EXPRESSIONS: the power and politics of expectations in dance

This project is a rehearsal for a revolution in dance. A project proposing a practice in post-contemporary dance for plastic bodies. Baruch Spinoza once claimed, “No one has yet determined what the body can do”. We ask, what CAN the dancer do? Can a dancer change the choreographies of contemporary dance and start a revolution?

In collaboration with Steinunn Ketilsdottir

Co-Researcher
Ongoing
Choreographic research
                                                                FU+Uᴚ3 D∆NC3

A performative understanding…takes account of the fact that knowing does not come from standing at a distance and representing but rather from a direct material engagement with the world. (Barad, 2007, 49).

To live inside the work of EXPRESSIONS: the power and politics of expectations in dance means to intervene/experiment rather than represent/theorize. We practice entanglement. Tangled limbs and bodies, finding the spaces that we can open up to. A solid body, no longer solid, evaporates into a field of virtuality.

We are practical philosophers. The dancing proletariat. Questions of means [grant money, invoices, and cash advances] merge with questions of modes [methodologies, practices, productions]. We go to our bones to find the core/crust/foundation/crown/inside/outside of the habit/practice. We go even deeper just to see what emerges. We notice the shifts.

We articulate ourselves so that we may access the hierarchies that currently make up the contemporary scene. This allows for an embedding, an installation of these silly, queer bodies in the spaces of power. And in our constant transformative expansion we will break apart these structures; use our bodies to hack regimes of power and open them up to new/different potentials.

We give ourselves a plan of action, a set of guidelines to follow. We order the chaos so that we may re/de/territorialize ourselves at our whim rather than at the whims of unknowable/inaccessible power.

We enter this creative/generative process through acts of critical awareness; allowing it to unfold into something. The artist is thus, mobilized from a subjective, rather than institutional space. Not bound to the norms/rules/expectations of the white-supremacist, heteropatriarchal, capitalists that act as if they own dance/art/aesthetic practice of all types.

We practice to find a coherent articulation between the individual and the collective.

We practice to become plastic.

We practice to feel our way into the future.