join us, interlocutors

HYENAZ are looking for interlocutors for our upcoming live experiences in the probability praxis series.

Underdogs Ballroom, Prague, 20th May, 2016. Photo: Guillaume Dulliand

probability praxis is the series of 28 performances of the critical magic ritual. “praxis” is intentional practice of theoretical ideas, radical imaginings; this is our laboratory. We try to blog openly about our experiences and invite interlocutors and participants to do the same so that we can learn as we go. “probability” is an acknowledgement that transformation does not happen overnight, but that practicing our connection with others, questioning our acts of Othering and actively interrogating and deeply understanding our bodies in relation to other bodies helps to set in motion, increase the probability, for personal and political change.

SCHWARZWALD 01.09 probability praxis 17 of 28 waning gibbous
ROTTERDAM 02.09 probability praxis 18 of 28 waning gibbous
WINCHESTER 15.09 probability praxis 20 of 28 waning gibbous
LONDON 16.09 probability praxis 21 of 28 waning gibbous

Critical Magic 비평 적 마술 is based in contact, sound and movement to break physical and mental isolation and to spark discourse that is both critical and utopian. It is an electronic music performance as well as interactive ritual performance which grew out of the site specific performance “Spectral Rite” with Sylbee Kim and Nico Pelzer at the Museum of Modern and Contemporary Art in Seoul in 2014.

It has since been performed as a full ritual around Europe, Canada, and Australia. We are looking for Interlocutors who will help be active participants to ensure an atmosphere of mutual respect and connection between ourselves (HYENAZ) as facilitators and the “audience” as participants. We will be dressed entirely in silver body paint, topless, with shorties/panties/ropes/plasticskirts on. Interlocutors are free to do the same, or to wear whatever makes you feel comfortable and powerful.

No previous rehearsal or experience is required, we welcome all bodies. Your curiosity and eagerness is most important. looking forward to meeting you.

contact us at management@hyenaz.com

The dissolution of everything that we know of as the body politic

When we began Foreign Bodies, the idea that the movement of peoples across territories was to become a defining political question, that it would motivate political movements and mobs, that it would become a mechanism through which different elites would build a political base to take power in the state, was marginal. It was not yet front page news, nor had it become the political cliché that it is now, refugee crisis, a meaningless phrase that provokes feelings of compassion or loathing without any real sense of the entities that comprise the so-called crisis, so that the crisis is never really born, never works the transformation that it ought to – the dissolution of everything we know of as the body politic at present and the creation of a new body politic, as well as new bodies and new politics. 1)There are a multitude of individuals and communities for whom the reality of this migration is experienced with all of its nuances, with all the beauty, wonder, awe, discomfort and fear that is provoked by the actual physical experience of another’s body. There are the migrants themselves, and there are those individuals and organizations who have moved themselves to the sites where help is needed, giving food and medical care, assisting people to overcome state control wherever possible. And there are those well within the confines of the nation state who provide spaces and advocacy for those whose journeys are complete (for now). I feel that these people experience what is happening not through the distancing cliché of “migration crisis”, but as a lived reality.

Where can we point the finger for this failure – surely it belongs with the management of this crisis, as if the state understands itself not as a vehicle for transporting human civilisation into something more humane and more civilised, but as a bureaucracy dedicated to the preservation of the threads of the status quo. This bureaucracy, which should be marginal and transitory, has filled the vacuum left by the aspiration in an earlier stage of the nation for a true social state, one in which labor rights and welfare were guaranteed by the state. This bureaucracy exists only to see that the institutions themselves, empty as they are of any political content beyond the continuation and, against all indications of economic reality, the necessary expansion of the capitalist project.

As is the case, always and inevitably, the bureaucratic formations which are designed for administering the periphery of the nation state, as in the case of imperialism, return to the center as well, as in the case of nazism, fascism and neoliberalism.

So Foreign Bodies is about those bodies which view the national border the same way a herd of goats view a seemingly impossible precipice, a dangerous inconvenience to be overcome by nimble feet and an act of will. It is about their experience once they cross this precipice, the violence they receive at the hands of mob, police and border security, the drudgery that their lives can descend into once they become administrative subjects. It is also about those non-migrating bodies 2)Of course, every body is a migrating body, whether actually-migrating, potentially-migrating, or historically-migrating. I am a refugee insofar as my grandfather was. I am a foreigner in Germany, though a privileged one, and yet I have “arrived” as it were in my home of Berlin, therefore I am both a migrating body and a non-migrating body. who live across the precipice, how they are shaped by their anxieties of the outside, how the administration of those other alien bodies makes invisible the work that the state performs on their own bodies, cells and molecules. Foreign Bodies is about the potential bodies that we might inhabit: physical bodies, political bodies, that are not shaped by paranoia and neuroses. – AT

Notes   [ + ]

1. There are a multitude of individuals and communities for whom the reality of this migration is experienced with all of its nuances, with all the beauty, wonder, awe, discomfort and fear that is provoked by the actual physical experience of another’s body. There are the migrants themselves, and there are those individuals and organizations who have moved themselves to the sites where help is needed, giving food and medical care, assisting people to overcome state control wherever possible. And there are those well within the confines of the nation state who provide spaces and advocacy for those whose journeys are complete (for now). I feel that these people experience what is happening not through the distancing cliché of “migration crisis”, but as a lived reality.
2. Of course, every body is a migrating body, whether actually-migrating, potentially-migrating, or historically-migrating. I am a refugee insofar as my grandfather was. I am a foreigner in Germany, though a privileged one, and yet I have “arrived” as it were in my home of Berlin, therefore I am both a migrating body and a non-migrating body.

PROBABILITY PRAXIS 16 of 28 – WANING GIBBOUS – Garbicz Festival.

PROBABILITY PRAXIS 16 of 28 – WANING GIBBOUS

5 August 2017

Garbicz Festival.

Interlocuters: Tereza Silon, Bishop Black

we performed in the forest. Birk and Nina had installed the lights, the sculpture, the screen, beautifully. The large screen behind us with the beamer coming in from the back. The ground was so soft, I sunk into it, so many times, it welcomed me. Bishop and Tereza were with us as interlocutors. There was a faint rain, just still a hint. Our technical equipment was safe from the rain in ninas car. We felt well taken care of. We took bare feet on the forest ground. Our purpose among the four of us was restoration, ecology. We felt honored to be performing amongst the trees. I saw them as part of the ritual, their tall bodies stretching upwards. I could focus on them, with them. There were times I came drawn to them, I wanted to included them in the percussions, but I did not want to hit them. Our audience came and went, they did not all stay with us the entire time. In the middle it wained, in the end they came again. I felt the undulation with the energy. They were pulled in with us in the beginning, inside the circle. We ended as a circle, around the circle. We helped Adrienne carry her last piece of wood as she rung out the last notes. In positive, all of this, and especially the magic that was felt through our bodies, was very real. Bishop ended with a mark on his forehead from the forest floor that looked like blood on a newborns forehead. Like he had just existed the cunt, it was stunning and beautiful. I had a magical dance blindfolded with two people, at least. The breeze was ecstatic on my skin. I I felt that I could have done better at the height of gnosis, that I was missing something of the magic at exactly that point, that perhaps there is a better way to remove the routine of that moment. That we need to prepare more for the climax and that it needs be even higher than what it felt then. Even though, I could see that people were with us, I was hoping there might be … something else. Im not yet sure what. Krf.

PROBABILITY PRAXIS 15 of 28 – FULL MOON – Chateu Perche Festival, France

PROBABILITY PRAXIS 15 of 28 – FULL MOON

5 August 2017

Chateu Perche Festival, France

(no interlocuters)

critical magic, in my mind, fundamentally challenges the idea that magic can be about a poof – wave the wand and change everything. Critical magic is about critical engagement, critical theory, active listening, participation, active presence, and deicing to work towards change. And yet. There is also perhaps, what I can see now, there is perhaps also room for a “poof” – if we can call it that. There is room for an exacting moment of revelation. In this conception, the poof moment could be the moment when the imagination takes on a new ordering and accepts a new paradigm as an act of performance — performance here is a moment of “reframing” ones truth.  This is as opposed to creating or enacting a new empirical truth. The world cannot change in one second, but our minds can change. The world can change slowly over time, with hard work and commitment and coming together through activism and action. Part of this change requires the changing of minds, and even though the changing of minds can also take a long time, it seems that on the other hand, a mind does switch, there is a moment when one decides that in fact the floor is not green, that rather it is brown. There are ahhah moments, there are moments when we decide to use a new pronoun for someone, when we decide to give someone a new name, when we acknowledge a death or a birth. And this moment is specific, one might say, a poof moment, a singular moment. There in that sense we can radically imagine a new way of categorizing that was before not seen. Ithink about what elizabeth povinelli says about life versus non life, all she had to write was simply the idea, the new vision, and the paradigm was open. Not because the paradigm is or is not, but rather that it exists at all as “one way of seeing” and if we can allow ourselves to see in that/those other ways, this is a radical vision. Radically visioning. The performance act is a chance to live inside a radical vision, to perform a radical state of mind and of speech act. It is a chance to practice a new way of seeing. Within that “other way of seeing” perhaps we can also envision what that other way of seeing will give birth to over time.

krf

PROBABILITY PRAXIS 11 of 28 – WAXING GIBBOUS

Het-Bos,
Antwerp, Belgium, STRANGELOVE Festival

2 June 2017

Interlocuters: Manon la
Décadence and Lu

This was one of my favorite moments of the ritual at STRANGELOVE. So many people joined us in laying down and taking a moment just to make contact with the ground and to listen to the sounds. For me personally this is also a moment i love, when I let my full back come into contact with the concrete and imagine myself is part of the architecture, as part of foundation, of stone, of earth.

There were other moments in this night as well where the audience was really inside the group experience, for example when we put on our blindfolds and danced together. I felt myself touching so many different bodies, indistinguishable but different. Sensing various energies both distinct and yet combined into one. This was a moment of imagining our collective body!

And again, in the end, when suddenly there was a collective heaving from the group on the stage, helping Adrienne to carry the log and strike it into the … barrier ? the border? into what does she strike? It is powerful to see what develops spontaneously amongst us as a group.

On the level of constructive criticism of our performance, I felt that we could have been more concise in the moment when we spoke to the group. I will suggest to Adrienne that we rethink through what are the main points we want to make sure to address and also how to connect this to “clean and unclean” since we do not go directly into “binaries”. i also would like to continue to improve our harmonies so that we can do them without thinking ! And personally for the Octomantic Ritual I still feel that I need to work in gathering the collective energy behind dancing together, or building a consistent choreography.

krf

holding space with hyenaz

Manon la Décadence

one month ago, at strangelove festival in antwerp, me and lu were invited to join hyenaz at their performance, as a so-called interlocuter. i had looked up the word and what i read felt familiar instantly, BUT i also knew that i would play/be this part during a very physical performance, so it didn’t make me any less nervous.

fortunately, to ease my nerves, it all started with paint. silver paint. i can’t believe what a big difference it makes for me, from being naked to covering my skin in just this tiny layer of color. this might be the mask that i need to be able to be truthful. pimp that battleground. anxiousness gone. well, almost.

i gained even more trust realizing i was with people who inspired me in so many different ways before, and holding hands with them and lu backstage was one of those moments you want to remember, because it reflects so much meaning and motivation; i don’t care why i am here exactly but it’s fine, it feels important and pleasurable and maybe even right.

walking from backstage to the venue, into the club, inviting others to join the ritual, looking at them, realizing i might be as intimidating as others have been for me in the past, but overcoming that gap with a smile and a talk, knowing i would need them as well as they would need me to deal with the awkwardness of being in a room with strangers looking at a stage listening to loud noises not knowing what would come next..it felt familiar, i love it.

when i try to hold space at my parties and events, i feel the same. i am not the one in the centre of attention, i am facilitating and i hope i can make anything happen and maybe even join in if i feel like it. i want my presence to say to others: you are welcome, i got your back, be my guest, go play!

during the ritual i noticed i shared my admiration for kate and adrienne with many around me and i saw them naturally pulling the people into their ritual bubble. it felt like most were comfortable, and some were even up for going beyond comfort. this is, i think, what holding space is about.

i held space, and at the same time i was somebody they/others held space for.
i am so grateful for this exercise/experience and I will take it with me everywhere i go. thank you kate, adrienne and lu ❤

PROBABILITY PRAXIS 10 of 28 – WAXING GIBBOUS

Backstage photos by Jakob Ra. Thank you. With Interlocuters Hana Frisonsova and Tereza Silon

Underdogs Ballroom, Prague, Czech, hosted by MENU and HANA FRISONSOVA

20 May 2017

Interlocuters: Hana
Frisonsova and Tereza Silon

I want to thank firstly
those who helped make this show possible.

There was Hana
Frisonsova, of course, who has been with us for a long time, a
support and shining star, creating as well a weaving of our union, of
our partnership and reflecting it back to us in her designs. On
Friday we put on the clothing, we envelop ourselves inside the
clothing that she created from our disem/bodies. Our eyes, our legs,
our hands … our faces covered. It is a strange and beautiful
experience to see our love reflected back to us. At night we wear the
eyes, our own eyes, photographed, mirrored, reflected. I wonder at
what it “means” or what it says. For now I wear them with pride;
they are at least beautiful objects symbolizing third eyes,
possibilities for opening. For the show it only made sense that Hana
would dance with us and add her energy to the project.

We were also able to
invite one of my dearest friends and muses, Tereza Silon, whose
artistic practice I have long admired. She would be a natural choice
as a mover who both knows well her own body, how to live in her skin,
and also how to reach outside her body and connect with others. Not
only did she contribute as an interlocutor, but further, she provided
excellent textual translations into Czech for the visuals. These I
feel are so important, so that the ritual is as inclusive as possible
and so that it is not assumed that English predominates.

And last but not least I
want to thank Zdeněk Konečný, who organizes the MENU parties and
mixtapes, who put together a great lineup and found a wonderful venue
for this night.

The ritual was so full
this night, a feeling so strong of involvement from everyone, from
going deep in. At one point I realized that all 50 of the blindfolds
were being used, and that everyone had accepted this idea and were
going in with us. I had the feeling that the full show was slowly
taking shape, gaining maturity, gaining strength. That we were
beginning to believe that this could happen, that we could come into
a space that we do not know and face those “we do not know,” that
we could ask people who come for a concert to trust us as
facilitators on a different kind of journey.

There was a moment my
body came into contact with a very large white masculine presenting
body. And I realized that this was, is, for me, a kind of “other”,
a body that as growing up read as female, I have sometimes feared. I
have feared “his” presumed sexism, his presumed entitlement, his
presumed sexuality, his presumed entitlement to that sexuality over
mine. I realized in this moment that in our contact I was helping to
overcome some of my presumptions, some of my fears, or rather, that I
(already) had, through many years of practicing, become more powerful
and confident in my own body. And this allowed me to make contact
with him and to question a boundary. I felt that he responded to
this, by relaxing, by approaching just as tenderly and by shedding
some of his resistance. And this felt, these moments feel, very good.

I had a few people tell
me they were changed forever, that this was one of the most
influential moments of their lives. I was speechless at this, but
very very happy to think that I could be part of a transformation.
And certainly that the transformation is also in me each time I
perform.

KRF