MDT, Cullberg, Danscentrum and DOCH would like to welcome you to be a part of our new conference POST-DANCE-ING.
We long for a conference with an unconventional format that emphasizes conversation, as well as supports the potentially different languages available to this conversing.
A conference with five in-depth conversations that spiral deliberately, intuitively and decidedly into other spaces and configurations, possibly into other forms.
So we invited five thinkers to each propose a starting-point. And five invited “Conversation Partners” then formulate and prepare a response to these “Starters”. This in-depth conversation is then taken further by a discussion group that is requested to react and discuss on the spot. This conversation then continues for those attendees who wants to, in a circle in another room. Followed by a final step in a room with no protocol, no choreography, simply an open space where the conversation takes its necessary form. If you want to, you follow the same conversation through all these steps. Or you can choose to stay in the first room where the same procedure with Starter, Conversation Partner and discussion group starts over with a new topic and new participants. This plunging into the Alice hole repeats five times and overlaps. Just like in the real world.
Post-dance with a twist.
Participants: Reggie Wilson, Jeanine Durning, Eva Mohn, Josefine Wikström, Erdem Gündüz, Konstantina Georgelou, Karina Sarkissova, Eva Meyer-Keller, Mette Edvardsen, Malik Nashad Sharpe, Tamara Alegre, Ilse Ghekiere, Julia Giertz, Halla Ólafsdóttir, Alice Chauchat, Agnes Quackels, Rickard Borgström, André Lepecki & Eleanor Bauer.
The conference will be live streamed, and the documentation will be online for 30 days.
A brief history of the project:
In 2015 we (at that point André Lepecki (DOCH), Gabriel Smeets (Cullberg) and Danjel Andersson (MDT) put together a conference (http://mdtsthlm.se/archive/175/) with the intention to open up a discussion on contemporary practices within the field of dance without stumbling into the usual traps (we almost always inevitably end up talking about lack of funding when we talk about projects or about what dance is when we talk about choreographic practices). We framed this intention as a conference titled “POST-DANCE: Beyond the kinesthetic experience and back”. This conference was instantly sold out and we streamed it (with the help from Riksteatern) live with thousands of views.
We did not say what Post-dance was but asked the participants to speculate with us. In 2017, we (Mette Edvardsen, Mårten Spångberg and Danjel Andersson) edited and published a book with texts from the conference and new thinking on Post-dance. It turns out that what we dreamed of doing (to open up discussions on contemporary practices within the field of dance) with the launch of the non-concept container (that is Post-dance) is now happening and our conference has become the starting point we hoped for. There is no way to have an overview of all that has been happening since then. We know that they want to translate the book into both Russian and Portuguese and we know that there was a master’s thesis written by a Norwegian in Denmark (Amanda Øiestad Nilsen). Oktoberdans festival in Norway hosted a seminar, the festival Block Universe held a sold out Post-dance conference in Tate Modern in London. The scenes in Moscow and Vienna held seminars. Amsterdam and Oslo also did in combination with a launch of the book. And there have been launch events for the book in more than 10 different countries. There is an unauthorized Post-danza.pdf circulating on the internet and there remains great demand for the now out-of-print book (2000 copies).
There are now many conversations on what Post-dance is and/or is not. We would like to push the conversation a bit further by asking: What about the -ing? If we knew what Post-dance was/is (and we do, no?) what and where is the -ing? The do-ing, the post-dancing, the practice-ing if you will. We – Zoë Poluch (DOCH), Gabriel Smeets (Cullberg), Tove Dahlblom (Danscentrum), Danjel Andersson and Sara Bergsmark (MDT) – have invented a concept for an event in MDT in Stockholm for up to 150 participants. We will live-stream (again with the help from Riksteatern) the conference, a recording that will be available for only 30 days. We are also planning a new publication. The event takes place 23rd-25th of October 2019 in MDT/Stockholm.
- Ticket info
Limited places so reserve your spot asap. We realese tickets at two dates: for you early bird long distance travellers, a few tickets will be released July 1st. More tickets will be released September 2nd 12:00.
Kompis Card holders can buy tickets to reduced price.
We would love for you to be here the whole conference and mainly sell three day tickets. September 2 we will release a few one day tickets.
Micro Actions in daily performing arts practice
Starter – Reggie Wilson:
”We Shall Not be UN-MOVED! Pragmatic choreographic choices and thinking reflect back and on historic American utopian ideals. Confronting the GAP – written word and The Dance, accepting Choreography on its own terms”
Conversation partner – Jeanine Durning
Discussion group – Eva Mohn & Josefine Wikström
Starter – Erdem Gündüz:
”We seek truth at every age. We are discussing post-dance in order to understand realıty in the post-truth era. The speech deconstructs what ınfluenced the self and what is the ownership of the artworks.”
Conversation partner – Konstantina Georgelou
Discussion group – Eva Meyer-Keller, Karina Sarkissova & Mette Edvardsen
Starter – Malik Nashad Sharpe:
”ON HOPE: Fucking the Regime of Hope in Choreography
I would like to discuss pessimistic dance and choreographic practices, and how this operates in current socio-political trappings. Why offer hope, when we can offer the unreal instead”
Conversation partner – Tamara Alegre
Discussion group – Ilse Ghekiere & Julia Giertz
Starter – Halla Ólafsdóttir:
”It´s all about you and us and all the love in-between
again and again and again, over and over and over, it´s never over (into infinity) 4ever until DEATH”
Conversation partner – Alice Chauchat
Discussion group – Rickard Borgström & Agnes Quackels
André Lepecki & Eleanor Bauer
Participants: Rebecca Vinthagen, Reggie Wilson, Jeanine Durning, Eva Mohn, Josefine Wikström, Erdem Gündüz, Konstantina Georgelou, Karina Sarkissova, Eva Meyer-Keller, Mette Edvardsen, Malik Nashad Sharpe, Tamara Alegre, Ilse Ghekiere, Julia Giertz, Halla Ólafsdóttir, Alice Chauchat, Agnes Quackels, Rickard Borgström, André Lepecki & Eleanor Bauer. Curated by: Zoë Poluch (DOCH) Gabriel Smeeds (Cullberg) Tove Dahlblom (Danscentrum) Sara Bergsmark (MDT) Danjel Andersson (MDT/Dansehallerne). Post-Dance-Ing is made possible thanks to Life Long Burning – Towards a sustainable Eco-System for Contemporary Dance in Europe project (2018-2022) supported by the Creative Europe programme of the European Union. MDT is supported by Swedish Arts Council, Stockholm City, Stockholm County Council. POST-DANCE-ING conference is also supported by Swedish Arts Grants Committee and Goethe Institute. Live streaming supported by Riksteatern.
- About the participants
Reggie Wilson is Executive and Artistic Director, Choreographer and Performer of Reggie Wilson/Fist and Heel Performance Group. His work draws from the cultures of Africans in the Americas and is combined with post-modern elements and his own personal movement style to create what he sometimes refers to as ”post-African/Neo-HooDoo Modern dances.”
He has lectured, taught and conducted workshops and community projects, and had his work presented nationally and internationally. Wilson is a recipient of the Minnesota Dance Alliance’s McKnight National Fellowship (2000-2001), is a 2002 BESSIE recipient, and is a 2002 John Simon Guggenheim Fellow. Wilson has been an artist advisor for the National Dance Project, a Board Member of Dance Theater Workshop, and in recognition of his creative contributions to the field, was named a 2009 United States Artists Prudential Fellow, as well as being a recipient of the 2009 Herb Alpert Award in Dance. In 2012 he was named a Wesleyan University’s Creative Campus Fellow, received an inaugural Doris Duke Performing Artist Award, and received the 2012 Joyce Foundation Award for his successful work Moses(es) which premiered in 2013. His critically acclaimed work CITIZEN, premiered 2016 (FringeArts – World; BAM NextWave 2016 – NYC); both works continue to tour. Wilson was curator of Danspace Project’s Dancing Platform Praying Grounds: Blackness, Churches, and Downtown Dance(Platform 2018) and created the commissioned work “…they stood shaking while others began to shout”specifically for the space at St. Mark’s Church in-the-Bowery. Most recently, he curated Grounds That Shout! (and others merely shaking), a series of performances in Philadelphia’s historic sacred spaces. His newest evening length work POWERpremiered this July at the Jacob’s Pillow Dance Festival and is currently touring.
Eva Mohn is a dance practitioner and performing living and working in Stockholm, Sweden with the Cullberg since 2012. Prior to moving to Sweden Eva studied Dance and Anthropology at the University of Minnesota, Minneapolis and was a founding member of St Paul based company TU Dance in 2001. In Minnesota Eva appeared on various stages working with Black Lable movment, Morgan Thorson, and Maggie Bergeron Dance Company, as well as her own persuits in dance and music composition with female art-rock quartet Coach Said Not To. In 2008 She moves to New York to work with Johannes Wieland, and in 2009 she moved to Germany to continue that work at Staatstheater Kassel. During her time in Europe she has worked with the choreographic artists Jozef Frucek, Benoit LaChambré, Jefta Van Dinther, Eduard Lock, Eszter Salamon and Deborah Hay. Privately Eva also teaches yoga for yoga haters, improvisation, and is a student of Cranial Sacral Therapy. In her choreographic pursuits she plays with musical compositions and enjoys finding the interplay between storytelling, physical exertion, and humor.
Erdem Gündüz (Ankara, 1979) graduated from Yıldız Technical University, Faculty of Art and Design, Department of Music and Performing Arts in 2007. He trained in acting at Ege University Theatre Assembly and he established Ege University Dance Theatre Assembly. In 2007 he trained at The John Kennedy Center during the Exchange Programme for Performing Artists in Washington and New York on contemporary dance.
He performed at İ.B.B.C.R.R Dance Theatre and Istanbul Dance Theatre and he joined several festivals and workshops all around the world with his own performances. Since 2005 till 2016 he gave dance classes and prepared workshops at Catı Dance association. Also he gave movement classes at Istanbul Yeni Yuzyıl University Faculty of Fine Arts Department of Performing Arts. He finished his master’s degree in performing arts at Istanbul Mimar Sinan Fine Arts University in 2014.
For his courageous commitment to freedom of expression and human rights, he was awarded the 2013 M100 Media Award, the 49th Theodor Heuss Medal prize in 2014. He was awarded the 2014 Havel International Prize for Creative Dissent by Human Rights Foundation.
Now, he lives in Poland.
Konstantina Georgelou is an Amsterdam-based performing arts theorist, dramaturg and researcher. She is a senior lecturer in the Department of Media and Culture at Utrecht University and at Utrecht University College, a tutor at DAS Choreography and the theory advisor at DAS Theatre (AHK). Her research spans over the areas of dramaturgy, choreography, (new) materialism and artistic research, inquiring ways to move and act collectively. She studies artistic, discursive and activist practices as performance and researches in-practice collective modes of production in theory and in the arts. She co-authored The Practice of Dramaturgy: Working on Actions in Performance (Valiz, 2017) and co-edited the issue ‘On Names’ (Performance Research Journal, 2017).
EVA MEYER-KELLER (DE) works at the interface of performance and visual arts. Before graduating from the School for New Dance Development (SNDO) in Amsterdam she studied visual arts in Berlin (HdK) and London (Central St. Martins and King’s College). Her artwork is distinctive due to its meticulous attention to detail while using everyday objects from her immediate surroundings, such as her home and the supermarket. Her working method is marked by a constructive disregard for any boundary between disciplines. Her works include the performances Death is Certain (from 2002 and performed in more than 200 venues around the world since) and Pulling Strings (Kunsten Festival des Arts, Brussels, 2013), and the installations Volksballons (Palast der Republik, 2004; Centre Pompidou-Metz, 2013), and Handmade (nGbK Berlin, Bonniers Konsthall Stockholm, Palais de Tokyo Paris). Currently Eva is working on a trilogy of performance works in dialogue with natural scientists focusing on how models do not just describe reality, but rather create their own. The first part, titled Some Significance, premiered in November 2017, while Living Matters, the second part, will open in November 2019 at PACT Zollverein in Essen.
Karina Sarkissova (b. 1988) is a Russian-Swedish choreographer based in Stockholm, graduated in 2012 at the School for New Dance Development in Amsterdam (SNDO) and in 2019 at Dutch Art Institute (DAI). Karina is a cofounder of höjden in Östberga, a house for artistic production. Karina is together with Pontus Petttersson curating the annual festival My Wild Flag. Karinas practice is dramaturgical and curatorial; she has a podcast called
Navegante and is working continuously with artists like Ofelia Jarl Ortega, Tamara Alegre and Pontus Pettersson.
The work of Mette Edvardsen is situated within the performing arts field as a choreographer and performer. Although some of her works explore other media or other formats, such as video, books and writing, her interest is always in their relationship to the performing arts as a practice and a situation. With a base in Brussels since 1996 she has worked for several years as a dancer and performer for a number of companies and projects, and develops her own work since 2002. She presents her works internationally and continues to develop projects with other artists, both as a collaborator and as a performer. A retrospective of her work was presented at Black Box theatre in Oslo in 2015. She is currently a research fellow at Oslo National Academy of the Arts.
Tamara Alegre works with dance and choreography.
Born in Gran Canaria, she studied European Business and Psychology and worked as an underground music curator until 2016. She started to dance with La Ribot in 2013, then Mårten Spångberg in 2016 and more recently she has danced for Nikima Jagudajev and Carlos María Romero.
In 2018, she graduated from an MA in Choreography at DOCH in Stockholm where she initiated, together with three colleagues, POSSE, a weekly extra-scholarly dance and reading group.
Her work revolves around sensual embodiments, fictions on sexuality and physical states as choreographic tools for alteration and reshaping. She premiered her first dance work, FIEBRE, at Les Urbaines festival, Lausanne, Switzerland last December. Parallel to the dance piece, there is a workshop in slime primarily addressed to female and non-binary teenagers touching upon themes such as sexuality, body positivism, inclusion and non-competitiveness.
The combination of working as a dancer, making her own work and being involved in collaborative practices is essential for her.
Julia Giertz has a background in choreography as well as engineering, and her artistic practice emerges from this physical ground. Today she works with sound in relation to bodies, immersion, structures and electronics.
She has presented works at the Venice Biennale, Intonal, Kunsthal Charlottenborg, Audiorama, MDT, K3 Hamburg, Norrlandsoperan and Norberg amongst others.
As a composer she has an on-going close collaboration with choreographer Marie Topp. Giertz teaches at the Malmö Arts Academy as well as Elektronmusikstudion (EMS) in Stockholm. She lives in Stockholm since 2019.
Ilse Ghekiere dances, researches and writes. She studied dance at the Conservatory of Antwerp and has a MA in art history from The Free University of Brussels. As a dancer she has worked with, among others, Michèle Anne De Mey, Mette Ingvartsen, Jan Martens, Pavle Heidler and Stina Nyberg. In 2016 she reoriented her practice to focus on the relationship between literature, body politics and feminist history, and the position of the artist as activist. She is the coordinator of ENGAGEMENT, an artist-led movement that tackles sexual harassment, sexism and power abuse in the Belgian arts field. She lives and works in Oslo and Brussels.
Halla Ólafsdóttir is a dancer and choreographer with an MA in choreography from DOCH in Stockholm. She works collectively in various constellations that look for ways of expanding the notion of choreography on and off stage. Her work often revolves around inventing new formats for dance performances and how politics and gender are projected onto body movements. A large part of her artistic practice is based on recognizable material from art and popular culture where she explores what happens when it is put in a different context. She has recently been touring with the pieces DEAD and Beauty and the Beast, which won the Prix Jardin d’Europe Awards at ImpulsTanz(2013). As well as Romeo & Juliet, which is nominated for Der Faust award(2020), together with Erna Ómarsdóttir. Halla has also recently been touring Sweden with Samlingen, a collaboration that has a feminist approach to choreography and deals with the history of dance together with Zoe Poluch, Amanda Apetrea, Nadja Hjorton and Stina Nyberg.
Most of Alice Chauchat’s activities revolve around dance: from dancing to choreographing to teaching to supporting peers to making up structures for thinking and developing together to writing to directing institutions to pondering through dance practice on politics and ethics of alterity and togetherness. With a.o Anne Juren, Alix Eynaudi and Frédéric Gies she made performances. With a.o Jennifer Lacey, Xavier le Roy, Juan Dominguez, Mårten Spångberg she collaborated and performed. With a.o Mette Ingvartsen, Petra Sabisch, Eleanor Bauer, Ellen Söderhult she developed everybodystoolbox.net and nobody’s dance, so dance artists learn more from each other. Directing the Laboratoires d’Aubervilliers she learned how institutions can support artistic research, and at HZT Berlin she is presently a guest professor. With Jennifer Lacey she also hosted Teachback, a research project on the possibility of mutual undoing in arts and education; this conversation continues. In 2015 Alice graduated from the Amsterdam Master in Choreography, and is now engaging a doctoral research on relational subjectivities in dance and is part of the first cohort at THIRD, a peer-to-peer third cycle environment at The Theaterschool (Amsterdam). She is currently a guest professor in HZT Berlin (2017-20).
Agnès Quackels is born in Brussels and is since this autumn 2019 appointed, together with Barbara Van Lindt, as general and artistic coordinator of the Kaaitheater (Brussels) for which they proposed the program «How To Be Many? ». She’s then leaving her position of as artistic director of the Arts Centre BUDA (Kortrijk) where she started in 2011, In this frame, she had organised residencies for performance artists, presentation and/ or thematic platforms as well as discursive encounters. She previously co-funded the alternative management bureau Margarita Production (2003).
Rickard Borgström, Curator, based in Sibbo (Finland). Borgström works in the international contemporary dance & theatre field. He curates festivals, venues, seminars, workshops, and exhibitions mainly in the Nordic region. As his curations often have been situated in peripheral regions, he applies de-centered perspectives. His work has been presented by institutions such as Teaterhuset Avant Garden, Bastard Theatre Festival, Stamsund Theatre Festival, Lofoten International Art Festival, Inkonst, Art Space Sinne and The Norwegian Arts Council. He is educated at Dramatiska Institutet and Stockholms University. Currently, he works at Jyväskylä Art Museum for the coming The Central Finland Exhibition and the public art program KEHÄ/KRETS in Sibbo Municipality. This fall he writes regularly for nytid.fi and shakespearetidsskrift.no. He is a member of The Swedish Arts Council´s Dance Committee.
Eleanor Bauer is a performer and choreographer working at the intersections of dance, writing, and music. Originally from Santa Fe, New Mexico, Bauer is currently based in Stockholm where she is a PhD candidate in Choreography at Stockholm University of the Arts. She has been creating performances via GoodMove vzw in Brussels since 2007 and was artist in residence at Kaaitheater in Brussels from 2013-2016. Together with Ellen Söderhult and Alice Chauchat, Bauer co-founded the open-source format for exchange of practices in the performing arts called Nobody’s Business in 2015. Bauer continues to teach, write, lecture, and create contexts for exchange of knowledge in the arts.
Collaborations sustain and fuel Bauer’s continued development of artistic practice. Bauer has worked as a performer with, among others, choreographers Xavier Le Roy, Boris Charmatz, Anne Teresa De Keersmaeker/Rosas, Trisha Brown, David Zambrano, Mette Ingvartsen, and Veli Lehtovaara. She has collaborated as a choreographer and performer with visual artists Matthew Barney, and Every Ocean Hughes/Emily Roysdon. Bauer has been working with musician and composer Chris Peck since 2003, creating several works together over the years. She has also performed or collaborated with music artists Ictus contemporary music ensemble, WATT clarinet ensemble, Arjan Miranda, The Knife, and Yung Lean. She has choreographed and directed commissioned works for The Danish National School of Performing Arts, DOCH, Schauspielhaus Bochum, and Cullbergbaletten. In Spring 2020, Bauer will premiere a new work created in collaboration with Danish pop artist Lydmor and Corpus dance company. She is currently developing collaborations with a collective of London-based dancers called Nora, as well as with film-maker and Uniarts PhD colleague Mia Engberg.
- Live streaming
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