An ongoing series of site-responsive interventions that rely on sensations & indications active in the terrain.

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DanceLandDayDream #8 …

LA Clinique solidaire des artistes // artist solidarity clinic

le samedi 3 & le samedi 10 janvier 2026

La Trappe : 8, rue Daru, Montpellier

les 2 premieres samedi de 2026

☆ des créneaux de 45 minutes, le 3 + 10 janvier, 11h-15h

☆☆ avec la possibilte des workshops collectifs parmi des seances individuelles…. stay tuned for the programmation annonces sur Instagam @thishasnothingtodowiththedance.

》Prix libre, suggestion 20 euros《

Réservez par mail : marion.fr.storm.us@gmail.com

. . . Il s’agit de la solidarité parmi des artistes ! . . . C’est un projet artistique en soi. . . . Elle vous attend !

Plus de renseignments :

>>> La Clinique Solidaire des Artistes accepte de nouveaux clients!! <<<

Mené par la chorégraphe-interprète Marion Storm, vous serez guidé dans des vagues d’exercices entremêlés et complémentaires à trouver des solutions concernant comment, vraiment, vivre en tant qu’artiste aujourd’hui. Des solutions, autrement dit : des pratiques concrètes, des expériences hors cadre (et même peut-être hors temps), des exercices doux du corps. Les solutions peuvent être changeantes et compliquées.

. . . Je ne sais rien* & on y est ensemble. 

Apportez vos questions, vos problématiques minuscules et massives, vos peurs et rêves (im)possibles. J’amène mon livre des sorts.

N’importe si vous êtes inscrit ou pas dans une démarche artistique ‘officielle’. Si vous êtes artiste de n’importe quel genre ou médium dans n’importe quelle phase de votre parcours, vous pouvez vous inscrire à la Clinique qui se déroulera à La Trappe : studio LAB-L x cohue – 8 rue Daru (proche de la station Plan Cabanes.)

Créneaux breakdown

[pour le samedi 1 jan et le samedi 10 jan]

11h

11h45

13h45

14h30

Selon vos disponibilités, s’il vous plaît m’écrivez 2 possibilités de créneaux pour améliorer le processus de caler les horaires. Merci!

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*Et je suis une enseignante expérimentée. Donc, je vous assure que je suis prête à naviguer de la complexité avec et pour vous. Ecrivez-moi si vous avez des doutes ou besoin de précisions sur l’accès et l’accessibilité, l’inclusion, ou tout autre question. 🌄

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DanceLandDayDream #7

DanceLandDayDream #7 est l’économie d’une métamorphe. D’après DanceLandDayDream #5 — self-sabotage et DanceLandDayDream #6 — dust (2024), je continue à élaborer nos relations et l’intimité de rencontre par la chorégraphie. Lorsque j’utilise le terme économie, je parle de tout ce qui circule entre nous. Notamment les savoir-faire, les matériaux, les sens, les significations, les langages, les gestes, les éléments sensoriels. Métamorphe, ou “shapeshifter”, c’est tout simplement la capacité magique et très humaine d’être danseuse… This work is necessarily a “work in progress”. Right now we are 3: Marion Storm (US), Elvan Tekin (Turquie), Yu-Hsuan Chiu (Taïwan). By the time you read this, there will be Barbara Novati (Italie) joining to understudy/complement Marion’s rôle sur scene.

Historique:

In April 2024 I developed (and created new) choreographic scores at La Poderosa in Barcelona. The scores belong to the massive score (to be published first in English then in French in 2026-27). At La Poderosa some exciting themes emerged: at the intersection of digestion and hallucination, the boundary layer and dust, volcano and wetlands. Somewhere in the midst of this two-week studio practice, the sensations of this performance were born.

In July 2024 I worked at 3 bis f with Yu-Hsuan to test and develop scores. To practice together, to study, to see what sticks. A critical period of time: the project becomes a project.

In January 2025 I went into the studio (La Baleine Rouge in Sète) with regard extérieur Laura Kirshenbaum to present to her my materials. Like a potluck: a patchwork feast. I laid out my banquet and we talked and talked. She helped me get clear about what is at stake.

In February 2025 I went to Mas Nyamnyam to write and work. A publishing practice is necessary for this project because text is important for this project. Because of the necessity and poetry of the forms of incantation, song, and spell. This is a context-dependent work and so you need to have something in your hands to hold. A livret, where the stories necessary to the world of the performance rest.

In June/July 2025, Elvan joined me in the ‘micro halle’ residency framework proposed by Mathilde Monnier and La Ville de Montpellier, at Halle Tropisme. We worked and worked. We danced and danced. We faced an intense canicule. The first 8 minutes of the performance — a solo for Elvan — are born. 

In October 2025, with Yu-Hsuan and Barbara together with me in the studio for the first time, we continue the process of creation. Little by little, piece by piece. This, by way of a generous accueil studio by Honolulu, in Nantes. We went north! Usually, for my work, it seems I am always heading south. The north gave a refreshing, autumnal energy. We worked inside and outside. In gardens and at the river’s edge. This work period recalled many beautiful and somehow still-active memories from my rehearsal process with daniel (lühmann) and Alex (Arturo), back in 2022, at buda in Kortrijk, along the river Leie. This time, the river was la Loire. Now we have an established methodology. A way of working in situ that creates a composition. We have learned phrases, repeatable materials, a movement bank… The beast is taking form. We are somewhere in the mid-end of this work. The economy is what circulates between us; the shapeshifters? Well, of course, they are the dancers. The subject of the thing is us, unfolding the thing.

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DanceLandDayDream #4 (Ecopolis) : The Studio for Embodied Processing

Throughout the day of Ecopolis, Marion Storm will steward the place-score-space called DanceLandDayDream #4 (Ecopolis) : A Studio for Embodied Processing. This studio is a place for informal conversation amongst conference-goers; a score for embodied contemplation of the themes at stake today; and a space for respite and dreaming. Through individual appointments to the space as well as collective “warm up” occasions, Storm will administer traces of her eco-logical creative praxis to an anxiogene—or a pressing question—that visitors can bring with them into the studio throughout the day. The collective warm ups (and their inverse as the day wanes: cool downs) make space for critical themes proposed throughout the day by our guest philosophers and cultural actors to resonate & ripple. As choreographic mentor Neil Greenberg has said many times: Now fill it up with body! 

With this DanceLandDayDream #4, and as part of a larger corpus of in situ performance experiments that attempt to valorize and foment connections between our body/ies and land/s, Storm asks us to orient toward what is resource-full in embodied practices: in order to find meaning-full ways onward & otherwise.

More here.

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DanceLandDayDreams has many origin stories.

My biography is one of them: it’s not possible that I wouldn’t have made this series eventually. The first dance I ever made, in 2013, was an 8-minute piece called This is what it feels like to stand at the edge of the Grand Canyon. lol. I am who I am and make what I make…

But a formative residency at Lake Studios in October 2022 played a big part in getting my ass into the studio and regenerating a rigorous movement practice towards these multifarious experiments. Many practices emerged, including an oracle singing practice, an anarchist folkdance, and folding myself up like a brokendown piece of equipment. Including erotic listening, a principle of erotic working, a radical trusting practice, and an intimate relationship with 5 Berlin-local artist peers: in the form of a self-designed “advisory/care circle”, who offered me a LOT — from mental health support to dramaturgical presence, to feedback, to preparation and then processing of what was important about what transpired during this month of intense solo work.

photo – Maria Kousi