated!
Another thing that I also noticed in Georgia is the warmth that we, Belarusians, have. Socialization goes extremely smoothly - Belarusian expats often make tactile contact simply when greeting each other. There is a need in hugging, shaking hands, or kissing. It is almost impossible to feel alienated!
Valeria: I can hardly describe this country in one sentence but I am sure that people who have ever been here will definitely understand me. Georgia is a country where no one is in a hurry, where buying "shoti" (type of a local bread) is a ritual, and Georgian cuisine is national pride. Feasts necessarily involve songs, and at the food market you need to bargain, here all needs to be discussed in person (or by phone but closer to 11pm - that is why I leant to turned it off in the evening).
Georgia is one of Parajanov's collages. I love it endlessly and allow msyelf to get angry with it when I am tired of the amount of its color, sounds and wine! But also, apart from being a very hedonistic culture, Georgia requires from a foreigner working on his or her skills of defending one’s borders.
Georgia is one of Parajanov's collages. I love it endlessly and allow msyelf to get angry with it when I am tired of the amount of its color, sounds and wine! But also, apart from being a very hedonistic culture, Georgia requires from a foreigner working on his or her skills of defending one’s borders.
As for Belarus... Honestly, I don’t remember what it was like in there. I have always been a tactile person: huging, interacting, and touching my interlocutor's hand have always been natural for me.
In Georgia, I learned to speak directly, ask for clarification, bargain, and defend my borders. But perhaps it’s not about Georgia or Belarus, but about me who has changed - because the world around me is not the same. Now I am responsible for everything myself.
In Georgia, I learned to speak directly, ask for clarification, bargain, and defend my borders. But perhaps it’s not about Georgia or Belarus, but about me who has changed - because the world around me is not the same. Now I am responsible for everything myself.
Valeria Khripatch
Dance artist and choreographer/
researcher
researcher
"Every artist is a nomad"
Tatiana: For me, "A Place" in the title of our performance is about the fact that in emigration it does not matter what specific place people find themselves in. Our play has heroes and a complex storyline, where the characters reveal themselves in interaction with space, other people, and themselves. There is no need to introduce any specific place. The performance is about the refugees' state.
While working, I came up with a metaphor about a dark universe where one succeeds in finding his or her own “tribe” and points of support. As well as rediscovering oneself.
While working, I came up with a metaphor about a dark universe where one succeeds in finding his or her own “tribe” and points of support. As well as rediscovering oneself.
Valeria: In "A Place" no special place is meant. When I come up with choreographic pieces, I always work with multiple layers, approaching the topic from different angles. For example, one's "place" could be about something one can rely on, or somone's feeling of comfort, settledness, constancy, or security. "A place" is also about a person's self-portrait. It is home.... At the moment, my personal home is my body and my mind. It seems to me that artists live most of their lives in search and exploration of that very "place" in the world, in society, and in profession. Thus, every artist is a nomad.
A few years ago, I made a performance at the Sprava Festival named “Birds. Migration”, and it was then when I discovered “paths of songs” or “paths of dreams” by nomadic Aboriginal Australians, where these paths and myths at the same time stood for their own wandering.
In their opinion, in the “time of dreams” their ancestors created the relief and life of Australia. What I found interesting was how intensively they used imagination in constructing everydayness and the future of the next generations (check Bruce Chatwin's “The Songlines").
And in the third part of our performance, this topic is raised again. It is difficult for me to describe a clear scheme of how this particular part was created plus I do not really want to reveal all the techniques. It is important to leave room for the viewer's imagination. In a nutshell, each of us told their own tales of subconscious, interacting with “the dark matter” (or "shadow part": our fears and fantasies.) Projection is a kind of map of wanderings with the destination point left undefined.
A few years ago, I made a performance at the Sprava Festival named “Birds. Migration”, and it was then when I discovered “paths of songs” or “paths of dreams” by nomadic Aboriginal Australians, where these paths and myths at the same time stood for their own wandering.
In their opinion, in the “time of dreams” their ancestors created the relief and life of Australia. What I found interesting was how intensively they used imagination in constructing everydayness and the future of the next generations (check Bruce Chatwin's “The Songlines").
And in the third part of our performance, this topic is raised again. It is difficult for me to describe a clear scheme of how this particular part was created plus I do not really want to reveal all the techniques. It is important to leave room for the viewer's imagination. In a nutshell, each of us told their own tales of subconscious, interacting with “the dark matter” (or "shadow part": our fears and fantasies.) Projection is a kind of map of wanderings with the destination point left undefined.
"Maps instead of Libretto"
Tatiana: "A Place" was born from a meeting of two Belarusian women with similar artistic interests who once were drinking coffee at the balcony. And it was then when we came to the conclusion that we could work together.
As a strating point we decided to exchange and disucss letters produced during "automatic writing"and those helped us understand the theme of the future performance - a place. Intital sketch we made soon grew into an idea to make a laboratory on this topic with dancers from different countries. And in this project we were interested in the experience of not only the people who came to Georgia, but also of the host country.
After the laboratory and Valeria’s trip to Berlin, we decided to move on and add our work a new breath - stage a full-fledged performance. And I am very happy with this creative path embracing different forms of work on the topic. It was personally interesting for me to observe both the core idea and our own perceptions of emigration and lives we are living here transforming and relfected in the play. I felt it almost as something eternal – it’s always there, but along with our development, it is also changing.
As a strating point we decided to exchange and disucss letters produced during "automatic writing"and those helped us understand the theme of the future performance - a place. Intital sketch we made soon grew into an idea to make a laboratory on this topic with dancers from different countries. And in this project we were interested in the experience of not only the people who came to Georgia, but also of the host country.
After the laboratory and Valeria’s trip to Berlin, we decided to move on and add our work a new breath - stage a full-fledged performance. And I am very happy with this creative path embracing different forms of work on the topic. It was personally interesting for me to observe both the core idea and our own perceptions of emigration and lives we are living here transforming and relfected in the play. I felt it almost as something eternal – it’s always there, but along with our development, it is also changing.
Valeria: Before the sudden exile, I started working on a solo project - then it was called “Maps and Territories”. I had even managed to send it to several festivals and the organizer of one of them gave me useful feedback saying I needed to finalize it and decided on the format: either it would be something big, with multimedia and decorations, or a smaller solo with an emphasis solely on choreography.
In Georgia I certainly first had no time to continue working on it - I needed to adapt to a new place. But later, in the summer 2022 I was lucky to be invited to join an artistic residency in Italy. There I worked together with Belarusian photo- and video artist Alexandra Kononchenko who took care of the video-projects, while my Italian colleagues composed music. And all this - by a castle near the sea. Perfect, isn't it? Our collaboration resulted in an art piece which later became the third part of “A Place.”
In addition to automatic writing exercises, Tanya and I also drew a map and dreamed of making an immersive walking performance around different locations of our imaginary rooms. And little by little we began to come up with choreography done right in the living room of Tanya’s rented apartment. We explored the topic of limitations and the way the lack of space affects both the organization of the body in space and our relationships (as if we were sharing a room in a communal apartment).
By the way, this idea was partially brought to life when we designed our “Places” laboratory open for anyone interested to join our search. It was especially important for us to attract not only expats, but also Georgians to research migration from both the sides. Participants split into pairs and came up with their own imaginary places, filling them with objects, describing the rules of behavior and movement (choreography and performance). The final performance was shown in a fitness club - in a place completely unsuitable for these goals we “hid” the rooms created by the participants, and, instead of a libretto, the public was handed maps!
So, for me “A Place” is a big point of growth for many reasons: I could work on composition, dramaturgy, and choreography, develop my team management skills and cultivate interpersonal relationships, as well as learn to build balance in partnerships.
In Georgia I certainly first had no time to continue working on it - I needed to adapt to a new place. But later, in the summer 2022 I was lucky to be invited to join an artistic residency in Italy. There I worked together with Belarusian photo- and video artist Alexandra Kononchenko who took care of the video-projects, while my Italian colleagues composed music. And all this - by a castle near the sea. Perfect, isn't it? Our collaboration resulted in an art piece which later became the third part of “A Place.”
In addition to automatic writing exercises, Tanya and I also drew a map and dreamed of making an immersive walking performance around different locations of our imaginary rooms. And little by little we began to come up with choreography done right in the living room of Tanya’s rented apartment. We explored the topic of limitations and the way the lack of space affects both the organization of the body in space and our relationships (as if we were sharing a room in a communal apartment).
By the way, this idea was partially brought to life when we designed our “Places” laboratory open for anyone interested to join our search. It was especially important for us to attract not only expats, but also Georgians to research migration from both the sides. Participants split into pairs and came up with their own imaginary places, filling them with objects, describing the rules of behavior and movement (choreography and performance). The final performance was shown in a fitness club - in a place completely unsuitable for these goals we “hid” the rooms created by the participants, and, instead of a libretto, the public was handed maps!
So, for me “A Place” is a big point of growth for many reasons: I could work on composition, dramaturgy, and choreography, develop my team management skills and cultivate interpersonal relationships, as well as learn to build balance in partnerships.
In my three special places of love, not the rosiest events are happening now. But I clearly understand that the most important thing is the people who I have something creative to build up with together, as well as the prospect of development in the country where I decide to work.
I have a dream about "my place". And I know it is feasible. But first of all, I want to bring together “my people". This is what matters most.
I have a dream about "my place". And I know it is feasible. But first of all, I want to bring together “my people". This is what matters most.
Tatiana Antonova
Dance artist, performer, teacher