THE BODY AS AN EXPRESSIVE MEDIA OF CHAOTIC THOUGHTS
RESEARCH DEC. 2020 - JULY 2021
FUNDED BY THE MINISTERIUMS FÜR KULTUR UND WISSENSCHAFT DES LANDES NORDRHEIN-WESTFALEN
IN DIALOGUE WITH THE DANCER AND PERFORMER CHARLOTTE VIRGILE
IN DIALOGUE WITH THE PALESTINIAN URBAN CHOREOGRAPHER AMIR SABRA >> AMIR SABRA'S DANCE COLLECTIVE <<
HOW TO CHOREOGRAPH WITHOUT GAZING?
CAN WE CHOREOGRAPH WITHOUT MAKING PERSONAL JUDGMENTS ABOUT DANCERS AND MOVEMENTS?
WILL THIS STILL BE CALLED CHOREOGRAPHING?
MY QUESTIONS, MY PROBLEMS
Written the 10.09.2020
THE SOURCE OF CREATIVITY INFLUENCED BY LIFE AND BODY EXPERIENCES.
FREEING YOURSELF FROM RESEARCH TOPICS TO EXPLORE CREATIVE MECHANISMS.
What does our body tell us about our personal history? What remains in us, in our movements and dance from our life experiences, physical traumas or trainings? What will our body intuitively express from its experiences without us having pre-determined anything? How will our culture, training and dance style background affect us both differently in our movement creativity? If we let the bodies express themselves, where will they lead our intellectual and artistic encounters?
HOW DO YOU DECOLONIZE INTERNATIONAL ART MAKING AND CULTURAL EXCHANGE?
How to avoid the powerful normative gaze in art creations? (white, male, cis, heterosexual, physically fit, educated, with passport, from a country that has money to finance culture...).
In a choreographed situation :
Is watching about willfully shaping a performer's actions to match our eventual expectations as outside viewers - what do we think this person can do, will do, should do...?
Or is gazing about my own view of the world - what do I know, what have I seen, how do I live, who do I meet, what is the political situation of my country, what is my body shape, what is my relationship to my gender ... and so on. So in this case, it is impossible not to gazing while choreographing?
In other words:
Can I free myself from my white, European, cis-women gazing to choreograph for someone?