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Welcome to the second part of walk+talk.

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While preparing this, I thought about that…

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I prefer to speak to ‘one on one’ and what could happen in a dialogue of words to take off.

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I also thought about that…

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There are so many words when you are in the profession.

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And there are so many words that feel so loaded.

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I was thinking about how I could make new words.

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And these words, they come and they go. Sometimes they are important and then they fly out.

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The body that I will use tonight is the body that I use when I’m in my studio,

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and actually without anyone looking at it.

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And it’s here that I’m working and where I’m getting all the ideas.

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It feels like I’m passing the space where Frédéric [Gies] has been standing.

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I’m sitting in a space surrounded by 360 degrees of consumption and I’m moving my torso very slowly in order for it to dance.

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And I’m thinking about what it is to be confused - no, not to be confused, actually.

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I’m thinking about what it is to consume! Or what it is to be consumed.

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If would perform or present this body here, I would probably put it right underneath the exit sign on its way out.

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I’m inside walk+talk and I’m thinking about choreographic practices I work with. And it’s about dialogues.

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I’m inside walk+talk and my choreographic practice is about dialogue with spaces, with objects, with people, with the history and the now.

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And I never really have one body that I fall back on. I work with different bodies that come up in these different dialogues.

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And the one that I aim to use tonight…

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…is sometimes the one I feel most at home in.

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I’m inside this body of an actor – Simon [Norrthon] - and I’m trying to remember all the characters that I’ve been playing all through my life.

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And I’m trying to take off all the facial expressions and all the gestures and to blur and see if it starts to dance.

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And I’m thinking that…

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I’m thinking about the body as loaded with these memories, and

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I’m wondering about…

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how the memory works in a body and how it works in a nation and how it instrumentalizes itself in different systems.

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I’m inside this historical body rather than a classical body, and…

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I’m working with anomy. And I’m trying to understand what it is to work with a disciplined body again.

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And to turn back to the technical.

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When Anna-Mi [Fredriksson] and I were working, we were speaking about this and how this vertical history is sort of coming up.

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Try to work with the in-between steps instead of the…

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And it is quite violent, this dance.

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But I’m wondering how this force could be used if it transcends into something else.

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I’m looking at this art piece and I’m seeing almost exactly shaped objects.

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They have different materials. And, just you can see:

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One is made of mineral stone. Another one of plastic, the third one maybe silicone, and so on.

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I’m interested in this collection.

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What the materials are made out of.

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How they connect or not.

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Who was actually making the material.

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If they were false, fake or found in the trash somewhere.

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And how they somehow made a union and a collection that…

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What I’m most interested in is these in-betweens. And how these materials are informing each other.

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So, I would say, maybe it is exactly the same as this walk+talk is doing. One solo is informing another solo.

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And somehow - now I didn’t really explain it correctly - but this collection, I could see it as a choreography.

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You gather, create relations, you frame and you somehow bring out.

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I saw this film, with a person that is…

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he wants to take another way home, so he’s swimming through his neighbours’ and friends’ swimming pools.

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And while doing so, he’s confronted with the social person that he’s been and all the relations he’s been through.

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Probably he is swimming towards his death, but he’s always in motion.

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And I’m wondering when we are taking another way home.

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I’m inside my first choreography.

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I’m cutting through the air in order to find a way for us to communicate.

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And I’m turning myself inside out in order to lose control.

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This movement was much faster than I’m doing it now.

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And in this movement, I find this hand that somehow has stayed with me. But I don’t use it anymore.

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It could be used in a very plain way, like this.

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Or, when you start taking it up, closer to your head, I start to speak to my Nordic and European dance heritage.

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And now it makes me feel very severe and somehow important.

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My neck is getting stronger.

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But I also start to feel like this mythological creature.

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And I don’t really want to feel like that, so I let go.

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But somehow this body is in me, somewhere, even though I’m not sure I want that.

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I’m inside walk+talk and I wonder what could happen here if we would have a dialogue.

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And another dialogue, where we could exchange ideas.

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I am a pavilion. I have been standing in a park here in Stockholm for twenty years, but I haven’t been used.

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But in this very moment there are about fifteen artists using me in different ways.

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Some of them are using me as an office and at the same time they’re creating a new history for me.

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It appears that I was participating in the war 200 years ago and that I was brought back home as war trophy and they also named me: Narvapaviljongen.

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But there also two other artists that are standing and jumping inside my body for a very long time, to see if they can activate me and my organs.

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And here we come to this body that I’m observing very much at the moment,

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which is a body that is on repeat, in constant.

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It’s like a phenomenon that you see popping up in different areas at the same time. And you start to think: Why, why is that so?

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The movement is much more than what I’m doing. It could also be these jumping movements, but it is something about…

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And I’m always interested in the effect that the movement has on the body and what kind of specific effect a specific movement can do.

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But I’m thinking about this repetitious movement that I see…

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maybe it’s like a contagious movement or a viral movement.

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And maybe it’s happening right now because…

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either because we read and it fits into what we read,

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or actually is it a body that is constituting itself out of a need to feel whole again.

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Or maybe it’s a body that wants to really dig into, go into, be inside the movement.

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Or maybe we are just tired of these fragmented I’s.

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These were three fragments that I remember from a piece I did ten years ago that was a turning point for me.

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It was when I came from me, myself and I, and I wanted to meet others.

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This piece was suggesting to exchange movements.

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I wanted to do that in order to see who my colleagues were, but also to break my preconceptions of how they work, and their aesthetics.

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So I tried to embody my gift from them.

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And from the 35 that I tried to remember now, maybe it’s just these three that I actually have in my body.

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I wanted to say something about the pavilion.

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The pavilion was an existing space, but I’m wondering if we could invent other spaces.

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Spaces that maybe take place more in our fantasy, or if we would have a common dream. Or…

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There is this space called Weld.

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It’s a place that is maybe like a huge swimming pool where artists meet and share knowledge and create.

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And it’s also the place where I work.

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I’m thinking about what it is to actually lose the movement, but…

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I’m thinking very much of what it is to be a freelancer and to feel outside some sort of system or of the centre.

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And that you work from this distance where everything is happening over there.

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Or how it is to suddenly be a body that is inside this pool and that has the possibility to decide things and to come closer to the word ‘power’.

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I’m inside the title called Turn Back to Dance (2004).

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This title is: either you turn back to dance and you go into it and you want to dance, and you want to be inside dance.

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You can turn to the tradition to get to know more.

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Or you can just dance.

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Or it is this turn back to dance where maybe you have to unlearn what you have. And where you just try to be open.

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Thank you for listening.