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POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefihe Wikstrom Ofelia Jarl Ortega Samlingen Valeria Graziano • Samira Elagoz Ellen Soderhult Edgar Schmitz Manuel Scheiwiller Alina Popa Antonia Rohwetter & Max Wallenhorst Danjel Andersson : R - i I- " Mette Edvardsen Marten Spdngberg (Eds.) % POST-DANCE Alice Chauchat Ana Vujanovic Andre Lepecki Jonathan Burrows Bojana Cvejic Bojana Kunst Charlotte Szasz Josefine Wikstrom Ofelia Jarl Ortega Samlingen Valeria Graziano Samira Elagoz Ellen Soderhult Edgar Schmitz Manuel Scheiwiller Alina Popa Antonia Rohwetter & Max Wallenhorst Danjel Andersson Mette Edvardsen Marten Spangberg (Eds.) Published by MDT 2017 Creative commons, Attribution-ShareAlike 4.0 International Edited by Danjel Andersson, Mette Edvarsdsen and Mirten Spingberg Designed by Jonas Williamson ISBN 978-91-983891-0-4 This book is supported by Cullbergbaletten and Life Long Burning, a cultural network, funded with support from the European Commission. CULLBERGBALETTEN Culture o BUNNTNG Contents Acknowledgement 9 Danjel Andersson I Had a Dream 13 Marten Spangberg Introduction 18 Alice Chauchat Generative Fictions, or How Dance May Teach Us Ethics 29 Ana Vujanovic A Late Night Theory of Post-Dance, a selfinterview 44 Andre Lepecki Choreography and Pornography 67 Jonathan Burrows Keynote address for the Postdance Conference in Stockholm 83 Bojana Cvejic Credo In Artem Imaginandi 101 Bojana Kunst Some Thoughts on the Labour of a Dancer 116 Charlotte Szasz Intersubjective Fidelity 135 Josefine Wikstrom Notes on Post-dance 146 Ofelia Jarl Ortega Fragments Of an Artistic Queer-Femme-nist Strategy To Be 157 Samlingen: Amanda Apetrea, Nadja Hjorton, Stina Nyberg, Halla Olafsdottir and Zoe Poluch Manuscript for Post-Dance Publication 163 Valeria Graziano Towards a Theory Of Prefigurative Practices 176 Samira Elagoz What I Saw and Flow I Lied 204 Mette Edvardsen The Picture of a Stone 216 Ellen Soderhult What Will Dance Do? 222 Edgar Schmitz 9 Or So Motifs 270 Manuel Scheiwiller Cruising on Contemporary Topics 276 Alina Popa The Artworld and The Artworld 284 Antonia Rohwetter & Max Wallenhorst I’m Gonna Look For My Body Yeah - Somatic Fictions of Reparative Post-Porn 3i 3 Danjel Andersson But They Are Not Dancing? 34 i Marten Spangberg Post-dance, An Advocacy 349 Acknowledgement A book such as this one has many reasons to celebrate. First and foremost because it has become actual, it stepped out of the potential and the possible and here it is-unbelievable. A conference happened in Stockholm in October 2015. We totally want to applaud all of us that were there, in whatever position; all of us that are in the book, and those that are not but supported and didn’t anyway, never mind the conferences, shows, conversa­ tions, conflicts, OMG, intimacies, institutionalities and so on that will happen in the future, some of which will have some thing to do with this publication. We, or let’s skip the we and give agency to the book itself-considering that those who put this together are just companions of the book supporting it with some movements over the keyboard. The book wants to express deep gratitude to Danjel Andersson, Andre Lepecki and Gabriel Smeets, repre­ senting MDT, Stockholm University of the Arts, respec­ tively Cullbergbaletten for their initiative to make Post­ dance the conference, happen, for inviting a peculiarly 9 mixed crowd and making something impossible remain impossible. Because, evidently, if it didn’t stay impossi­ ble this book wouldn’t be needed. We also want to celebrate the staff and people at MDT for their incredible work before, during, and after the conference. The technical staff that stood up and cleaned up after three days. The book is also thankful to all the institutions, foundations, organizations and people that supported the event in whatever currency. Without you, history wouldn’t have changed. The most important however, the audience. You were there and you stayed cool, attended and put the speakers and contributors up against the wall, but always with a forgiving sense of urgency. You made this book impor­ tant and now we want to pass it back to you, several copies, and all over the place. This book is not some­ body’s but ours together, we made it happen, and here it is, making the world and that of dance a little bit richer. We wish to acknowledge all the contributors of the con­ ference: Adrian Heathfield, Mette Ingvartsen, Marten Spangberg, Bojana Kunst, Andre Lepecki, Samlingen; Amanda Apetrea, Nadja Hjorton, Stina Nyberg, Halla Olafsdottir and Zoe Poluch, Jefta van Dinther, Florentina Holzinger, Jens Ostberg, Ivana Muller, Mette Edvardsen, Francois Chaignaud, Manuel Pelmus, Cecilia 10 Bengolea, Andros Zins-Browne, Jonathan Burrows, Hooman Sharifi, Poste Restante; Linn Hilda Lamberg, Charlotte Vandevyver, Ofelia Jarl Ortega, Siegmar Zacharias, Benjamin Vandewalle, Antonia Baehr, Martina Rushsam, Myriam van Imschoot and Erna Omarsdottir. We salute you. Finally, we wish to not only in words show our appreci­ ation, embrace a number of people whose work happens behind the scenes. Thanks to Sara Bergsmark who has operated as producer for the project. Thanks also to Egle Zikiene, our superb go between with the print house. And not least and never last Nikima Jagudajev who proofed all these pages with a patience beyond reason, conviction of a gangster boss and, most of all with open eyes and heart making this book even more beautiful. Thank you all, we made it and now let’s get this party started. Time to celebrate. Post-dance was a conference in MDT in Stockholm 14-16 of October 2015 created by Danjel Andersson, Andre Lepecki and Gabriel Smeets. The conference was a collaboration between MDT, Cullbergbaletten. Made possible through the support of Life Long 11 Burning, The Swedish Arts Grants Committee s inter­ national dance program, The Goethe Institute, DOCH, Riksteatern, [DNA] Departures and Arrivals network which is co-financed by the Creative Europe program of the European Commission. 12 I Had a Dream Danjel Andersson This is a book. We are all quite surprised it has be­ come a book. Before the conference even took place, the thought was to make a book out of it, but had not planned it ahead. Directly after, Marten Spangberg was so enthusiastic and inspired and impressed by the re­ sponse that we immediately started to collect texts. And in the project based dance world, we are all too busy. We are all working too hard. If it’s not this, it’s that. But still, we put a small editorial team together. Postdance or Post-dance or POSTDANCE is an open source concept. We reversed a normal conference. Instead of saying what Postdance is, we invited a wide range of thinkers to fill the concept with us. To let it be open, and a bit weird, and by doing that keeping it urgent. And now post-dance is a book. The three of us, all active at the conference Mette Edvardsen, Marten Spangberg and me, Danjel Andersson, have acted as a precarious editorial board. We simply invited more 13 thinkers to fill the open container. Some of the texts and thoughts come directly from the conference and some are added thinking. The whole thing started in a dream. I had been in my awake state, trying to think of a topic for a conference. I was looking for something that could help us at MDT to define the works the artists make. I wanted this to be a conference that would support the community around MDT and help the critics that are writing on the pieces to define what it is the choreographers are doing. These thoughts were spinning in my head when I went to bed that night. I dreamt that there was a conference in Frankfurt. Mousonturm was arranging a symposium called Postdance. In the dream I thought: “Damn, why didn’t I think of that.” When I woke up, I had a feeling that I was not able to think of as good a topic as the one in Mousonturm. Waking up I realized it was a dream. So I went to the website of the venue in Frankfurt. I googled “Postdance conference” and only “Postdance”. All I found was “post dance videos”. Which literally means to post a dance video on to a social media. I started to think around this concept. What is it? What could it mean? Why is it that it seems so familiar? I began to try the word on people. Some laughed. Some saw a potential. It is a clumsier concept than the Post-dramatic Theater of Hans Thies Lehmann. But 14 on the other hand, it has openness. On the one hand it is clear what it means. Post, after, dance. It’s also the post of postmodernism-well knowing that postmod­ ern dance is over. When the Judson church community of choreographers in the 60s questioned the notion of dance as being movements Post-dance began. We presenters are mediators between boards, crit­ ics, audiences, funding bodies, and the artists and art. We have to explain this gap between the conventional notion of dance and what they will end up seeing / ex­ periencing/funding. A new tendency is to split the two notions: Dance and Choreography. This helps the think­ ing process a lot. The expanded notion of choreography is a great tool for artists to use. Post-dance explains this in one word. It marks a belonging to a longer tradition. But it is also a clumsy concept; you might get a sense that something is missing: post...something...dance. It’s hard to just buy it. Or follow it. It’s not a leader. It’s a container. It needs to be filled.

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