Dalija Acin Thelander

Within my lectures, I introduce my choreographic practice for babies and neurodiverse /children with disabilities, grounded in sensorial-perceptual perspective, by presenting the key aspects of my work: the notion of choreography as expanded practice; immersion; sensuous interrelationship of body-mind-environment; audience agency as a politicized aesthetic practice, and mutually influential exchange between the performers and audience. By presenting each of my performances I introduce the choreographic methods, main approaches specific to each performance, the performative practice and movement/dance, and emphasize the general concerns related to performing and creating for this audience groups. The lecture aims to encourage rethinking and challenge the concepts and aesthetics of performing arts for babies, both from the perspective of creating and performativity. It includes a brief introduction to the latest developmental scientific research on infants relevant for practice. The participants interested in relevant literature are provided with the selection of texts and references

I share my knowledge and experience across the continents, in the form of lectures, workshops, and artistic collaborations.

My practices were introduced to numerous practitioners in collaboration with the world-leading international networks such as International Performing Arts for Youth (IPAY), International Association of Theatre for Children and Young People (ASSITEJ), as well as within the frame of numerous festivals, professional programs, and local initiatives. I was invited to share my knowledge in countries that had no prior experience with choreographic practices for babies, such as China, Japan, Singapore, India, South Africa, and established long-term collaborations.

The workshop is conducted on the basis of the Open space method which provides the environment for the individual interests and aspirations, knowledge sharing, experimentation, and risk-taking. The process of the workshop contributes to the practice of collaborative research, interdisciplinarity, and production of discourse while addressing the issues such as aesthetics, authorship as well as general production concerns. The beginning of the workshop concerns the introduction to the aspects of my practice and brief information on my productions, followed by the discussion on workshop aims, structure, and methodologies. Within the following phase, the participants are invited to propose topics and ideas of their interests, related to the topics of the workshop, discuss different issues and concepts. In relation to their own interests, participants choose the ideas which they will develop/process, divide into smaller groups, or work individually. The core phase of the workshop concerns the process of devising concepts, developing the ideas, and creating performing/movement materials. Each participant is in charge to propose the way of working on his/her own idea/process and conducting the process upon the chosen protocols. The summaries of each process/project are shared with the entire group, in several rounds, and the participants are encouraged to discuss other's concepts/methods/processes, re-question, and re-work their own. If the duration of the workshop is suitable, the participants can test their ideas within the encounter/s with the targeted age group, which would enable them to observe and analyze outcomes and continue with the process. If the workshop frame allows it, the results of the workshop can be shared in the format of public presentation, ideally including the targeted audience, followed by the moderated discussion. My role fluctuates in relation to the dynamic of each process. I propose the method, possible frameworks, follow each process, provide knowledge based on my experience, as well as written and visual materials relevant for each process, and moderate the discussions when needed.

Some of the workshop formats are structured to continue into the creation process and would include my artistic coaching till the final stages of the performance and it’s public performance.