Double bill with Ellen Söderhult
The performance evening starts at 19:00 with How to do things with Romance: a prologue, and will then be followed by RUDY. Tickets are valid for both performances. Read more about the performances below.
- How to do things with Romance: a prologue
HOW TO DO THINGS WITH ROMANCE is a long and wide choreographic project that aims to investigate romance out of a sociological, feminist and cultural historical perspective. The point of departure for defining romance and the romantic is what I consider an internalized and mainstream idea of romance, strongly influenced by Hollywood films, music and music videos of the western music industry. As a notion romance holds a spectra of feelings such as passion, affinity, affection, tenderness, empathy, compassion and devotion. But I argue, that the dominant idea of romance is also shaped by naturalized narcissism promoted by marketing and advertisement, consumerism and individualism as dominant ideologies taken for granted to the brink of made invisible. The way capitalism connects responsibility to ownership has also marked romance. This dance by many is an attempt to propose, perform and speculate in other interpretations of the romantic.
I think of romance as portrayed in movies, music videos, TV-series as having not so much to do with content, but with a use of effects to create stereotypes, norms and produce specific desires and dreams, deeply grounded in consumerism and the idea of ownership. I’m interested in if the positive properties of romance can be removed and used to other ends. Also, how does romance relate to love, or to a less exclusive understanding of the notions such as this one: ”Courtly love does not love the self any more than it loves the whole universe in a celestial or religious way” (Bodies without organs, A thousand Plateaus by Gilles Deleuze och Félix Guattari, 1987). This dance is a throw as in the etymological meaning of dance and ballet – ballein – ballistics – to throw as if to hit. It is a wilful throw off balance to lose the meaning of romance and perform it anew. Welcome to something like a riot grrrl influenced punk ballet.
‘What if we shift the question from ‘who do I want to be?’ to the question, ‘what kind of life do I want to live with others?’ Judith Butler
Understanding dance as a continuous negotiation between historical, collective and personal habits, norms, and desires, her question felt like an important, impracticable but inspiring starting point for a dance by many. It became clear that to support, submit to, and care for a proposal and to fill the verb ”following” with agency was important. In a wish to unveil what norms and ideologies reside within dance performance. it started with questioning not the form dance takes, but for what reasons and what dance’s purposes potentially could be. This, out of the ambition to not take any purpose for granted.
In this performance individual dance histories, dreams, desires and memories reappear, to collide with other ones and be compiled to a new oneness. Taken out of contexts the separate dances constitute a new whole that make altered meanings appear, open for other readings and different understandings. Out of a view on creativity as collective and art as more than the production of artefacts RUDY proposes a calm moment where empathy, care, following, supporting, repeating and imitating are considered vital aspects of art.
- About Ellen Söderhult
Ellen Söderhult is based in Stockholm and works within the field of dance and choreography. She holds a BA in circus since 2010 and completed a second BA, this time in contemporary dance performance, at DOCH in 2016. After graduating the 2nd time Ellen initiated the project Nobody’s Business together with Eleanor Bauer and Alice Chauchat. Inspired by open source, the ambition is to facilitate collective production- and distribution of knowledge within the performing arts through shared practice and its documentation. Ellen has performed works by Chloe Chignell, Simon Forti, Gry Tingskog and participates in different collaborative processes. Together with Chloe Chignell and Maia Means she is editor in chief of the zine This Container. Ellen has a strong interest in structures for delegation as a method for collective authorship as well as dance as a collective and a-personal art form.
- Credits: How to do things with Romance
Choreography: Ellen Söderhult. Dance: Klara Sjöblom, Klara Utke Acs, Anna-Maria Ertl, Lisen Pousette, Anna Bontha, Elise Sjöberg, Lisa Schåman, Ellen Söderhult, Anna-Karin Domfors, Oda Brekke, Gry Tingskog, Tiia Kasurinen, Susanna Ujanen, Ida Arenius and Minna Berglund. Drummer: Cissi Efraimsson & Josefina Pukitis. Costume design and embroidery: Chloe Chignell. Light design: Ronald Salas.
Supported by: Nordisk Kulturfond, Kulturkontakt Nord, Kulturfonden för Sverige och Finland, Stockholms Stad, Köttinspektionen Dans, Danseatelier, Nordens Institut på Åland.
- Credits: RUDY
Concept and direction: Ellen Söderhult. Dance and choreography: Klara Sjöblom, Klara Utke Acs, Anna-Maria Ertl, Lisen Pousette, Anna Bontha, Elise Sjöberg, Lisa Schåman, Ellen Söderhult, Anna-Karin Domfors, Oda Brekke, Gry Tingskog, Tiia Kasurinen, Susanna Ujanen, Ida Arenius and Minna Berglund.
Text read during the performance: Anna Bontha.
Light design: Ronald Salas.
Supported by: Nordisk Kulturfond, Kulturkontakt Nord, Kulturfonden för Sverige och Finland, Stockholms Stad, Weld, Köttinspektionen Dans, Danseatelier, Nordens Institut på Åland.
The previosly participating dancers and choreographers of RUDY have also contributed to and supported this performance: Alex Nagy, Emma Strandsäter, Hampus Bergenheim, Jilda Hallin, Lisa Nilsson, Lisen Ellard, Max Wallmeier, Elise Brewer, Chloe Chignell, Frankie Snowdon, Carima Neusser, Austeja Vilkaityte, Greta Bernotaite, Imre Vass, Ainhoa Hernandez, Karis Zidore, Naya Moll, Olivia Riviere, Sandra Liaklev, Lea Vendelbo Petersen, Emilia Gasiorek, Ivey Wawn, Laura Ramirez, Tamara Algere, Leah Landau, Snorre Jeppe Hansen and Vanessa Virta.