Choreography & Post-Dance: Conceptions and Speculations
In this seminar we will reflect on the social, political and artistic developments that shaped choreographic imagination in different historical periods. Depending on the political and cultural context choreography was understood as notation, as ecriture, as composition, as an organizing principle in time and space, as a negotiation between a certain order and physical impulses, as a critical practice (Pirkko Husemann) or as a thinking of freedom (Kélina Gotman).
The body coproduces what is proposed to be looked at as choreography. When choreography is no longer a written form (prescription) as opposed to an execution, a doing or an action (dance), the role of the dancer/performer changes. While the dancer/performer becomes a co-author, body and movement practices may be part of the activity of choreoraphing – or not. An expanded notion of choreography does not require the visual appearance of human performers at all. But what exactly is expanded choreography?
In this seminar we will reflect about the relationship of choreography and dance, a relation that was questioned anew in the aftermath of the Post-Dance Conference that took place in MDT in Stockholm in 2015 and in regard to current posthumanist discourses. Since the term post-dance has been coined, the notion has served as a terminological container for a multiplicity of speculations. What is/means post-dance? Is post-dance naming something that comes after dance or is it actually a re-affirmation of dance as an autonomous artform? And what does this mean for the practice of choreographing?