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  • Body Territory | Leonardo Rodrigues

    Body Territory Practicing the Act of Dancing Together ​ A reflective dance pr oject encompassing interviews, workshops and images. ​ Dance is directly connected with the body, which plays a significant role in how people experience other bodies and places – their t erritories. The project aims to expand notions towards the Body. The starting point for this project comes from a personal curiosity for a more profound understanding towards the Body and, consequently, heightening perception and relation to other bodies. ​ ​ What is contained in the body beyond what we can see and know? Moving on to this question, some concepts related to the material and immaterial body's territory appear – movements, expressions, desires and dreams. In practice, we interact through touch, mapping the body, observing how we relate to one another, and we use dance to uncover the invisible layers of the body – imagination. The title Body Territory finds its inspiration in the poetry of actor Alex Melo, contributing as a researcher in the initial stage of movement exploration. It was a deliberate choice to combine the words "body" and "territory" to symbolize a body that is immensely valued and nurtured. "Body Territory" aptly encapsulates the essence of the dance practices I advocate, which are rooted in the profound sensuality of the human body. ​ Body Territory Territory as an occupation. Territory as communication! Street, look, cross, cross territory. Laroyê! Territory taken, tamed, ploughed, fertile territory. Undermined territory, loved territory, hated territory, appropriated territory. Breathing in the territory's space. Territory giving birth to echoes. Fragments of memories, stories, bones, flesh, blood, sweat, and saliva... Saliva and sweat, sweat and saliva. The black, the indigenous, the white... The one you don't even know yet. Sprouting in the batuque, in the catuque, in the quizomba, and in the quizila of inventing oneself. Belonging. To be a body in a territory, a body as a territory. The territory of the body Alex Mello Why the use of dance for this project? Dance can bring full awareness of a body with many ways to practice it. At the moment, I aim to strengthen sensory awareness. ​ Sensations can transform movement qualities and the state of bodies presence. The senses are like sources feeding the body's needs, boosting movements, and a vessel to let the body express itself to the world. ​ ​This project states that the mind and its associations with rationalities, such as theoretical, must be connected with the body and its associations with irrationality and sensory movement. Video edition and narration: Alex Mello Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

  • Interviews | Leonardo Rodrigues

    Body Territory Interviews This section contains three interviews intended to hear distinct artists elaborating ideas about Body Territory. Beginning the interview asking for their first thoughts when they hear the words Body Territory, very different concepts arise, from post-humanistic, fluid female perspectives to social-cultural contexts. ​ I am not trying to elaborate a scientific research. Instead, I want to offer the possibility of opening the space for investigations that can still go on beyond body social constructions. How could it be possible to imagine the territories of the body without a thorough examination of what the body is? What is its extent, its transformations, and how is it perceived and affected by and affecting the surrounding? For this reason, these interviews focus on people with the body as a primary focus in their work. ​ I am still far from acquiring all answers with these interviews. These three examples will not speak for everyone. I cannot generalize "people's skin colour, body shapes, abilities, features and sex/gender" (R. Longhurst). But I can tackle the topic of body territory from different angles and share deep questions and reflections regarding our own body, the other’s body and the bodies in our environment. Meet The Interviewees Body Slime Metaphor Pêdra Costa Pêdra Costa, a groundbreaking, formative Brazilian visual and urban Anthropologist, Performer and Tarot Reader based in Berlin, in an interview under the theme Body Territory, opens our senses to perceive a “nature call,” emphasizing the importance of new spaces in arts with a focus on dance. In-Habit-Body Amna Mawaz In an interview focused on the perspective of Body Territory, Amna´s Mawaz, appointed choreographer from the Pakistan National Council of the Arts, author and performance director, discusses complex ideas about the Body and its transformation. The Mind/Body Dualism Rzouga Selmi In the third interview on Body Territory, Rzouga Selmi, aka Shayama AlQueer, a Tunesian Queer Refugee, Activist, Dragqueen, and DJ, reveals their perspective on body boundaries and their cultural narrative. Pedra, Anna, and Rzouga are conscious of their body transformation through the mobility in geographical spaces and how they construct their bodies as artists in dialogue with their audience. These intriguing interviews open possibilities to evolve the notion of body boundaries. Leonardo Rodrigues Santos Dance educator, performer, and researcher based in Mannheim. Mail Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

  • Collaborations | Leonardo Rodrigues Santos

    Dance Productions In their collaborative work process in the high arts, Léo has been expanding their interests and creating long-term bonds. The partnership and projects developed in the last few years also intensely focus on movement research and the group dynamic. All the projects below have a democratic format of creation where participants are strongly involved in developing the pieces. A crucial aspect of these partnerships is the goal for projects to build outside of the studio with enrichment programs for dancers and for a general public who supports the dissemination of dance at an educational level. Image: CocoonDance COCOONDANCE It is an immense pleasure collaborating with CocoonDance. The relationship with the core team began in 2008 on a tour to Brazil. I returned to a new chapter in 2016 to strengthen the team, assuming different roles behind the stage. However, what most captivates me in the company is their capacity to mutate through time and stay curious about the idea of what a body can do. Together we create movement concepts while keeping a refined dance style characteristic. The performance art collective CocoonDance was founded by choreographer Rafaële Giovanola and dramaturge Rainald Endraß in 2000. CocoonDance has been producing and performing in the independent Theater in Ballsaal in Bonn (D); since 2004/05, the company has also been curating the dance program and is responsible for the organization and financing of the theatre. My collaborations with the company relate to dance training, dance movement research, helping to develop a glossary with the dance company vocabulary, and stage coordination. In addition, I take part in the productions: ​ No Body But Me (2016), Ghost Trio A – Corps Furtifs (2017), Ghost Trio B – Corps Multiples (2018), Vis Motrix (2018), Dream City (2019), Standard (2021), Hard Boiled Variations (2022). HARD BOILED VARIATIONS STANDARD VIS MOTRIX DANCE THEATRE HEIDELBERG I am blessed to have met Ivan Pérez in 2019 when he had just started directing the Dance Theatre Heidelberg, the dance department in the Theater und Orchester Heidelberg . The company of talented dancers has not only attracted my attention for the way of moving but for its approach to daily work, which is unconventional to other dance companies in city theatres. A small group willing to grow as dancers and as a team. As a rehearsal director, my main focus was developing work and social ethics in the company and establishing an open dialogue with the team. But, in many ways, dancers' physical and mental health would always come first place. I contributed to teaching and curating dance training, office organization, stage coordination, and digging into choreographic research. In addition, I did the choreographic assistance for the productions: ​ Impression (2018), Becoming (2019), Dimension (2020), Oscillation (2020), and Momentum (2021). Image: Theater und Orchester Heidelberg DANCING OUR STORIES This peculiar project has a special place in my heart. First, the project allowed me to encounter persons not directly related to the professional dance field; in Dancing Our Stories, I developed new ways of articulating words, making my communication more inclusive. The project allowed me to create a horizontal communication format where the dance hierarchy has no place. In Dancing Our Stories, I collaborated as a movement researcher, a report developer, a schedule coordinator, an active viewer, and a dance participant. ​ Many thanks to Edan Gorlick for trusting me in this project representing the company Inter-Actions , and to Migration Hub Heidelberg for the fantastic support and investment in my personal development. ​ You can have a sneak peek at the project by checking on TikTok @dancingourstories #CreatorsForDiversity .

  • Privacy Policy | Leonardo Rodrigues

    Impresssum Leonardo Rodrigues Santos U2, 1A 68161 Mannheim Germany Phone: +491789302249 Email: leonardo.rodrigues.santos.lrs@gmail.com Website: www.leonardo-rodrigues-santos.org ​ Images: Gabin Corredor, Marina Terechov, Dance Theatre Heidelberg, CocoonDance. Privacy Policy We are very delighted that you have shown interest in our enterprise. Data protection is of a particularly high priority for the management of the Leonardo Rodrigues Santos. The use of the Internet pages of the Leonardo Rodrigues Santos is possible without any indication of personal data; however, if a data subject wants to use special enterprise services via our website, processing of personal data could become necessary. If the processing of personal data is necessary and there is no statutory basis for such processing, we generally obtain consent from the data subject. ​ The processing of personal data, such as the name, address, e-mail address, or telephone number of a data subject shall always be in line with the General Data Protection Regulation (GDPR), and in accordance with the country-specific data protection regulations applicable to the Leonardo Rodrigues Santos. By means of this data protection declaration, our enterprise would like to inform the general public of the nature, scope, and purpose of the personal data we collect, use and process. Furthermore, data subjects are informed, by means of this data protection declaration, of the rights to which they are entitled. As the controller, the Leonardo Rodrigues Santos has implemented numerous technical and organizational measures to ensure the most complete protection of personal data processed through this website. However, Internet-based data transmissions may in principle have security gaps, so absolute protection may not be guaranteed. For this reason, every data subject is free to transfer personal data to us via alternative means, e.g. by telephone. ​ ​ 1. Definitions ​ The data protection declaration of the Leonardo Rodrigues Santos is based on the terms used by the European legislator for the adoption of the General Data Protection Regulation (GDPR). Our data protection declaration should be legible and understandable for the general public, as well as our customers and business partners. To ensure this, we would like to first explain the terminology used. ​ In this data protection declaration, we use, inter alia, the following terms: ​ a) Personal data Personal data means any information relating to an identified or identifiable natural person (“data subject”). An identifiable natural person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number, location data, an online identifier or to one or more factors specific to the physical, physiological, genetic, mental, economic, cultural or social identity of that natural person. b) Data subject Data subject is any identified or identifiable natural person, whose personal data is processed by the controller responsible for the processing. c) Processing Processing is any operation or set of operations which is performed on personal data or on sets of personal data, whether or not by automated means, such as collection, recording, organisation, structuring, storage, adaptation or alteration, retrieval, consultation, use, disclosure by transmission, dissemination or otherwise making available, alignment or combination, restriction, erasure or destruction. d) Restriction of processing Restriction of processing is the marking of stored personal data with the aim of limiting their processing in the future. e) Profiling Profiling means any form of automated processing of personal data consisting of the use of personal data to evaluate certain personal aspects relating to a natural person, in particular to analyse or predict aspects concerning that natural person's performance at work, economic situation, health, personal preferences, interests, reliability, behaviour, location or movements. f) Pseudonymisation Pseudonymisation is the processing of personal data in such a manner that the personal data can no longer be attributed to a specific data subject without the use of additional information, provided that such additional information is kept separately and is subject to technical and organisational measures to ensure that the personal data are not attributed to an identified or identifiable natural person. g) Controller or controller responsible for the processing Controller or controller responsible for the processing is the natural or legal person, public authority, agency or other body which, alone or jointly with others, determines the purposes and means of the processing of personal data; where the purposes and means of such processing are determined by Union or Member State law, the controller or the specific criteria for its nomination may be provided for by Union or Member State law. h) Processor Processor is a natural or legal person, public authority, agency or other body which processes personal data on behalf of the controller. i) Recipient Recipient is a natural or legal person, public authority, agency or another body, to which the personal data are disclosed, whether a third party or not. However, public authorities which may receive personal data in the framework of a particular inquiry in accordance with Union or Member State law shall not be regarded as recipients; the processing of those data by those public authorities shall be in compliance with the applicable data protection rules according to the purposes of the processing. j) Third party Third party is a natural or legal person, public authority, agency or body other than the data subject, controller, processor and persons who, under the direct authority of the controller or processor, are authorised to process personal data. k) Consent Consent of the data subject is any freely given, specific, informed and unambiguous indication of the data subject's wishes by which he or she, by a statement or by a clear affirmative action, signifies agreement to the processing of personal data relating to him or her. 2. Name and Address of the controller ​ Controller for the purposes of the General Data Protection Regulation (GDPR), other data protection laws applicable in Member states of the European Union and other provisions related to data protection is: Leonardo Rodrigues Santos U2, 1A 68161 Mannheim Germany Phone: +491789302249 Email: leonardo.rodrigues.santos.lrs@gmail.com Website: www.leonardo-rodrigues-santos.org ​ ​ 3. Cookies ​ The Internet pages of the Leonardo Rodrigues Santos use cookies. Cookies are text files that are stored in a computer system via an Internet browser. Many Internet sites and servers use cookies. Many cookies contain a so-called cookie ID. A cookie ID is a unique identifier of the cookie. It consists of a character string through which Internet pages and servers can be assigned to the specific Internet browser in which the cookie was stored. This allows visited Internet sites and servers to differentiate the individual browser of the dats subject from other Internet browsers that contain other cookies. A specific Internet browser can be recognized and identified using the unique cookie ID. ​ Through the use of cookies, the Leonardo Rodrigues Santos can provide the users of this website with more user-friendly services that would not be possible without the cookie setting. By means of a cookie, the information and offers on our website can be optimized with the user in mind. Cookies allow us, as previously mentioned, to recognize our website users. The purpose of this recognition is to make it easier for users to utilize our website. The website user that uses cookies, e.g. does not have to enter access data each time the website is accessed, because this is taken over by the website, and the cookie is thus stored on the user's computer system. Another example is the cookie of a shopping cart in an online shop. The online store remembers the articles that a customer has placed in the virtual shopping cart via a cookie. ​ The data subject may, at any time, prevent the setting of cookies through our website by means of a corresponding setting of the Internet browser used, and may thus permanently deny the setting of cookies. Furthermore, already set cookies may be deleted at any time via an Internet browser or other software programs. This is possible in all popular Internet browsers. If the data subject deactivates the setting of cookies in the Internet browser used, not all functions of our website may be entirely usable. ​ ​ 4. Collection of general data and information ​ The website of the Leonardo Rodrigues Santos collects a series of general data and information when a data subject or automated system calls up the website. This general data and information are stored in the server log files. Collected may be (1) the browser types and versions used, (2) the operating system used by the accessing system, (3) the website from which an accessing system reaches our website (so-called referrers), (4) the sub-websites, (5) the date and time of access to the Internet site, (6) an Internet protocol address (IP address), (7) the Internet service provider of the accessing system, and (8) any other similar data and information that may be used in the event of attacks on our information technology systems. ​ When using these general data and information, the Leonardo Rodrigues Santos does not draw any conclusions about the data subject. Rather, this information is needed to (1) deliver the content of our website correctly, (2) optimize the content of our website as well as its advertisement, (3) ensure the long-term viability of our information technology systems and website technology, and (4) provide law enforcement authorities with the information necessary for criminal prosecution in case of a cyber-attack. Therefore, the Leonardo Rodrigues Santos analyzes anonymously collected data and information statistically, with the aim of increasing the data protection and data security of our enterprise, and to ensure an optimal level of protection for the personal data we process. The anonymous data of the server log files are stored separately from all personal data provided by a data subject. ​ ​ 5. Comments function in the blog on the website ​ The Leonardo Rodrigues Santos offers users the possibility to leave individual comments on individual blog contributions on a blog, which is on the website of the controller. A blog is a web-based, publicly-accessible portal, through which one or more people called bloggers or web-bloggers may post articles or write down thoughts in so-called blogposts. Blogposts may usually be commented by third parties. ​ If a data subject leaves a comment on the blog published on this website, the comments made by the data subject are also stored and published, as well as information on the date of the commentary and on the user's (pseudonym) chosen by the data subject. In addition, the IP address assigned by the Internet service provider (ISP) to the data subject is also logged. This storage of the IP address takes place for security reasons, and in case the data subject violates the rights of third parties, or posts illegal content through a given comment. The storage of these personal data is, therefore, in the own interest of the data controller, so that he can exculpate in the event of an infringement. This collected personal data will not be passed to third parties, unless such a transfer is required by law or serves the aim of the defense of the data controller. ​ ​ 6. Subscription to comments in the blog on the website ​ The comments made in the blog of the Leonardo Rodrigues Santos may be subscribed to by third parties. In particular, there is the possibility that a commenter subscribes to the comments following his comments on a particular blog post. If a data subject decides to subscribe to the option, the controller will send an automatic confirmation e-mail to check the double opt-in procedure as to whether the owner of the specified e-mail address decided in favor of this option. The option to subscribe to comments may be terminated at any time. ​ ​ 7. Routine erasure and blocking of personal data ​ The data controller shall process and store the personal data of the data subject only for the period necessary to achieve the purpose of storage, or as far as this is granted by the European legislator or other legislators in laws or regulations to which the controller is subject to. If the storage purpose is not applicable, or if a storage period prescribed by the European legislator or another competent legislator expires, the personal data are routinely blocked or erased in accordance with legal requirements. 8. Rights of the data subject a) Right of confirmation Each data subject shall have the right granted by the European legislator to obtain from the controller the confirmation as to whether or not personal data concerning him or her are being processed. If a data subject wishes to avail himself of this right of confirmation, he or she may, at any time, contact any employee of the controller. b) Right of access Each data subject shall have the right granted by the European legislator to obtain from the controller free information about his or her personal data stored at any time and a copy of this information. Furthermore, the European directives and regulations grant the data subject access to the following information: the purposes of the processing; the categories of personal data concerned; the recipients or categories of recipients to whom the personal data have been or will be disclosed, in particular recipients in third countries or international organisations; where possible, the envisaged period for which the personal data will be stored, or, if not possible, the criteria used to determine that period; the existence of the right to request from the controller rectification or erasure of personal data, or restriction of processing of personal data concerning the data subject, or to object to such processing; the existence of the right to lodge a complaint with a supervisory authority; where the personal data are not collected from the data subject, any available information as to their source; the existence of automated decision-making, including profiling, referred to in Article 22(1) and (4) of the GDPR and, at least in those cases, meaningful information about the logic involved, as well as the significance and envisaged consequences of such processing for the data subject. Furthermore, the data subject shall have a right to obtain information as to whether personal data are transferred to a third country or to an international organisation. Where this is the case, the data subject shall have the right to be informed of the appropriate safeguards relating to the transfer. If a data subject wishes to avail himself of this right of access, he or she may, at any time, contact any employee of the controller. c) Right to rectification Each data subject shall have the right granted by the European legislator to obtain from the controller without undue delay the rectification of inaccurate personal data concerning him or her. Taking into account the purposes of the processing, the data subject shall have the right to have incomplete personal data completed, including by means of providing a supplementary statement. If a data subject wishes to exercise this right to rectification, he or she may, at any time, contact any employee of the controller. d) Right to erasure (Right to be forgotten) Each data subject shall have the right granted by the European legislator to obtain from the controller the erasure of personal data concerning him or her without undue delay, and the controller shall have the obligation to erase personal data without undue delay where one of the following grounds applies, as long as the processing is not necessary: The personal data are no longer necessary in relation to the purposes for which they were collected or otherwise processed. The data subject withdraws consent to which the processing is based according to point (a) of Article 6(1) of the GDPR, or point (a) of Article 9(2) of the GDPR, and where there is no other legal ground for the processing. The data subject objects to the processing pursuant to Article 21(1) of the GDPR and there are no overriding legitimate grounds for the processing, or the data subject objects to the processing pursuant to Article 21(2) of the GDPR. The personal data have been unlawfully processed. The personal data must be erased for compliance with a legal obligation in Union or Member State law to which the controller is subject. The personal data have been collected in relation to the offer of information society services referred to in Article 8(1) of the GDPR. If one of the aforementioned reasons applies, and a data subject wishes to request the erasure of personal data stored by the Leonardo Rodrigues Santos, he or she may, at any time, contact any employee of the controller. An employee of Leonardo Rodrigues Santos shall promptly ensure that the erasure request is complied with immediately. Where the controller has made personal data public and is obliged pursuant to Article 17(1) to erase the personal data, the controller, taking account of available technology and the cost of implementation, shall take reasonable steps, including technical measures, to inform other controllers processing the personal data that the data subject has requested erasure by such controllers of any links to, or copy or replication of, those personal data, as far as processing is not required. An employees of the Leonardo Rodrigues Santos will arrange the necessary measures in individual cases. e) Right of restriction of processing Each data subject shall have the right granted by the European legislator to obtain from the controller restriction of processing where one of the following applies: The accuracy of the personal data is contested by the data subject, for a period enabling the controller to verify the accuracy of the personal data. The processing is unlawful and the data subject opposes the erasure of the personal data and requests instead the restriction of their use instead. The controller no longer needs the personal data for the purposes of the processing, but they are required by the data subject for the establishment, exercise or defence of legal claims. The data subject has objected to processing pursuant to Article 21(1) of the GDPR pending the verification whether the legitimate grounds of the controller override those of the data subject. If one of the aforementioned conditions is met, and a data subject wishes to request the restriction of the processing of personal data stored by the Leonardo Rodrigues Santos, he or she may at any time contact any employee of the controller. The employee of the Leonardo Rodrigues Santos will arrange the restriction of the processing. f) Right to data portability Each data subject shall have the right granted by the European legislator, to receive the personal data concerning him or her, which was provided to a controller, in a structured, commonly used and machine-readable format. He or she shall have the right to transmit those data to another controller without hindrance from the controller to which the personal data have been provided, as long as the processing is based on consent pursuant to point (a) of Article 6(1) of the GDPR or point (a) of Article 9(2) of the GDPR, or on a contract pursuant to point (b) of Article 6(1) of the GDPR, and the processing is carried out by automated means, as long as the processing is not necessary for the performance of a task carried out in the public interest or in the exercise of official authority vested in the controller. Furthermore, in exercising his or her right to data portability pursuant to Article 20(1) of the GDPR, the data subject shall have the right to have personal data transmitted directly from one controller to another, where technically feasible and when doing so does not adversely affect the rights and freedoms of others. In order to assert the right to data portability, the data subject may at any time contact any employee of the Leonardo Rodrigues Santos. g) Right to object Each data subject shall have the right granted by the European legislator to object, on grounds relating to his or her particular situation, at any time, to processing of personal data concerning him or her, which is based on point (e) or (f) of Article 6(1) of the GDPR. This also applies to profiling based on these provisions. The Leonardo Rodrigues Santos shall no longer process the personal data in the event of the objection, unless we can demonstrate compelling legitimate grounds for the processing which override the interests, rights and freedoms of the data subject, or for the establishment, exercise or defence of legal claims. If the Leonardo Rodrigues Santos processes personal data for direct marketing purposes, the data subject shall have the right to object at any time to processing of personal data concerning him or her for such marketing. This applies to profiling to the extent that it is related to such direct marketing. If the data subject objects to the Leonardo Rodrigues Santos to the processing for direct marketing purposes, the Leonardo Rodrigues Santos will no longer process the personal data for these purposes. In addition, the data subject has the right, on grounds relating to his or her particular situation, to object to processing of personal data concerning him or her by the Leonardo Rodrigues Santos for scientific or historical research purposes, or for statistical purposes pursuant to Article 89(1) of the GDPR, unless the processing is necessary for the performance of a task carried out for reasons of public interest. In order to exercise the right to object, the data subject may contact any employee of the Leonardo Rodrigues Santos. In addition, the data subject is free in the context of the use of information society services, and notwithstanding Directive 2002/58/EC, to use his or her right to object by automated means using technical specifications. h) Automated individual decision-making, including profiling Each data subject shall have the right granted by the European legislator not to be subject to a decision based solely on automated processing, including profiling, which produces legal effects concerning him or her, or similarly significantly affects him or her, as long as the decision (1) is not is necessary for entering into, or the performance of, a contract between the data subject and a data controller, or (2) is not authorised by Union or Member State law to which the controller is subject and which also lays down suitable measures to safeguard the data subject's rights and freedoms and legitimate interests, or (3) is not based on the data subject's explicit consent. If the decision (1) is necessary for entering into, or the performance of, a contract between the data subject and a data controller, or (2) it is based on the data subject's explicit consent, the Leonardo Rodrigues Santos shall implement suitable measures to safeguard the data subject's rights and freedoms and legitimate interests, at least the right to obtain human intervention on the part of the controller, to express his or her point of view and contest the decision. If the data subject wishes to exercise the rights concerning automated individual decision-making, he or she may, at any time, contact any employee of the Leonardo Rodrigues Santos. i) Right to withdraw data protection consent Each data subject shall have the right granted by the European legislator to withdraw his or her consent to processing of his or her personal data at any time. If the data subject wishes to exercise the right to withdraw the consent, he or she may, at any time, contact any employee of the Leonardo Rodrigues Santos. ​ ​ 9. Data protection provisions about the application and use of Facebook ​ On this website, the controller has integrated components of the enterprise Facebook. Facebook is a social network. A social network is a place for social meetings on the Internet, an online community, which usually allows users to communicate with each other and interact in a virtual space. A social network may serve as a platform for the exchange of opinions and experiences, or enable the Internet community to provide personal or business-related information. Facebook allows social network users to include the creation of private profiles, upload photos, and network through friend requests. The operating company of Facebook is Facebook, Inc., 1 Hacker Way, Menlo Park, CA 94025, United States. If a person lives outside of the United States or Canada, the controller is the Facebook Ireland Ltd., 4 Grand Canal Square, Grand Canal Harbour, Dublin 2, Ireland. ​ With each call-up to one of the individual pages of this Internet website, which is operated by the controller and into which a Facebook component (Facebook plug-ins) was integrated, the web browser on the information technology system of the data subject is automatically prompted to download display of the corresponding Facebook component from Facebook through the Facebook component. An overview of all the Facebook Plug-ins may be accessed under https://developers.facebook.com/docs/plugins/. During the course of this technical procedure, Facebook is made aware of what specific sub-site of our website was visited by the data subject. ​ If the data subject is logged in at the same time on Facebook, Facebook detects with every call-up to our website by the data subject—and for the entire duration of their stay on our Internet site—which specific sub-site of our Internet page was visited by the data subject. This information is collected through the Facebook component and associated with the respective Facebook account of the data subject. If the data subject clicks on one of the Facebook buttons integrated into our website, e.g. the "Like" button, or if the data subject submits a comment, then Facebook matches this information with the personal Facebook user account of the data subject and stores the personal data. ​ Facebook always receives, through the Facebook component, information about a visit to our website by the data subject, whenever the data subject is logged in at the same time on Facebook during the time of the call-up to our website. This occurs regardless of whether the data subject clicks on the Facebook component or not. If such a transmission of information to Facebook is not desirable for the data subject, then he or she may prevent this by logging off from their Facebook account before a call-up to our website is made. ​ The data protection guideline published by Facebook, which is available at https://facebook.com/about/privacy/, provides information about the collection, processing and use of personal data by Facebook. In addition, it is explained there what setting options Facebook offers to protect the privacy of the data subject. In addition, different configuration options are made available to allow the elimination of data transmission to Facebook. These applications may be used by the data subject to eliminate a data transmission to Facebook. ​ ​ 10. Data protection provisions about the application and use of Instagram ​ On this website, the controller has integrated components of the service Instagram. Instagram is a service that may be qualified as an audiovisual platform, which allows users to share photos and videos, as well as disseminate such data in other social networks. ​ The operating company of the services offered by Instagram is Facebook Ireland Ltd., 4 Grand Canal Square, Grand Canal Harbour, Dublin 2 Ireland. ​ With each call-up to one of the individual pages of this Internet site, which is operated by the controller and on which an Instagram component (Insta button) was integrated, the Internet browser on the information technology system of the data subject is automatically prompted to the download of a display of the corresponding Instagram component of Instagram. During the course of this technical procedure, Instagram becomes aware of what specific sub-page of our website was visited by the data subject. ​ If the data subject is logged in at the same time on Instagram, Instagram detects with every call-up to our website by the data subject—and for the entire duration of their stay on our Internet site—which specific sub-page of our Internet page was visited by the data subject. This information is collected through the Instagram component and is associated with the respective Instagram account of the data subject. If the data subject clicks on one of the Instagram buttons integrated on our website, then Instagram matches this information with the personal Instagram user account of the data subject and stores the personal data. ​ Instagram receives information via the Instagram component that the data subject has visited our website provided that the data subject is logged in at Instagram at the time of the call to our website. This occurs regardless of whether the person clicks on the Instagram button or not. If such a transmission of information to Instagram is not desirable for the data subject, then he or she can prevent this by logging off from their Instagram account before a call-up to our website is made. Further information and the applicable data protection provisions of Instagram may be retrieved under https://help.instagram.com/155833707900388 and https://www.instagram.com/about/legal/privacy/. ​ ​ 11. Legal basis for the processing ​ Art. 6(1) lit. a GDPR serves as the legal basis for processing operations for which we obtain consent for a specific processing purpose. If the processing of personal data is necessary for the performance of a contract to which the data subject is party, as is the case, for example, when processing operations are necessary for the supply of goods or to provide any other service, the processing is based on Article 6(1) lit. b GDPR. The same applies to such processing operations which are necessary for carrying out pre-contractual measures, for example in the case of inquiries concerning our products or services. Is our company subject to a legal obligation by which processing of personal data is required, such as for the fulfillment of tax obligations, the processing is based on Art. 6(1) lit. c GDPR. In rare cases, the processing of personal data may be necessary to protect the vital interests of the data subject or of another natural person. This would be the case, for example, if a visitor were injured in our company and his name, age, health insurance data or other vital information would have to be passed on to a doctor, hospital or other third party. Then the processing would be based on Art. 6(1) lit. d GDPR. Finally, processing operations could be based on Article 6(1) lit. f GDPR. 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  • Contact | Leonardo Rodrigues

    Leonardo Rodrigues Santos Dance educator, performer, and researcher based in Mannheim. Mail

  • In the Media | Leonardo Rodrigues

    MEDIA Find links for published online classes, presentations, workshops and interviews with Leonardo. VIVADANÇA Festival Internacional 2022 - Retorna com o Bahia Mundo, podcast em cinco episódios com convidados muito especiais: bailarinos e coreógrafos baianos que saíram da Bahia e ganharam o mundo. ​ English: A podcast in five episodes with very special guests: Bahian dancers and choreographers who left Bahia and won the world. The podcast is in portuguese. ​ https://open.spotify.com/episode/4iBEU3b5uzVWT4NtxWWkBc Dance Theatre Heidelberg 2020 - DTH-Workshop-Podcast Here is a podcast created for the Dance Theatre Heidelberg audience. A carefully guided session of 20 minutes encourages people to try out and move their bodies. No previous experience is necessary. https://www.theaterheidelberg.de/sparten/tanz/tanzpodcast Dance Theatre Heidelberg 2020 - Leonardo Rodrigues is on the rehearsal stage with Inés Beldar Nácher, March Galvez, and Arno Brys, dancers of the Dance Theatre Heidelberg working on movement ideas that form the basis for a scene development of Oscillation, a dance piece by Iván Pérez premiered in 2021. The recorded original music by Ferran Cruixen. ​ ​ ​ https://www.facebook.com/watch/?v=338776880713677

  • Body Territory - Practice | Leonardo Rodrigues

    Body Territory - Practicing the Act Dancing of Dancing Together The project maintains a dialogue with other professionals and people curious about dance. Observing and listening to other bodies and their relationship to the theme is crucial to evolve the practice. The intention is not to portray no one's stories but to look for points in common and strenghten relations. In this place, we can create an imaginary bridge, a vessel to disclose topics hidden behind our preconceptions or yet not discovered. Images Borders Expansions Photography - a collaboration with Marina Therechov Like almost everyone, I am not fully aware of how I appear to others while I think, feel, and speak. So, I am cautious of all these actions, which refrain my emotions to a restricted body. ​ ​ The photographer Marina Therechov and dancer Leonardo Rodrigues dived into a photographic performative action where fluids in a human body open up the possibility of intense emotional states. From a photographic studio in Mannheim, the artists examine how the performer could strengthen the ability of the body's movement to expand through space. . Expansions Photo: Marina Therechov Perspectives on Body Territory Interviews Read conversations with remarkable artists talking about their perspectives on Body Territory. Three people with a lot in common, people of colour, passionate about what they do as performers, migrants in Germany, and gender fluid, the interviewees talk about their bodies, conflicts, and desires in particular curious ways. Interviews Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

  • Website | Leonardo Rodrigues Santos

    Dance for Thought ... is the idea that dance triggers thoughts. Dance for Thought is a website, diary, and composition designed to host the artistic creations of Leonardo Rodrigues Santos. This virtual archive collects material from dance research, workshops, and collaborations in dance. It serves a dynamic pool of ideas seeking to resignify the artist's identity.

  • Amna | LRS | Body Territory

    In-Habit-Body "The Bodies how they are, and how they are affected by time" An interview with Amna Mawaz on the theme Body Territory - March 28, 2023 Amna Mawaz, an appointed choreographer from the Pakistan National Council of the Arts, author and performance director residing in Heidelberg South of Germany, discusses complex ideas about the Body and its transformation. From a fluid female perspective, a mother of a child with a rigorous education in Pakistan, Amna shows different perspectives through her body perception during pregnancy and thorough education in dance in her country of origin. Image: Baqir Mehdi What first thoughts come to your mind when you hear the words Body and Territory? When you said body, somehow, I feel it inwards even though it seems outwards. So it is a possible place. It's because feeling is for me inside. I don't know what that means. But when I think of the body, I am thinking of body in space, directly in my body, and I have a lot of anxiety about my body because I gave birth to a child; the body blows my mind. And I like it. But I'm still, on one level, very insecure about my body. And so, inside am comfortable, and outside in the territory, it´s funny, it gives me anxiety but at the same time gives me security. For territory, I think it means more bodies in space. So there are lots of bodies, even non-human bodies. So things like plants, machines, all bodies. And I think that makes something territorial for me, I guess. Territory, somehow, I know there's a feeling of control and power when it comes to this idea of territory. I think somehow, in this day and age, we think of it as property. But I do think there's a different way of it. There's an alternative way of settling a territory such as a shared space, something like a communal space. ​ ​ The author Lonhurst inscribed women's pregnant bodies as "modes of seepage". These bodies lack boundaries and are described as "ugly and abject" in society. I remember you have a child. How was your experience? Can you tell us about your body's transformations? So basically, it was not a planned pregnancy. It was something that took its shape, and I noticed that it was also hidden, it was a lot of drama. But once that I gave birth, of course, the belly was huge. And also, my colour kept changing. My skin colour was changing in different places, I guess, because of the hormones. But it's a very strange thing that happens. I don't know. I've not heard of many people who have it, but I had different colours on my body. And then basically after giving birth, they got huge, everything was very tight and big. And then the next day, after having the baby, I see my [… ]. I looked down, and my belly button had become this big. It was huge. And everything was just sagging. And I was saying, what happened? And then, of course, when the milk flows, there's something called like a clogged milk duct. I don't know if it's too much for you... [Amna wasn´t sure if the interviewer was comfortable to hear about liquid spilling out of her breast]. But then, when there's a milk stoppage, it becomes hard and painful. There is a lot of pain and transformation linked to pain. Then after, two years, somehow things got back to how they were. Now I have huge stretch marks in all of the places; then they were kind of, expanded and then contracted. I like stretch marks in theory. I find them really beautiful, but somehow I'm unable to own it for myself. You know what I mean? It's very strange. It's like I understand that it's also stretch marks have such a beautiful thing to them. They're literally like a river flowing and they have it's their own cause then. But somehow I'm very insecure about them. I am not, somehow not comfortable in them. I mean, I like them. But I still think it takes some time, maybe, to get used to them. Maybe that's it's just being two years now. So, it is also age, of course. I think it's age and through time it has a connection to space. So the body and territory how they are, and how they are affected by time. It's also so interesting. I propose you return to your memories. Can you reconnect with past experiences and share how these experiences triggered your body and if they are connected with your work today? Yeah. And that's an important thing for me because, in Pakistan, where it's mostly like when you're growing up as a man or woman, it's very policed. So, in public have to be conscious of your body. And, that took me a long time to recognize myself because I was always here my whole life. Even though I was training in dance form that is classical. Even in that classical form, because it was so policed in terms of lines line, you know, everything is geometric, the neck, everything has to stay tight and there can be no curves, you know. The training I had was very triggering for how to move my body. I started training at around 11 years old and then I continued under the same teacher till I was maybe 23 or something. So my whole puberty, let´s say, it was shaped with a lot of hard lines. But what affected me was I played a role in this film two years ago, and the role was of a woman who a community of transgender people had brought up. Have you heard of due to the fact that the South Asian kind of transgender community“Khawaja sira”? So basically, it was an interesting film because it was like a guerilla shooting. So I was pretty much in drag. I was playing, and it was supposed to be a woman who has to hide that she's a woman by acting like a transwoman. It was not on a stage; it was on the road. So people who were in the every day were also like. It took me some days or so to change how I walk. And also did it in a fine tune. And so it transformed me inside, like how I felt, and my gender went all over the place. I think that felt liberating because I always thought gender was fluid, but I never embodied it. I never embodied it with my mannerisms, and then I guess my work and dance were also affected. Because right after that, I moved to Germany. And somehow, I didn't perform much in Germany, but the time I have at the studio that sometimes, when I move, I'm somehow broken from this previously stylized movement. And also very gendered. And then I try and be conscious that I went through a phase where I had that opportunity and was utterly someone else in another body. So that affected me, I think. Thinking of the body as an active, territorial agent, how would you perceive your body as a territory? I.e. who is more present and comfortable in a space, Amna the performer or Amna in daily life? Well, I think as an artist and also, when I'm here, the kind of political work I do. I also believe it's not the same as a performance, but it is a performance because you're in a space, at least for me. After all, I come from this kind of upper-middle-class background. And when I go into a space of, for example, a working-class background, like an area, an environment where there's none of this, and somehow I have to perform that. I would not be showing my arms in a non-conservative way, like the same kind of aesthetic. So it's very performative. And in a way, it's frustrating. But at the same time, it's also very liberating because you can break away from certain performativity one does it. And, you know, like high society, like bourgeois, it's also you kind of break that, l the aesthetic is also broken. And I think it took me a long time also. I believe that a lot of, for example, the non-artist me, I have just because of my family situation and all they come back here. But other than that, my life is very different. My embodiment of who I am has changed a lot because of the political journey. And, additionally, the artist me, for example, I'm in costume, right? Really in costume, I'm very conscious that that I'm representing something in a society where it's seen as really bad. So then I make it a point to be very conscious about my intention, especially when I'm performing publicly and when I'm not non not in that role I am very free. I kind of forget sometimes that the body and the mind are two different things. But the problem then is if you're in a public space, then again, that thing about controlling how you look, because people will look at me – Oh, she's not there and she's not got her head covered, so she must be available, you know, so it's almost always a performance. Maybe I do feel that. I feel like I'm in an essence or so when I'm in this mode. I don't dance because I get really awkward also, like what you especially when I'm performing, I get super weird, but I also enjoy the awkwardness. It's like I'm conscious that is okay, I fuck up, but if I just like, how do I use the fucked upness and create something with it? And often that's been said about my work is that it´s not strictly classical, it's like this. I feel like there needs to be this space where it's awkward. It should be awkward. I like the awkwardness. I like that uneasiness. And yet also it's performed and I like to sift through these weird territories where it's not sure, but it looks sure. Impression Amna describes her pregnant body changes concerning texture, elasticity, and colour. It is to be noticed that these biological changes are viewed as uncomfortable and abject. The choreographer also reveals how movement oppression during her adolescence in Pakistan impacted her life. A female body is constantly policed about how it moves in the streets and is eventually restricted to a specific movement performance. In this interview, it is possible to see that these experiences are inhabited in Amna´s body till today, which also plays a role in how she perceives other bodies around her, either in a social context living in Germany or how she performs. I leave this interview questioning provocatively: how does the environment play an essential piece of sensory information in the body and differentiate concepts of perception and reality about the body? Bibliography: ​ Longhurst, Toby. Bodies Exploring Fluid Boundaries. Routlege, 2001. ​ Echeverri, J. A. Territory as body and territory as nature: Intercultural dialogue? In A. Surrallés & P. García-Hierro (Eds.), The Land Within: Indigenous territory and the perception of environment, Copenhagen: IWGIA, 2005. ​ Sara Smith, Nathan W Swanson and Banu Gökarıksel. Territory, bodies and borders. Department of Geography, University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3220, USA, 2015. Rodaway, Paul. Sensuous Geographies, body, sense and place. Routledge, 1994. Leonardo Rodrigues Santos Dance educator, performer, and researcher based in Mannheim. Please share your thoughts and ideas Mail Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

  • Pêdra | LRS | Body Territory

    The Slime Metaphor Rethinking on methods for living and performing An interview with Pêdra Costa on the theme of Body Territory - April 30. 2023 Pêdra Costa, a groundbreaking, formative Brazilian visual and urban Anthropologist, Performer and Tarot Reader based in Berlin, opens our senses to perceive a “nature calling”, emphasizing the importance of new spaces in arts with a focus on dance. “Violently Happy “ from Björk is the song I recommend you to hear before, during, or after this first interview on the theme of Body Territory. What first thoughts come to your mind when you hear Body and territory? I have many images because our bodies are not free of judgment and have been targeted through centuries because of the political and economic system that we are living in. And because of this, the bodies are not equal. So we cannot talk about one body as the main body or the one body that represents all the bodies. You can talk about the representation of the most important body in society. But this body, for example, doesn't represents you and me. I'm not interested in talking about this body because of the kind of things this body brings together with it – it's a lot of violence; a lot of exclusion; a lot of rejection, and a lot of power. ​ If I talk about my body as a territory, I am in the margins. I celebrate this kind of space. I'm not in the centre. As a queer person, I don't believe in the centre. So it makes sense for me to be in the borders, the margins, and not the centre. If you talk about territory, is the same question to the Body in which political and economic situation we live in and what kind of political project. And this political project, they create the territories because territories are about imagination, it is imaginary. They imagined territories, and they built frontiers, borders. So, for example, they named countries. Each country's a creation. They create this kind of territory. Now they draw a line, as you see on the maps, and this country has the name, a main language, and a culture. But for many people from many communities. The territory is not about the lines. It is not about the borders. It is about people. It's about the environment. It is about calling—a calling to be in that space. ​ Your last answer makes me think about the non-areolar (indigenous) notion of territory. These communities do not use cartographical representations for defining areas or lines. What is this calling you just mentioned? A calling is our ancestor technology, right? The communities, the groups. They established themselves in this part of the world because this part of the world gives them what they need. And they created and developed a relationship with the territory. So the territory is not only the Earth but the different species around the human being. The human being is one of the species, not the most important. And then, you all want to talk about Body and Territory. There is a lot of perspective. It is like the body in to or in the territory. And then we were talking about the ancestors. The people that are gone, their bodies under the Earth. The bodies that are the territory. That made part of the territory? That becomes the territory. And these are kinds of calling in a way that I will live in a territory where the bodies of my ancestors are the territory. So I think I have these three perspectives: the body, the territory and the body in the territory. ​ Could you reflect on experiences that triggered your body? You mention, for example, violence. How do these triggers play a role in your work today? How do they affect your work? In my creations and artwork, violence is not my main topic. I don't want to give back, let's say, the violence I suffered to distribute to the audience or others. I know that what I am going through is to create, or I want to try to make, spaces of comfort. I am working on two words nowadays for my creations: my creative mindset –it's comforting and not confronting. I try to comfort, to give space for reflection. Now this process of transformation is shaped into potency because, as a queer person, there are many kinds of violence in the world for queer people like me. And I'm not. I don't want this for my individual path. I don't want to say I don't print my way of being to the others. But in my case, I don't want to be stuck in the trauma. ​ Trauma can be a kind of prison inside that can stop your life. You become a person based on the trauma bathed in the violence. The violence that we suffered decides what kind of person we will become. I don't want any violence in deciding for myself what I want to do, what I want to be, and what I want to create. I have become a tarot reader, and my proposal to the art market is to comfort and not confront. And because of that, I stopped a bit to make performances, and I am more engaged in creating spaces. So, in this case, my focus is not so much my body, but it is more related to the territory, to this space. ​ Do you say that comfort for you has to do with a geographical space created for encounters? Yes. It is a kind of space for self-reflection, of self-knowledge. Let ́s say cleansing is a kind of space that people, the audience, and the visitors can feel. I want to say comfortable, it is not comfortable, but to feel present in themselves. And not, waiting, expecting, a kind of [...] not, as they say, a violent surprise. That is another thing; it is not this kind of violence. ​ I thought about Björk „Violently Happy“. In this case, I know that my presence is violently happy. And it can be violent for some types of audiences. Being happy is violent for a lot of people. And because of this, nowadays, I'm trying to give a step back and offer a space where they can engage in the space, but they will be alone with themselves and with the artwork. And they have to react only with themselves and not overreact to my presence in this space. ​ You talked about transformation in your work and how you transform the violence you suffered from into comfort for an audience. For this to happen, a body must be open for a transmission circuit between you and the audience. Do you think of the body as a permeable entity? It is different in each material if you talk about the rain and the earth. The rain permeates the soil. But if it is a rock, a stone, the rain will not permeate the rock but flow; it flows on the skin of the rock and the stone. But it never has a fight, or they integrate themselves, and they become a different thing, or they will flow on the skin of each order. ​ But they will not fight [the elements of rain and stone], and I think of this kind of permeation. I was saying this to relate directly to performers and the audience. Sometimes the audience is like a rock, like a stone. They don't let any rain go through them. And some people in the audience are like soil, like the earth. The experience of the performer on stage permeates go through them. And they become something else. They become another thing. It is a good topic to talk about permeation, per se. I think you can talk about two things: permeation and permission. There is no permeation if there is no permission. As performers and dancers, we cannot guide an audience from point A to point B if they don't permit it or give authorization. So you have no agency in this case. We cannot control the audience. And then there is no permeation. ​ Why do you often use elements of nature as a metaphor for the relationship between the performer and the audience? Yes, we are nature. My point of view is like my beliefs. I like that we are not different from nature. If I would talk about nature, I'm talking about art. Some people don't understand. What they talk about nowadays is the topic of environment, sustainability, climate change and so on. They don't know they are; they are just reproducing this mindset. It's not because they are fighting for, in a political way, as an activist, but because they are changing things if they don't change themselves. I think it made it make sense to work on it. I think maybe you will not profoundly change yourself. Oh, so in the next two years. But if you go through the topic rationally or intellectually only, I hope that one day the person will change because the person will build another path for them. But we see academically, for example, people talk about post- colonialism, de-colonial thoughts or anti-colonial practices. But at the end of the day, they are just reproducing colonialism. And it's not because you are talking about something that you become something. An anti-colonial position in the world is a natural connection with the planet. And understand the earth as an organism, as another body. And is to go through many different ways that we live in and believe nowadays. An anti-colonial position in the world is a natural-spiritual position. There is no anti-colonial position in the world without a natural spiritual position. It is impossible. ​ You worked with fluids in the piece Gootopia by the Viennese choreographer Doris Uhrich. Can you share your experiences and discoveries when working with these specific fluids? In the whole process, for example, when I work in Gootopia with the slime, I have in my daily life different kind of sensations; I have kind of memories; my body has memories that come out; I receive memories from when I was in the belly of my mom, for example. So I have been, I become more sensitive. ​ At the same time, [in the work process] you cannot stand up because everything is slippery, so if you cannot, like, walk. For example, it is that kind of process to have to learn another method. Because then, we are not alone. Because, as a performer and as a dancer, I am secondary. I'm not important. The star of the piece, of the choreography, is the slime. You don't work for. You work with. We work with slime. You have to become the slime to work together. You cannot control the slime. It is the same topic that you once mentioned before. It is like rain and the soil. The slime will not be the slime anymore because it will not be alone. After all, the slime transforms itself when it touches our skin because of the chemical in our skin, bodies, and slime. ​ We become another creature, another thing because we are in contact with the slime. So, for example, dancers that are educated to have control of everything get crazy. Because they lose control, if they try to gain control, if they try to have control of the slime, they will hurt themselves. This is our experience [referring to Gootopia performers]. So your flow together with slime; you cannot control the slime. So, this is the most important learning on the process of working with slime and the process of Gootopia for me. It's like you have no control. It's like, let it go. Go with. Flow with. If you go into the slime, you will see. We need slime for everything. We need the water; we need slime in our bodies. We know about it. Like we are slime. We are slime. You do not have to think about it. We will have to lose ourselves. You lose control. You have to do this. If not, how will we touch the intelligence of slime? It's not possible. Slime is inside you; there are no slime spaces. I think it's simple, no? ​ I understand that [the slime] are the protagonist, and you [the dancer] are the voice. So have to go with you and learn with you, and learn together what we can do. But of course, it costs a lot of energy. Because of our cultural body, we try to walk; we try to move as we move in our daily lives. But it is just impossible. We have to go like when we are a baby and walk differently. Oh, you'll have to walk as an animal. All you have to slide together like a snake, for example. You'll have to discover together over the slime what kind of movements you can do to move into today's new planet. You know, and these are profound thoughts for us. This is really, really beautiful. Impression The Slime Metaphor stresses on the terminology of Territory, formulating a relation to political power. The interview navigates towards a non-anthropocentric concept where human beings are not the most important specie. In my view, the interview proposes a concept of negotiation between bodies, sometimes referring to nature and humans, sometimes from artists and audience, and at the end, from the body to body when referring to the piece „Gootopia“ by Doris Uhrich. In this piece, there are two bodies present: performers and slime. The slime is the protagonist on stage, over the performers. Because of the presence of the slime, dancers cannot fully control how their bodies should move, and they have to negotiate their movements and be cautious not to fall on the floor. They work in equilibrating the power with the fluid substances on stage. Could this metaphor become a way to support us in rethinking new ways of living together? Bibliography: ​ Longhurst, Toby. Bodies Exploring Fluid Boundaries. Routlege, 2001. ​ Echeverri, J. A. Territory as body and territory as nature: Intercultural dialogue? In A. Surrallés & P. García-Hierro (Eds.), The Land Within: Indigenous territory and the perception of environment, Copenhagen: IWGIA, (2005). ​ Sara Smith, Nathan W Swanson and Banu Gökarıksel. Territory, bodies and borders. Department of Geography, University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3220, USA, 2015. ​ Pollack, Rachel. The body of the goddess : sacred wisdom in myth, landscape, and culture. https://archive.org/details/bodyofgoddesssac0000poll/page/2/mode/2up?view=theater, (1945). Leonardo Rodrigues Santos Dance educator, performer, and researcher based in Mannheim. Please share your thoughts and ideas Mail Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

  • Boundary Expansion | Leonardo Rodrigues

    Boundary Expansion a photographic performance collaboration with Marina Therechov My performative images express notions of expansion, spillage, and the porous nature of the body. They are a journey embarked upon by a subject yearning to connect with their desires, multiply, and establish a profound relationship with their surroundings. They expand the body's horizons, free from the confines of reason and thought. Outpouring tracing and locating the body Body territory 097 Body territory Image 2023-05-26 at 21.22.21 Body territory 106 Body territory 276 Body territory 381 ​ Fluids, the very essence of life, run through our bodies. In this project, I imagined a subject, a symbol of the creation and renewal of life, who experiences the natural processes of escaping liquids and emotions. I allude to the inability to contain these life-giving fluids and the accompanying emotions - to what flows. Always in the background, I challenge the aversion to this natural state, often associated with a perceived lack of control, order and strength. Bodily boundaries the liminal places where the exteriority and interiority of bodies merges Texture 1 Textures 2 texture 3 texture 4 Texture 5 Body territory 308 Body territory 145 Body territory 263 Body territory 024 Body territory 247 Seeping in which ways can the body expand ? Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, Hilfsprogramm DIS-TANZEN des DachverbandTanz Deutschland.

  • Workshop - A Ritual of Empathy | Leonardo Rodrigues

    A ritual of empathy The workshop „A Ritual of Empathy“ is elaborated as a guided improvisational movement practice. The training aims to reinforce the body´s senses, and it evolves following the group of participants. The idea is to let intuition be the mechanism to drive movements. Regarding aesthetics, we seek a malleable body able to change, transform, and to have the ability to communicate. Photo: @Building-Actions in Heidelberg Practice In the dance workshop „A Ritual of Empathy“, Leonardo guides participants through an improvisational practice. The idea is to enhance intuition, letting body and mind work on the same level. In this way, I hope you can elaborate your concepts around boundaries in the context of individual and collective space. Concept What is contained in the body beyond what we can see and know? Moving on to this question, we play with the material and immaterial body´s territory, movements, expressions, desires and dreams. We interact through touch, scanning the body, observing how we relate to one another, and using dance to uncover the invisible layers of the body. The class will provide tasks generated as a ritualistic practice using visualization methods and sensory work. We will provoke the body to release stored experiences, potentiating desires and wishes through movement. Photo: @Building-Actions in Heidelberg Aim Participants work on their attributes of body presence and confidence engaging to the highest level of expression. Aesthetics The aesthetic of movement can vary in accordance to the participants body languages and needs. All and all, the workshop bases on fluidity. Movements that are malleable and able to change. We will together search for a body that is flexible and firm, permeable, softy and consistent.

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