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© Emmilou Rößling
© Emmilou Rößling

The Climate and The Atmosphere, Ecologies In Dance

For the coming two or so years I’m doing deep-diving into ecology, both concerning the environment, the planet and even global warming and in respect of dance and choreography, and perhaps even art in general. Ecology, in both senses, saving the world and in the sense of determinations of dance.

Dance has many ecologies and they are based on certain determinations of the world, the body, art, science, truth, materiality etc. They largely overlap with determinations of the world, society, communication, law etc.

Now, we can try to save the world by sorting waste and flying less, but we all know that "yeah, good but it will not change the course we have determined for the planet" – we most of all want to save us and the way we are. An alternative is that in order to save the world, we need to change what determines our relation to the world, nature, each other, art, suffering, exploitation, life etc. If we want to save the world with respect of the second, is it then not important to "try" to change what determines dance (and choreography). This workshop/research takes on the dual task of attempting to change the determinations of dance as a way of changing what determines "life" – as well as changing the ecologies of dance, not improving but changing.

Which is in a way what I have done with all my work for many years but now it is a workshop, so it is also a workshop exploring the creativities of Spångberg. It is also, implicitly, an interest in changing the ecology of workshop – teacher/student, speaking/listening, critique/germination etc. In other words, it is also a research into how we can spend time together learning.


Dancing the threshold of humankind

Close your eyes and you can see the dance

This workshop explores how dance opens up for alternative forms of subjectivity where individuality and identity dissolve in favour of flux, fluidity, ambiguity and super-imposition. Can dance be a place for the practice of forms of being that are not attached to models of identity based on language and representation? Is dance a dynamic where one can be oneself without being mediated, captured and named? Is dance a practice where we can see what we have in common, not only with other humans but also with other life forms and inanimate stuff? Is dance in itself one of those life forms, and if so what can we learn from dance – not about ourselves (awareness), not about dance (skill) but from dance given its own non-human agency.

This workshop explores how individuals and groups embody and exchange energy. We will keep an open mind about how energy is present, sensed, and a source in us: chakra and breathing exercises, next to bodywork and improvisation protocols, will open up for possibilities to engage in choreographic dynamics resonating of Mårten Spångberg's more recent works, addressing specific forms of inspiration, collaboration, presence, emotion, spirituality.


Mårten Spångberg is a performance related artist living and working in Stockholm. His interests concern choreography in an expanded field, something that he has approached through experimental practices and creative process in multiplicity of formats and expressions. He has been active on stage as performer and creator since 1994, and since 1999 he has created his own choreographies from solos to larger scale works, which has toured internationally. He has collaborated with Xavier Le Roy, Christine De Smedt/Les Ballets C. de la B., Jan Ritsema and Krõõt Juurak a.o.
Mårten Spångberg initiated with the architect Tor Lindstrand the International Festival, an interdisciplinary practice merging architecture and choreography/performance.
From 1996 - 2005 Spångberg organised and curated festivals in Sweden and internationally and initiated the network organisation INPEX in 2006.
His experience in teaching both - theory and practice - is thorough. Mårten Spångberg was director of the MA programme in choreography at the University of Dance in Stockholm.


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Dancer: Helmut Fixl © Johanna Figl

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Date: 18.08.2019, 17:26 | Link: