When architecture and dance merge into one
Forget about about the drawing board, Sofia Kondylia has other ways of drawing up plans.
A multidisciplinary artist, Kondylia believes in creating space through movement.
By using the mind and body, she gets students to enter the creative process that combines architecture and dance.
Her workshops, which have mixed ages, stimulate the mind and lead to concepts such as geometry and structures. Kondylia focuses on more than the body, but on the body and its environment.
With lessons that feature dancers holding pen and paper, the boundaries of space, sound and light are all put to the test.
"Both dance and architecture require an imaginary design of each other in the process of creating, as they involve the designing of tangible, as well as intangible spaces through body movement," she tells greekguru.net.
You define yourself as a dance/architecture artist. Can you tell us what this means?
For the last four years I have been working as an artist, drawing materials and inspiration from both fields. Having an interdisciplinary background, I have been focusing on creating space through body movement, letting the two arts permeate each other in the dance making.
How do your dance lessons actually work? How do you bring together architecture and dance into one learning experience?
Both Dance and Architecture require an imaginary design of each other in the process of creating, as they involve the designing of tangible, as well as intangible spaces through body movement. The research draws on the creator’s perceptive singularity, considering artistic creation as a medium of self-exploration and communication. Stimulating artistic creation from the creator’s own sense of space and movement, its experiential methods attempt an empathetic, as well as kinaesthetic understanding of the figurative space, symbolism and abstract structures that govern an artistic idea. Encoding this understanding in abstract geometry (architecture), an unrevealed, structural incorporation of architectural design within dance composition is proposed.
Any form of physical exercise helps make people more creative, why is dance different?
Besides the physicality which awakens our clever body, dance requires simultaneous awareness of all possible mind functions. A dancer exists only by being aware of the present, seizing the possibilities. To me, this is a way of reaching the mysticality of the soul.
How does your artistic method challenge an architect? What problems/obstacles in architecture, does dancing help overcome?
Architecture + Dance research challenges the way of designing space by involving not only the creator’s mind, but also his creative body experientially in the process. In this way, dancing could help the architect to consider his creation as a body too and spend some “quality time” with it during the process. A building, an open space or a city has its own governing laws and its own needs to be met. Space also communicates ideas, perspires poetically within its materiality, absorbs the light and becomes “alive” throughout its existence. In this way, it needs to be aesthetically consistent, have a healthy and operative function and a stable, supportive construction as well.
Are you more of a dancer or more of an architect?
For the last four years I have devoted myself to dancing and choreography.
What are your future plans?
A site-specific 4th “Architecture + Dance” research cycle, including my new piece “BodIS” and the 4th compositional workshop of the research, both for mixed-aged groups of artists. This will take place at Kertsini-Drapetsona Artistic secondary school/ex “Palandian” Hammam. Morever, next year a two-year artistic journey will start, as I have been admitted at the MA in Theater Practices course at ArtEZ School of Arnhem. This will introduce practice-as-research based methodologies to my work and attempt an opening of the core of my research towards dance dramaturgy.