In this project, I want to investigate Dance beyond the Dance Institutions, the dance that
is not defined by the usual actors in the scene: the dance audience, venues, curaters and
curating, critics, researchers, teachers, practitioners and a generally dance-interested
crowd.
Through my body I want to pierce through the collective memory of mass culture that
film has granted dance. The passers-by, what is easily forgotten, background scenes that
my body and bodies of others carry. When Steve spins round and round with the cart,
howling to Colorblind, when Denis Lavant’s body is shape shifting in Holy Motors or
spring-flying over the asphalt to the tune of Modern Love in the movie Mauvais sang,
when Vincent and Mia (Travolta and Thurman) are dancing the pulp-fiction twist to
Chuck Berry’s You Never Can Tell. All these scenes and many more are stored within my
body, and they form an imaginarum of possible stagings, adaptations and re-enactments
that becomes an affective, unstable history.
When does the body hack into the narrative?
In this project, I want to create a protocol of this embodied memory by investigating
when the bodily presence, the dance, evokes a moment when time seems ”suspended”.
This parallell body-economy will be literally skin-less.
The dance, in some of the scenes, exists seemingly without narrative sense, nevertheless
its presence propels the action forward through something that only the body seems to
be able to activate, and these bodies are moving without reservation.