How Do You Want to Work Today?
Notes on an Alternative Choreographic Mode for
the Production of Speech
How do you want to work today? Simple as it may sound, addressed
to choreographers, performers and other workers in the field of dance
and performance, this question yields myriad answers. Asked moreover
within a dance congress that operated under the lofty banner Know-
ledge in Motion1, the performativity of the question uncovers ambiguous
and conflicting discursive streams and ideologies that nurture today’s
debate on artistic research
in her nine solos in Visitations.
The nine solos provide new productions of choreographic fragments
from pieces by Vaslav Nijinsky, Merce Cunningham, Isadora Duncan,
Valeska Gert, Tatsumi Hijikata and Dominique Bagouet, among others.
Cima’s body is the thread which connects these otherwise widely differ-
ing worlds of dance. It is a thread which symbolises the fact that dance
– above and beyond its historical dimension and forms of expression
– is primarily concerned with appropriation and updating. It is a game
of listening and (re)creating.
GABRIELE KLEIN, SANDRA NOETH
In Europe, dance has brought forth a multitude of new ‘worlds’ over the last few
decades, especially in Germany against the backdrop of Tanzplan Deutschland1:
dance houses, dance centers, dance forums, dedicated completely or in the
context of other arts to dance and choreography; mobile self-organized, often
temporary artist collectives, which are not limited to a certain region; new educa-
tion programs at art academies and universities; academic and artistic research,
not only in dance theory and as a result
Artistic Research between Dance and Theory –
A Response in Six Questions | 69
References | 75
Introduction by Gerald Siegmund
Aesthetic Experience | 81
The Question of the Aesthetic | 89
The Resistance to Dance Theory.
Being-With, the Aesthetic Event | 97
Beautiful Affects in Choreography | 103
Intertwinings: The Dis/Positions of Dance Aesthetics | 107
Unexpected Horizons of Meaning | 115
Response by Katherine Mezur
Protocols of Encounter:
On Dance Dramaturgy
“It’s amazing. We all came together at the same time. Because we are all here …
and you’re all here ... and so we’re all here together”, Claire Marshall puts it in a
nutshell in The Thrill Of It All by Forced Entertainment.1
This shared ‘being-in-time’ and the instantaneousness and immediacy of
influences and products, which reveal themselves in it, seems to me one of the
fundamental parameters for thinking about dramaturgy in the context of current
by Linda Kapetanea and Jozef Frucek.
Training Neoliberal Dancers 139
mentally f lexible and innovative by blurring the pedagogical norms of teach-
ing technique, choreography, and improvisation.
This mix of approaches used in Gaga is what I would describe as a »meta-
technique«, or a metacognitive method of movement invention. I refer to the
origin of this term that comes from the analysis of the agency of a dancer
by Randy Martin, who argued that dancers maintain individual agency even
while working for a choreographer because the dancer’s internal
Performativity, performance studies and digital cultures
Martina Leeker, Imanuel Schipper and Timon Beyes | 9
Performing (the) digital. Positions of critique in digital cultures
Martina Leeker | 21
Making digital choreographic objects interrelate: A focus on
Scott deLahunta and Florian Jenett | 63
Speculation about 1:0. On the productive difference of the interval
Marie-Luise Angerer | 83
The noisy motions of instruments: The performative space
. Fragen zum ästhetischen Konzept/zur Bewegungssprache:
In your opinion, which aspect of voguing is most eye-catching and special?
Please describe the voguing poses. Which message do they portray?
Which relationship occurs between intuitive, improvisedmotions and a set choreography?
Which stylistic elements are used?
Which aesthetical concepts can you name?
What is the socio-cultural background of voguing or which socio-cultural setting comes
Which relationship between gender and sex in general can be found in voguing?
Which role does fashion and costumes play
Gabriele Klein, Sandra Noeth (eds.)
Critical Dance Studies
edited by Gabriele Brandstetter and Gabriele Klein | Volume 21
Gabriele Klein, Sandra Noeth (eds.)
The Performance of Worldmaking in Dance and Choreography
The publication was kindly supported by the Department for Human Move-
ment Studies/University of Hamburg
Bibliographic information published by the Deutsche Nationalbibliothek
The Deutsche Nationalbibliothek lists this publication in the Deutsche
KÖRPERRHIZOME ZWISCHEN KUNST UND PHILOSOPHIE
Der blinde Seekrebs | 121
Zum Nicht(s)tun im zeitgenössischen Tanz und in Performance
Deleuzian Empiricism and the Potential of Chaotic Choreographies | 137
Susanne Valerie, Arno Böhler
See What You Hear | 149
KÖRPERRHIZOME ZWISCHEN PHILOSOPHIE UND PHILOSOPHIE
Spinoza gegen Descartes | 163
Oder warum man den Körper nicht ausblenden kann
Deleuze’s bodies, philosophical diseases and the thought of illness | 185