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Manifesto) Gabriele Brandstetter: Choreography beyond Dance – A Dance Promise, in: Elena Basteri, Emanuele Guidi und Elisa Ricci (Hg.): Rehearsing Collectivity. Choreography Beyond Dance, Berlin 2012, S. 45–53. Wenn diese Strategie kein Akt der Affirmation sein will (und dies betont Ingvartsen), wenn die Stoßrichtung des „YES“ gegen die Repräsentation und die Lesbarkeit von Kunst und Performance gerichtet ist – „what hap- pens to representation when the concrete construction leads to no reada- bility“40 –, welchen Status besitzt dann dieses „YES“? Ganz offensichtlich

als Rockmusiker oder Gitarrist oder Musikunternehmer: „,What do you do for a living, Dad?‘ If any of my kids ever asked me that question, the answer would have to be: ,What I do is composition.‘ I just happen to use material other than notes for the pieces. Composition is a process of organization, very much like architecture. As long as you can conceptualize what that organizational process is, you can be a ,composer‘ – in any medium you want. You can be a ,video composer,‘ a ,film composer,‘ a ,choreography com- poser,‘ a ,social engineering composer

‘, the prop of the first crime of my childhood, as the all-powerful and exclusivist post-war symbol – crutches to support the monstrous development of certain atmospheric-cephalic skulls, crutches [to] immobilize the ecstasy of certain attitudes of rare elegance, crutches to make architectural and durable the fugitive pose of a choreographic leap, to pin the ephemeral butterfly of the dancer with pins that would keep her poised for eternity. Crutches, crutches, crutches, crutches.8 Along with the architectonics of choreographic mobility so crucial to Crutches

). Die Künstlerintention, die hier am Werk war, legte Parreno in einem Selbstkommentar zu seiner Präsentation im Pariser Palais de Tokyo dar: „The exhibition is conceived as a scripted space, like an automaton producing different tem- poralities, a rhythm, a journey, a duration. The visitor is guided through the space by the appearance and orchestration of sounds and images… a mental choreography.“38 Auch die Berliner Ausstellung war eine eigens eingerichtete Miniatur-Retro- spektive, die keiner Chronologie folgte: Teilweise in Zusammenarbeit mit dem

analysis of polity conventions in art worlds. Compromise vs. consensus in dance companies I focus more specifically on French contemporary dance choreography in the 1980’s and 1990’s. The procedures through which a dance com- pany57 constructs a given choreography reveal different political models of coordination. In some cases the choreographer is recognised as the creative leader and there will be a consensus among dancers that the choreographer’s choices are legitimate (although an external observer might see them as autocratic – which is also true to some

’s greatest strength may lie in how it can edu- cate and unite people [...] Hull’s collaborators range from telephone com- pany employees and wildlife biologists to fellow artists and the residents of a youth crisis center” (Thornton 1993). Thornton further argues that “Hull’s projects nearly always require delicate choreography between government officials, private citizens, the natural world and the arts. The people who are involved must share each other’s needs and knowledge, and this collabora- tion provides an opportunity for all parties to grow” (ibid.). This