Choreographic Turn #7
Choreographic Turn #7 focuses on the notion of dance practice. Since the 1960s, everyday dance practice has been established as a type of everyday dance work where dance artists explore their work and occasionally share the results of this exploration with the public. This opens up a whole spectrum of ways of working for dancers, through improvisation, score work or tasks, teaching, sharing existing and inventing new methodologies – they come up with current and exciting formats, forms and modes of performance that often inscribe themselves in all other levels of dance work.
With this event, Nomad Dance Academy Slovenia provides affirmation and visibility to dance practice, and its practitioners examine what dance practice can and could become in our wider environment at this moment in time? In addition to Deborah Hay, four of her collaborators from different periods of her and their work are invited to Choreographic Turn #7 to expose the notions, forms of work and outcomes associated with dance practice. Deborah Hay will present her dance solo my choreographed body ... revisited (2019), a short mass choreography created with local and regional artists entitled Exit (1999) and the documentary Deborah Hay not as Deborah Hay (Ellen Bromberg, 2011), while French choreographer, dancer and researcher Laurent Pichaud will focus on aspects of Hay’s specific dance practice with archival materials related to the American dance artist's oeuvre. Dancer and choreographer Céline Larrère will focus on presenting her practice of improvised solos that create a dance community in her workshop programme Come Together, Right now, over Ljublj. In his lecture INSIDER/OUTSIDER: Dancing Queer Authorship, dancer, choreographer, and artistic director Christopher Roman will focus on a dance practice whose authorship can never be (fully) determined, because even in the hierarchized structures of dance institutions, it is always made in relationships.
The participants of Choreographic Turn #7 will be at once the listeners, spectators, participants, and co-creators, since one of the aspects of dance practice is its fundamental experientiality, which, with its ethical aspects, makes absolute communicability impossible. Working practices are thus often transmitters, referring to the content instead of communicating it. Dario Bardam’s dance solo seguir moviendo, which will be presented as part of the curated programme, seems to be concerned precisely with the persistence of practice as an action from which failure cannot be excluded, but rather incorporated into the work as a constitutive part of the critical modality of action.