research
performance
Wobbles is a publication created in the context of my degree project presentations at the New Performative Practices Master's Program at Stockholm University of the Arts.
This page, the Wobbles webpage, is a companion to that publication. It gathers links to the performances and practices mentioned in the publication, as well as material from my degree project presentation (a publication activation workshop).
Currently [July 2025], it is rather bare. Eventually (most probably) it will grow to host practice descriptions from my two ongoing research-creation processes, Telos and Knots, as well as some auxiliary essays I am currently working on.
If you'd like, you can download a preview, including the introductory essay "Playing" and the first poem "The Manifesto Tango", here:
P.S. If you would like a pdf of the book, feel free to write me and I'll happily send it.
Research Expositions
Forms-of-Practice
Many of the forms can also be found at A Performance Practice Interface,
under Shop Talk → Provisional Guides and Conspiracies → Bundles.
The forms specific to Mythologies and Azathoth can be found in the expositions above.
[If navigating the website as such feels harrowing, you can write me and I'll fetch the proper document for you. I plan to make a page which collects all the practice descriptions I have, but it's anyone's guess as to when that will go live.]
Degree Project Presentation
This publication was launched through two public workshops, taking place at Stockholm University of the Arts on May 6th and 7th, 2025.
This workshop articulated the concept of The Mystery (which I write about in the publication's third essay): a practitioner's relation to the unknowability which engulfs them, particularly when the relation takes a mystical or sacred tone. In the realm of dance practice, I proposed to think The Mystery in terms of somatic epiphanies:
04.06.2023, Berlin. A cozy evening home alone, watching the movie Alps by Yorgos Lanthimos, smoking a fair bit of weed. I go to shower but first stand naked in front of the sink’s mirror, brushing my teeth. For the first time in a long time, I saw my body. I see it as the body it is, not the body it’s supposed to be or the body I don’t like that it is. In that moment, a suspicion I’ve long had is affirmed: I was sensing my belly button in the wrong place. In my mind, up until that point, the belly-button was basically the end of the torso, almost immediately followed by the genitals and the legs. It became clear that there is a fair bit of body left between the belly-button and my penis, accompanied by a lot of backspace real-estate. My body fills with sensation. I shift to the larger mirror and stand in awe, then slowly begin to make spinal waves. I had so far generated so much unnecessary tension in my lower back, attempting to create the effect of freedom, instead of giving the movement time and space. Softly twerking, I giggle at this moment of somatic epiphany.
Moments of great affective and relational intensity, such that perhaps hinge on the hierophonic, the manifestation of the sacred in the profane.
Through a series of practices, I invited the participants to sense and play with various figurations of The Mystery, to dance with faith and with doubt. The script I ended up devising is a bit complex (some might even say convoluted) - you can check it out here: