Tag: dance

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Book Performance

Some texts are written in view of a performance, a theatre performance or an opera in mind. We have had dance performances and choreographers emancipate themselves from the music to claim dance is an art in its own right. Books are books in their own right. However, the hybrid forms of performance of a book was on display in the 2024 edition of the Wiels Art Book Fair in Brussels. It is common practice to invite speakers and authors for a book launch event. It is more rare to invite a choreographer and dancer to perform a book. This is exactly the what the publishers of A.R.D.V.L. did. Garance Debert put the editorial work and conceptual work on a book into a moving performance. There is much more to a book than just the letters and paper. The „mise en page“ turns into a „mise en scèene“ by an artist. The Wiels Art Book Fair has raised our attention to the larger creative potential of books, certainly art books, but also beyond books on art. Performative readings and book performances will enrich our repertoire of interacting with printed materials. Just before we might believe this is the next big hype, remember the bible is probably the book with the most theatrical performances linked to it.

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Phase Shifting

The Berlin “Hamburger Bahnhof Nationalgalerie der Gegenwart” recently acquired “Phase Shifting Index” by Jeremy Shaw. As part of an exhibition of new acquisitions, Sam Bardaouil, the director of the museum and curator of this exhibition has installed the large-scale video and sound installation at the end of the long corridor of the “Rieckhallen”. The impressive, even overwhelming art work was created in 2020. It was first shown at the Centre Pompidou in Paris.
The piece consists of seven large suspended screensand creates a space like in dance club, discotheque or dance studio. The visual and sound experience is allmost psychedelic. The near obsessional dancing shown on the screens represent different periods of dancing with their particular patterns of movements and choreographies. The phase of the electromagnetic waves is shifting from one screen to the other and towards the end of the performances it becomes clear, that they all follow a similar wave or rave pattern. Sublimation or ecstasy are the underlying index-like common traits. Each period or decade 50s, 60s, 70s, 80s, 90s, all had their peculiar dance and movement patterns. The video-installation is like a history of art of expression through body movement, amplified and indexed through rhythm and sound.
Electromagnetic waves can be characterized through wave shifting in various forms. This work gives us a feeling for the fascination of movement and phase shifting emotions. Don’t worry, the immersion ends after 10+ minutes and, if you like, you might read up on the physics of electromagnetic waves and phase shifting to calm you down.
Images: “Phase Shifting Index” by Jeremy Shaw, 2020, Berlin, Hamburger Bahnhof, 2024-9

 

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Games over

All nice things eventually come to an end. So do the Paris 2024 Olympics and Paralympics.
The images have been impressive of both events and the millions of spectators give a good testimony in this respect. The cultural by-program of the Games was equally remarkable. The live performances of dancers not only on the opening and closing ceremonies attracted big audiences. Many well-known sites of Paris prepared their own events and inspired as well as entertained the visitors.
On the small stage in front of the “Marie de Paris”, the city hall (Image below), ballet performances (video) were staged to hint at the possibility to see more artistic performances throughout the year in Paris opera houses and other stages.
Showcasing many forms of cultural, inspiring and entertaining events gave a valuable additional flavour to the Paris Olympics. Many good reasons to come back and renew unique moments in Paris beyond 2024. Paris hotels will be more accessible again for moderate budgets and waiting times for entries should come down to normal levels as well. Back to a new normal for Paris. Well, maybe. The millions of spectators who followed the Games on television and social media might eventually decide to rank Paris higher in the “cities you have to go to at least once in your lifetime”.

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Ukraine Art

The touring exhibition of art works from Ukraine 1900-1930s is on show in Brussels at the Royal Museums of fine art Brussels in November December 2023. Before Ukraine became swallowed up in the Sowjetunion there was a very active independent artist world that had close links to all capitals in Western Europe. All art disciplines were covered. The paintings of Vadym Meller from 1919 (Aquarell on carton) show designs for a dance performance to the music of Chopin. The modern designs and vivid colors reflect the conscious reference to art movements across Europe. The inspiration from dance to painting is a recurrent theme in impressionistic paintings, abstract paintings and into our own time period. Ukrainian art from early on in the 20th century had a broad scope beyond the narrow focus on art controlled by the soviets. Well worth enlarging our vision to take into account these creative masterpieces from Eastern Europe as independent voices.

Vadym Meller 1919 (Aquarell on carton), Brussels MRBAB 2023-11
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Collective Violence 2

Summers and Markusen (1999) subsume state terrorism under the broader heading of collective violence. Even beyond non-governmental groups, states might apply collective violence against innocent people. Among the strategies governments use as a form of collective violence fall (1) arbitrary arrests, (2) imprisonment without trial, (3) torture and (4)a summary execution of members of alleged enemy groups. Particular outcries are caused by, for example, police or other para-military groupings of persons who jump from (1) to an execution of an innocent person or of several even seemingly unrelated murdered persons (4b).
Amnesty International attempts for decades to fight against such occurrences on an almost global scale. The need to complement the national legal systems through supra-national instances as well as NGOs in this domain is obvious. Even the most advanced democracies need to permanently check their systems for several forms of state terrorism or abuses of power to eliminate or intimidate opposition.
Staub (1999, pp.195) undertook an attempt to list elements that allow to predict and maybe prevent collective violence. The theory starts with “conditions of life” more generally like economic, social and political conflicts as well as rapid social change. Activation of basic needs in people, like several forms of security, challenges to a person’s self-concept, traditional values, simply the customary way of life (COVID-19) or new comprehension of (climate) realities, they all challenge old world views of people (superiority) and their place in the world (AI).
Claims for support by other people (government), missing connection to others (individualism) lead people to focus more on their own needs and isolated action. Rebellion as collective violence is directed against differences in status, power and (social) rights. Self-interest is becoming an overriding societal principle. Racism (p.200) and police violence (p.201) are part of Staub’s theoretical considerations. He argues in favour of training of situations in which a police officer is likely to become unnecessarily violent or to stop it if it occurs. At least a medium-term solution.
Framing of such training as preparation of good teamwork rather than betrayal is crucial in action teams, be they in the police or the military. The reader on “violence subie, violence agie” by Seron and Denis (2000) allows us to take a step back and reflect on the spirals and repercussions involved in violence from the perspective of the person who carries out an act of violence and the victim. A social-therapeutic approach aiming at reconciliation is worth trying, albeit a lot of obstacles. Collective dance rather than collective violence is the immediate as well as long-term solution (More on dance here).