The solo work is the mode of practice that has constituted me as an artist.

It gave me
the tools to develop my territory. While assumedly dynamic and transitory (and that is
a way of defining it), my specific territory
====As an assemblage, a territory manifests a series of constantly changing
heterogeneous elements and circumstances that come together for various reasons
at particular times.
is made of the particular set of desires that moves me and also of the particular way
of operationalizing those desires in order to create assemblage (----).As such, this
territory was object of investigation of my practice-as-research MA in Performing Arts
at Universidade Federal do Rio Grande do Sul in 2009, after 10 years of solo
practice developed mostly in the south of Brazil. the territory itself is a malleable site
of passage. As an assemblage, it exists in a state of process whereby it continually
passes into something else. However, it also maintains an internal organisation. A
territory is also an assemblage that, as a necessary component of deterritorialisation,
accompanies the concept of nomadology. A territory refers to a mobile and shifting
centre that is localisable as a specic point in space and time.
This solo devised approach refers to a category which is essentially movementbased, intrinsically self-experimental, and often autobiographical. A mode that links
tasks, and generates the figure of the dancer-choreographer whose works are
created and, usually, performed by them alone. Key artists include La Ribot, Xavier
Le Roy, Yvonne Rainer, Deborah Hay, Trisha Brown, Kazuo Ohno, Luiz de Abreu.
My practice is part of a context where solo dance has become prominent. In Brazil
today is possible to identify a significant production of dancers-choreographers
developing their trajectories from solo practice.
In the more specific geopolitical context from where I come, of southern Brazil, these
works are moving the dance scene. Composed of artists who most often write about
their processes, the solo dancers from the country's south are providing important
material, also scholarly, about their practices. This setting of practice and research
about practice is consistently informing the Brazilian dance scene and is generating
dance knowledge.
Whereas rich, this production mainly focusses on the processes and territories of
each individual artist. The discourse did not yet address the solo as the common
ground that defines and connects those practices. And, although there is a shared
consciousness among artists that solo work is not an individual construction, there is
not a work that put them in relation, gap that I aim to explore in my research.
There is a concern about the solo performance as being a mode limited to the
expression of the singular (Schneider, 2005) becoming a means for what Kalb calls
me-machines (2001,14).
However, I argue that dance-choreographers are constructing a body of work that in
fact is very collective, not constituted by hegemonic, but on the contrary by the
singularities. Yet there is a need to create ways of establishing the potent
connections between solo works that would provide tools to enable the construction
of a territory wider than the singular.

Therefore, my research aims questioning the solo as an expression of a single self,

proposing to develop a model of practice that addresses the solo as articulator of
relations.
To that end, I will develop a solo performance devised by activating resonance
between solo processes. Drawing from Rolniks notion (2006), resonance means the
capacity of all sense organs to allow themselves to be affected by otherness. In
other words, I will experience a process of contamination in which I will cross the
practices of other solo-devisers in order to create mine.
The practice-based research will happen through a dialogue and studio-based
experience with six solo artists that are developing works from a solo-economy that
is latently connecting their singularities. In this process of crossing and embodiment
of practices I believe my dance will catalyse the collective territory constructed by
solo artists from south Brazil.
The option of working from within my context intends to advocate for a more
peripheral ethos of dance practice. Also, the desire to promote a sense of collectivity
between solo-devisers is a survival tactic aiming the valorisation of this form of art as
more than an individual or individualistic enterprise.