Peripeti

Dancing necessities

Cecilie Ullerup Schmidt, Franziska Bork-Petersen, Jonas Schnor, Karen Vedel — Tue, 17 Dec 2024 00:00:00 +0100

Summary

Situating the vocabulary of infrastructure studies within the field of dance, theatre- and performance studies, the article provides a critical analysis of what has happened infrastructurally within the past 10 years in the Danish field of dance and choreography. Four aspects are taken into account: the landscape and economy of venues, the educational changes, an upsurge of self-organised spaces and cooperatives in the field, and finally the field of critique and self-archiving. Through an analysis across frames of production, presentation, and distribution, we suggest tendencies of how dance and choreography is currently moved by its material and immaterial infrastructures. The conclusion stresses how artistic self-organisation of both production platforms, festivals, and separatist collectives can be understood as infrastructural choreographies: artistic and self-maintaining ways of responding to institutional and educational instability, structural precarity, and normative representation in the Danish landscape of dance and choreography.

Resumé

Ved brug af et vokabular fra infrastrukturstudier i konteksten af dansevidenskab og teater- og performancestudier giver artiklen en kritisk analyse af, hvad der er sket infrastrukturelt i de seneste 10 år i det danske danse- og koreografifelt. Fire aspekter tages i betragtning: et landskab over scener og tilhørende økonomi, forandringer i de nationale uddannelser indenfor dans og koreografi, en fremkomst af selvorganiserede studios og kooperativer, og endelig betingelserne for kritik og arkivering af dans. Ved at analysere på tværs af rammer for produktion, præsentation og distribution, beskriver vi hvordan dans og koreografi i vores historiske samtid formes af feltets materielle og immaterielle infrastrukturer. Konklusionen foreslår, at kunstnerisk selvorganisering af både produktionsplatforme, festivaler og separatistiske kollektiver kan forstås som infrastrukturelle koreografier: kunstneriske og omsorgsdragende måder at reagere på institutionel og uddannelsesmæssig ustabilitet, strukturel prekaritet og normativ repræsentation i det danske felt for dans og koreografi.

About this issue

Cecilie Ullerup Schmidt, Franziska Bork-Petersen, Jonas Schnor, Karen Vedel — Tue, 17 Dec 2024 00:00:00 +0100

“Herefter er jeg definitivt holdt op som danser…”

Karen Vedel — Tue, 17 Dec 2024 00:00:00 +0100

Mindeord om danser, koreograf og filminstruktør Jytte Kjøbek Jorn (15.11.1943-04.07.2024)

Mindeord om Kirsten Dehlholm

Erik Exe Christoffersen, Laura Luise Schultz — Tue, 17 Dec 2024 00:00:00 +0100

“Folkhemmet” and dance

Ingrid Redbark-Wallander — Tue, 17 Dec 2024 00:00:00 +0100

Virtuosity in the wings

Franziska Bork-Petersen — Tue, 17 Dec 2024 00:00:00 +0100

The article analyses artistic practices and institutional patterns that concern the collaborative creation, maintenance and transformation of dancing bodies at Royal Danish Ballet. Classical ballet conventionally relies on the myth of the solitary artistic genius who gives herself to the artform with extraordinary devotion and discipline. Yet, a series of interviews that I conducted with employees at the Royal Danish Ballet, highlight the outstanding individual on-stage performances as heavily reliant on the backstage expertise, care and commitment of many; the principal dancer’s body as collectively produced.

Fra dansemiljø til pædagoguddannelse

Lars Dahl Pedersen — Tue, 17 Dec 2024 00:00:00 +0100

Med inspiration fra Bojana Kunsts beskrivelser af den ufuldstændige, foranderlige og flydende krop (Kunst 2023) og med udgangspunkt i min nyligt forsvarede ph.d.-afhandling Legende bevægelser i et koreografisk perspektiv undersøger jeg i denne artikel mulige sammenhænge mellem kunstneriske dansepraksisser og uddannelse af professionelle i pædagogisk praksis. Ved at gå samtidsdiagnostisk til værks sætter jeg fokus på tegn på forandring i uddannelse af pædagoger og knytter disse tegn til, hvordan dansens ufuldstændige, legende og flertydige udtryksformer praktiseres på – såvel som uden for – pædagoguddannelsen. Analysen udmunder i argumenter for mere kunstnerisk udvikling i dansemiljøet og dans som et selvstændigt fag på pædagoguddannelsen.

Inspired by Bojana Kunst’s descriptions of the incomplete, changeable, and fluid body (Kunst 2023) and based on my recently defended PhD thesis, Playful Movements in a Choreographic Perspective, in this article, I examine possible connections between artistic dance practices and the education of professionals in social education (pædagoguddannelsen in Danish). By taking a socio-analytic approach, I focus on signs of change in the education of social educators (pædagoger) and link these signs to how dance’s incomplete, playful, and ambiguous forms of expression are practiced in and outside of the pædagog education. The analysis results in arguments for more artistic research in the dance environment and dance as an independent subject in the pædagog degree program.

Patience and perseverance

Julienne Doko, Karen Vedel — Tue, 17 Dec 2024 00:00:00 +0100

An interview with Julienne Doko

The most beautiful part of your body is where it’s headed

Storm Møller Madsen — Tue, 17 Dec 2024 00:00:00 +0100

This article analyses the performance and total installation Vanitas (the musical) (2022) by the Danish choreographer and visual artist Jules Fischer. Through a t4t methodology and anchored in my own embodied and affective experience as a trans person I argue that Vanitas offers a knowing trans togetherness we who are trans can experience and feel in different ways than those who do not have such experiences. Vanitas centers trans experience and togetherness not by explaining what transness is, but by offering a performative space filled with ambivalence, embodied practicing and an alongsided togetherness. A temporary t4t (trans-for-trans) togetherness shaped around the multiplicity of ways, we as trans people, together and alongside one another, move closer to each other and ourselves in an effort to heal, survive and even thrive.

Denne artikel analyserer performancen og totalinstallationen Vanitas (the musical) (2022) af den danske koreograf og billedkunstner Jules Fischer. Gennem en t4t-metodologi og forankret i min egen kropslige og affektive oplevelse som transperson argumenterer jeg for, at Vanitas tilbyder et vidende transfællesskab, vi, der er transpersoner, kan opleve og mærke på andre måder end dem, der ikke har disse erfaringer. Vanitas centrerer transoplevelse og -fællesskab, ikke ved at forklare, hvad transhed er, men ved at tilbyde et performativt rum fyldt med kropslig gøren og ambivalente fællesskaber. Vanitas skaber et midlertidigt t4t (trans-for-trans) fællesskab omkring den mangfoldighed af måder, hvorpå vi som transpersoner, sammen og side-om-side, bevæger os tættere på hinanden og os selv i et forsøg på at overleve og hele.

HOW TO BEGIN?

Laura Navndrup Black — Tue, 17 Dec 2024 00:00:00 +0100

Through a practice-near unfolding of the research project Imagining (the Imagination of) the Other, I advocate for renewed approaches when it comes to inviting people who are not (yet) professional dancers into choreographic processes; rather than adapting or simplifying the work for all to join, I suggest delving into the complexity of the artistic proposal, allowing unforeseen logics to surface.

Hvor dramaturgien og koreografien mødes

Ida-Elisabeth Larsen, Jonas Schnor — Tue, 17 Dec 2024 00:00:00 +0100

Interview med Ida-Elisabeth Larsen

Getting together to forget, to re-member

Carolina Bäckman, Andrea Deres — Tue, 17 Dec 2024 00:00:00 +0100

This article aims to unfold and contextualise a (felt) collective amnesia haunting the independent dance scene in a Danish context. By identifying potential reliefs for this condition, the authors delve into the participatory activities of the artistic initiative Danish Dance Stories, exploring and mapping out potentialities of gathering in practices of re-membering a (plural, embodied) history of dance. Taking on a wider perspective, they emphasise the need for an institutional, long-term responsibility of historicising-maintenance.

Unforgetting as a choreographic practice

Solveig Styve Holte — Tue, 17 Dec 2024 00:00:00 +0100

Unforgetting as choreographic practice questions how artistic research can contribute to the remembering of dance histories and a re-contextualisation through performance. Opening the creation process of the performance Frå Form til Famling (2023), Holte shares experiences from the encounter with these dance historical archives, transforming a document into an artistic experience to create a space for a polyphonic remembering, an unforgetting that expands the initial narrative, and that creates a space for remembering several histories at once.

An/archiving con/temporary dance/ing bodies

Marianna Panourgia — Tue, 17 Dec 2024 00:00:00 +0100

How is dance history written on bodies in classrooms in the 21^st century? This paper derives from four years of ethnochoreological research in contemporary dance education within Higher Private Professional Dance Schools in Athens, Greece. Elaborating on the necessity of multimodal ways of capturing the process of corporeal transmission.

Abstracts

Peripeti — Tue, 17 Dec 2024 00:00:00 +0100

Kolofon

Peripeti — Wed, 18 Dec 2024 00:00:00 +0100