Foreword
Living in the NOW seems to be (almost) always contaminated with either a nostalgic turn toward the glorious past or an obsession with contemporaneity and rejection of the old. After decades of the world’s split into the West and the East, the fall of Berlin’s Wall gave birth to some fake prophets and unfullifilled dreams. The history didn’t end, after all, and the world of today doesn’t seem to be free neither of its past nor of ideology/ies.
Dance, dance otherwise we are lost
Famously said famous Pina Bausch, but sometimes dancing doesn’t help to find oneself (especially in a place one would hope/expect to be found).
In the ever-expanding professionalized art market, in which the body seems to be in fashion again, dancers must be aware of the commodification of flesh and carefully set the price for their well educated bodies. Nothing is free anymore. And the freedom of bodies is uncertain, to say the least. Nothing new, really.
Over a hundred years ago Isadora Duncan called for the liberation of the (female) body from the corset of Victorianism to pursue her project that was to be fully realized later with the birth of the Dancer of the Future.
From all parts of her body shall shine radiant intelligence, bringing to the world the message of the thoughts and aspirations of thousands of women. She shall dance the freedom of woman...
Dance, though, is not enough. Or rather dance is not about dance only. That’s why I want to propose a variety of texts about the body’s empowerment, the role of the bodies in resistance movements as well as writing about the proximity between art and politics (and propaganda), and the condition of contemporary bodies at work. The history of revolution is full of stories of people marching, taking a knee, raising their fists for the sake of collective futures. These stories should remind us that though history may repeat itself, it is never over.
Enjoy the read.
Living in the NOW seems to be (almost) always contaminated with either a nostalgic turn toward the glorious past or an obsession with contemporaneity and rejection of the old. After decades of the world’s split into the West and the East, the fall of Berlin’s Wall gave birth to some fake prophets and unfullifilled dreams. The history didn’t end, after all, and the world of today doesn’t seem to be free neither of its past nor of ideology/ies.
Dance, dance otherwise we are lost
Famously said famous Pina Bausch, but sometimes dancing doesn’t help to find oneself (especially in a place one would hope/expect to be found).
In the ever-expanding professionalized art market, in which the body seems to be in fashion again, dancers must be aware of the commodification of flesh and carefully set the price for their well educated bodies. Nothing is free anymore. And the freedom of bodies is uncertain, to say the least. Nothing new, really.
Over a hundred years ago Isadora Duncan called for the liberation of the (female) body from the corset of Victorianism to pursue her project that was to be fully realized later with the birth of the Dancer of the Future.
From all parts of her body shall shine radiant intelligence, bringing to the world the message of the thoughts and aspirations of thousands of women. She shall dance the freedom of woman...
Dance, though, is not enough. Or rather dance is not about dance only. That’s why I want to propose a variety of texts about the body’s empowerment, the role of the bodies in resistance movements as well as writing about the proximity between art and politics (and propaganda), and the condition of contemporary bodies at work. The history of revolution is full of stories of people marching, taking a knee, raising their fists for the sake of collective futures. These stories should remind us that though history may repeat itself, it is never over.
Enjoy the read.
The dance is a weapon.’’4 The NDG program notes explained: ‘‘The working class is growing in number, growing in strength, and growing in knowledge. It is simultaneously developing itself and its weapons. One of its most important weapons is our modern revolutionary dance.’
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