Choreographers Eszter Salamon and Boglárka Börcsök discuss their artistic engagement in relation to archives and the gaps in (dance) historiography – at the intersection of personal memory and political responsibility.
by Peter Pleyer // The choreographer and dancer Peter Pleyer reflects on how release and improvisation techniques have shaped his understanding of dance and how dancing can – and should – also be natural in older age.
Madeline Ritter, founder of the Dance On Ensemble, and Ty Boomershine, artistic director since 2019, in conversation with Claudia Fest about the cultural-political backgrounds and their motivation to provide a stage for dancers over 40.
In this interview with Claudia Henne, Jutta Hell and Dieter Baumann reflect on their journey to Berlin, their conscious decision to establish a company without a permanent ensemble, and the artistic encounters that have shaped them.
Christoph Winkler and Barbara Lubich talk about East German dance history, which the choreographer experienced first hand and which the filmmaker portrays retrospectively in her works.
Martin Nachbar and Pol Pi discuss their collaboration on Dore Hoyer’s dance cycle “Afectos Humanos“ (1962) and the archival practice of passing on dance through generations.
by Sasha Amaya // The dancer and choreographer Sasha Amaya reflects on her personal and artistic approach to the themes of canon and archive and writes about her work in which she explores European art history in a contemporary context.
by Olympia Bukkakis // Based on personal memories, performance artist and choreographer Olympia Bukkakis writes about stories of the past and subcultural memory.
by Isabel Raabe // Curator and cultural producer Isabel Raabe reports on the dance section of the pioneering project RomArchive – Digital Archive of the Roma, and wonders whether dance as a body-based and ephemeral art form can be archived at all.
by Julia Wehren // How can bodies be thought of as archives? Dance scholar Julia Wehren writes about embodied knowledge and about the archive as a figure of thought in which bodies are read in terms of their ‘deposits’.