25 MAY 2023 · During my first year in the MA New Performative Practices I unconsciously developed a parallel practice while in the bathtub. It began with a desire to speak and be heard (via the voice memo recorder on my phone). I played with language, voice, awareness and acoustics while my body was safely enveloped in heat and weightlessness. Speak-singing to water, in between nonsense and complete sentences, became a way to attend to life. This was not named ’a practice’ until now when trying to describe it in this text. Actually, I am not even sure that this description is necessary to accompany the audio you might chose to listen to, or not. All you really need to know is that it was recorded on Friday 25th of February, 2022, the day after Vladimir Putin’s invasion of Ukraine. Sara Kaaman is a graphic designer and artist working through what publishing as performance can do, drawing from the politics and poetics of publishing as public action. Using a variety of strategies including publication-making by paper and voice, writing, printmaking, drawing and video, she sets up conditions to make language move. www.sarakaaman.com

25 MAY 2023 · “I am looking at my body outside the patriarchal gaze. Of course, that is not possible. But who is interested in the possible?” – Kathy Acker re-imagne.

25 MAY 2023 · This episode features Laressa Dickey answering a few questions posed to her by NPP colleague Darya Efrat. She talks about weirdness, aspects of her practice that are difficult to share, as well as the tension between aesthetic and somatic practices. Laressa Dickey is a dance artist and writer whose recent projects explore the politics of care, the effects of state violence on the human body, and space junk. Her practice is grounded in somatics and draws on research and metaphors related to life science, including embryology, as departure points for artistic questions. Her work spans disciplines and modalities.

25 MAY 2023 · ... is a piece of experimental autobiographical text.By recalling early aesthetic experiences of performing as a child and adolescent and by treating them as choreographic material, I play with the rewriting of my own biography as fictional- fantastic. At the same time this practice explores alternative, distorted approaches to canonical operatic works and their embodied narratives from within.What forms of presence does a past evoke? Curious about the connection between dance and voice, musicality and communication, I work with a practice that includes the dancer's voice as a way of poetic moving - in order to let emerge layers of imagination, feeling, narrative, expressivity and the fantastic.The fantastic idea of a biography that transcends time, gender, place and suggests a multiplicity of selves as proposed in Virginia Woolfs Novel Orlando has become and continues to be a companion, a place to lean towards, draw from, think and move with.The text appears in the performance Mist and Magic – the unfolding of a biographic fantasy in more than one act (presented in the frame of the NPP Presentations 2023) Voice and edit: Eva Schaller Composition: Manuel Riegler Eva-Maria Schaller is a dancer, teacher and choreographer from Vienna where she began her dance training at the Vienna Opera Ballet School, continued her studies at Codarts Rotterdam and currently completes a Master's degree in New Performative Practices at Stockhom University of the Arts. Her choreographic work and practice are based on thourough engagement and experience within the field of dance-heritage and -history, (un-) archiving and the transmission of experiential knowledge in dance. Such include the Solo Vestris 4.0 (2018) in collaboration with composer Matthias Kranebitter/cellist Maiken Beer, and Recalling Her Dance - a choreographic encounter with Hanna Berger (2021), which was shown a.o. at Tanzquartier Wien and the Impulstanz festival; as well as the group piece FEMENINE (2022) in collaboration with the music ensemble Studio Dan. Next to performing and making dances, ways of sharing dance include teaching Countertechnique as well as other open practice-based workshops, as a regular guest at the MUK Music and Arts University Vienna and in dance institutions across Europe. In her ongoing dance practice, she explores the connection between dance and voice as a way of poetic moving - a way to challenge notions of musicality, language and expressivity.

25 MAY 2023

25 MAY 2023 · In this episode, you can listen to moments captured during two years of studies. These sound excerpts were gathered from different contexts and periods and placed side by side - making up an audible potpourri. Enjoy! Episode contributors: Laressa Dickey - interviewer Sara Kaaman - interview recording Special thanks to SSFFN- for keeping up and not giving up! DARYA EFRAT makes performances and installations influenced by space, circus, music, text, glass, wood, clay, and being together with others. Emerging from violent histories and multi-generational migration- the works attempt to reconcile questions concerning identity, gender, and belonging. They are developed mainly in public spaces (but not only) between Jerusalem, New York, Porto, Stockholm, and Zagreb. The practice was nurtured by many people along the way, including at Columbia University in New York – in the visual arts and anthropology departments - and at Stockholm University of the Arts in the New Performative Practices master program.

25 MAY 2023 · Sound traces of a process that comes from, moves through, listens along, touches upon materialities, bodies, practices and places. Special thanks to Alexandra Nilsson for recording in Studio 11, SKH, to Sofia Neuparth, for contributing field recordings from c.e.m-centro em movimento, Lisbon, to the bird choir from Älvsjöskogen and to Ivan Fernandes, for listening and accompanying. Valentina Parravicini is an Italian dancer and dance-maker. After studying ballet and contemporary dance in Milano, she moved to Lisbon to work with body, creation and documentation practices at c.e.m-centro em movimento. Since 2006 she works as a performer, and since 2011 she creates and presents her own work, while also collaborating with other choreographers, musicians, visual artists and film-makers. She is currently a student in the New Performative Practices Master’s Programme at Stockholm University of the Arts, as a Calouste Gulbenkian Foundation grantee.

25 MAY 2023 · In this episode of Alongside rifts and other shapes, Norwegian dance artist and videographer Maja Hannisdal thinks out loud about work and value, success, failure, and mediocrity. The music in this episode is by Maja Hannisdal based on Johann Sebastian Bach's cantata 140, roughly performed by herself and her dad with maximum effort, OK result. Special thanks to DeHendrik LeChat Willekens for inspiration, Tove Skeidsvoll for providing maracas and recorder, Louise Hannisdal for providing stylophone, Jonathan Burrows, Rebekah Oomen, and Ann-Christin Kongsness for their sharp minds, Ine Kim, Unn Faleide, Natalie Price Hafslund, Amy Crowther and Alexandra Tveit for their constant support, and Linda Hannisdal for dinner and love.

25 MAY 2023 · Hello, my name is Sarah Bellugi Klima. I’m a dancer with a long career in the repertoire company Skånes Dansteater in Malmö, where I am currently based. I have also freelanced mildly here and there, especially in the years before I had children. I am currently interested in exploring clown practice, sci-fi ideas as catalysts for movement and the theatre as a social space. For this assignment we were asked to put a few questions each in a common pool and to chose up to three of these questions to respond to through this audio segment. We didn’t know who posted which question.My choice has been to simply answer three of these questions in an somewhat informal musing tone, offering my ideas to you who might enjoy listening to them. Hopefully these ideas can be the source of future conversations and thinkings, for you and/or with others and/or between us, should we ever meet. Please let me know if you have any responses or questions by emailing me at https://student.uniarts.se • What are the hierarchies between somatic, aesthetic, and theoretic work? • What is “honesty” on stage? Can you perform honesty? Is it important? • How can my work be “useful”? What does that mean? People and bibliography mentioned: Anna Adeniji Melanie Demers Laura Simi Octavia Butler, “Parable of the Sower” and the Patternmaster series, aka the Patternist series or Seed to Harvest Martha Nussbaum, “Not for Profit: why democracy needs the humanities” A huge amount of gratitude goes to my dear NPP cohort, who’s feedback, support and interactions have been enriching and life changing, as well as to the lecturers who have accompanied us, sharing their insights and knowledge during these two years together. The last lines are for my close family: Martin, Frida and Sofia, who have encouraged me to follow my path and supported me throughout. And for my mother, Rebecca, who has spurred me onward with generosity, artistic rigour and playfulness.

25 MAY 2023 · A foot and two hands holding the sleeping wave an unseen tremble in heart I think of this time we are living in now as one of great importance. I think of stories of resistance and the everyday. In my solo practice I have often held fragments of stories in what I do. Silently they have made their marks through my gaze and tensions and flows in my body. I have wanted to see how fragments of stories can come with and meet people in for me new ways. At this moment of writing, speaking, and dancing, I don't know what form all this will take. Perhaps they will go nesting in gaze and in movements passing through. / Tove Skeidsvoll This episode of the NPP audiozine allow the listener to be with Tove Skeidsvoll in an everyday situation in her practice and work towards her presentation A place nearby. With her creating A place nearby and this audiozine is musician and composer Johannes Burström, and visual artist and scenographer Sofia Romberg. In the audiozine, as well as in A place nearby, Tove is dancing with some very small and also great things. Over these last years, playing within a felt sense of our ongoing climate crisis, with its longings for love and justice, this work is continuously gathered and stretched out, re-used, re-forgotten and re-assembled. Parts of this practice shared in this audiozine is tuning in with and building on from her two years of the Master program New Performative Practices and her practice from being a dancer, choreographer and producer for 20 years. Her works embraces notions of scale, proximity and distance. Curiousness has lead her into working within shifting contexts and roles, collective forms, with architects and designers, music artists and performances for very young audiences and a film practice as an actress and choreographer. Emphasising geographic place and movement in small and big scale has led to different kinds of exchange working with the public space and city scape leading into thoughts of body, movement and being together over species and material.