The body’s art

Conflicts can be discussed. Or they can be danced out. Bodies often say more about how we feel than arguments do. And they say a lot about this island shared by Ireland and the UK. An artificial border separates Irish people from Irish people. Choreographer Dylan Quinn elevates it to art.

How to survive under the oppression of far-right politics? A portrait of Budapest’s defiant dance scene

Baile charme is one of the most beautiful and impressive things that Rio, with its rich subcultural attractions and inexhaustible creativity, has to offer: a declaration of love

In Odessa on the Black Sea coast, fresh choreographies are emerging one after another. Right here, dancing means living freely in a free country.

In Beirut on the eastern Mediterranean, nothing confronts you with reality as much as the dance, the Arab body, the unadorned, which after years of horror has shed its ornamental dress and speaks directly to you.

How two popular arts – the aesthetics of the body and the performance of the body – come together in one choreographer: Deborah Colker from Brazil

Tired of the “avant-garde,” of lame bodies and heavy-laden sanctity? Here comes Marcos Morau, a Spaniard who really has a story to tell with his dancers in front of his enormous stage sets.

is essentially just a poorly-ventilated, windowless room, bathed in unpleasant light. A former movie theater from the post-war period, it now serves as the rehearsal venue of the Tanztheater Wuppertal.

There is intelligent life even outside of the body. That is what AΦE stands for – Artificially Φutstanding Excellence. In this article, the creature of this British dance company tells the story of its creation.

She was the lead dancer of the Montreal-based La La La Human Steps company and became the iconic dancer of her generation. She continues. She remains an icon. And she fills the halls.

Kor’sia scales an artistic summit. The dance company discovers ancient belief that the fate of mankind is not determined by God alone. Two Italian surrealists translate this idea into a wonderfully choreographed parable on the alienation of the human species from nature.

You can’t be successful without anger – not impotent anger, but honest anger. Bulgarian master Ivo Dimchev therefore seeks risk, not morality. He seeks his audience and not public opinion.

In Beirut on the eastern Mediterranean, nothing confronts you with reality as much as the dance, the Arab body, the unadorned, which after years of horror has shed its ornamental dress and speaks directly to you.

It’s spring in the Alps. Temperatures are rising, the sun is shining down mercilessly after the snowstorm. Three hundred people on skis, in airplanes, in snow groomers, on motocross bikes, and dancers on foot, are all waiting to cross the Alps like Hannibal once did. There is a sense of danger in the air. A state of emergency?

Who knows the Serbian dance scene? Nobody. Even the Belgrade Dance Festival only shows guests from abroad. The other side of the coin, Serbia’s independent scene, is full of surprises.

Who stays? Who has to go? Not only oppositional forces like Alexei Navalny have to leave forever. The great change of directors in Russia’s ballet also includes the most famous sacking of all – that of Vladimir Urin from the Bolshoi in Moscow.

Every day, people stand in long queues at the gates of the Louvre in Paris to see ancient art. But sometimes, at night, you can even dance in front of these masterpieces. Choreographer Anne Teresa De Keersmaeker has fulfilled this dream.

Ten new issues have been published since the last Chronicle 2022. They are always about dance and what it does in this world. You could report on this in small bites. Or prepare a fresh culinary meal.

Australian dancer Josephine Ann Endicott is one of the treasurers of Pina Bausch’s legacy. And she is a great storyteller. Fifty years of Tanztheater Wuppertal leave no trace on anyone. Humour is the least it takes to be celebrated now with the …

We are in Western Pommerania: Will it be possible in a country whose coastline belongs entirely to tourists in the summer to create a year-round dance culture worthy of the name?

Trajal Harrell from New York works like an explorer. Just as Alexander von Humboldt once explored various cultures across the globe, Harrell seeks out the dances of modernity – voguing, Butoh, Black America. The world is now rewarding him for his endeavors with monographic shows and world tours.

Kyoto is – along with Osaka – the centre of classical Japanese arts. Traditions here are passed down from generation to generation, primarily through individuals who hold the status of “living national treasures”. Like Inoue Yashiyo V, the fifth teacher in a sequence of a dance called Kyomai

Allow me to introduce myself – the name’s Greenland. I am Mars on Earth. The comparison honors me because it is based on my incomparably beautiful scenery.

Oh how the word shimmers: Lazgi. In French it sounds like “lascar,” a sly fellow. It puts us in mind of the word lasciviousness, or Lascaux for the more historically minded – of the cave paintings left behind by prehistoric humans. It was also the discovery of prehistoric rock paintings that saw the Central Asian Lazgi declared one of the oldest dances still practiced today.

Uprisings in Iran come in waves. Again and again. But for the first time, women are dancing in the streets. The country banned them from dancing in 1979. Their headscarf, the hijab, falls. Their hands grab it like a flag in defiance. They set it on fire. Iran is in turmoil – a turmoil born out of hunger for food and freedom in a state that keeps its henchmen and inspectors alive with bureaucratic diligence. And its executioners.

Mexico is the country that celebrates the dead. So it’s no wonder that cartels produce them like an assembly line, all the disappeared and murdered. And although no one believes it, in this country, dance is ensuring that the tide can turn again

Choreography has much more to do with a radicality and urgency of action than with consent and dancing along. This is true all over the world, without exception.

A shadow hangs over Namibia–– and not just because of the low-hanging sun over the picturesque Etosha salt pan. Despite all the romanticism surrounding the desert, peace remains elusive even in the wake of the return of the looted artworks to the former German colony. The relationship with those who erected the first German concentration camps is anything but resolved.

Rituals, Elders, Ancestors and lots of land in the Canadian West. Contemporary Indigenous dance is reviving in the Coast Salish Territories. In 1886, the urban settlement of Vancouver was founded here, the inhabitants were displaced. But now the wind is changing.

A mighty festival on the island of Ingøy in northernmost Norway unites audiences and dancers under Arctic skies. Not far from the Russian border, the theatre is celebrating the landscape. Among us: Hans-Thies Lehmann, the late doyen of post-dramatic theatre. For him, landscape was both the adversary and the centre of theatre. A festive description and a last text by him.

The most artistically successful ballet company in the world currently hails from Marseille. Anyone can attend the rehearsals of the Ballet National de Marseille, even the administrative staff. Headed by a three-person collective, this giant company captures the spirit of the times in its productions. Covering everything from Lucinda Childs to Georgian folk dances, the (LA)HORDE collective invites everyone to enjoy dance again.

With its roots submerged in time, nothing is remoter to our Western sensibilities than Indian dance. What’s more, statues of naked female dancers at Karnataka’s temples attract those tourists who yearn to look at bayadères, those Hindu dancers that have been denigrated as prostitutes. In truth, Indian dance is undergoing a continuous reconstruction derived from innumerable fragments of a history spanning centuries. Choreographer Padmini Chettur has embraced this task with great sensitivity.

They call themselves Sorbs and Wends. Strangers often only notice their existence in Germany’s easternmost region when they see the bilingual town signs that come into view as soon as they cross the rolling hills into this other culture. Here, people defend themselves against the loss of self-will with vigorous dances – both old and new.

Modernism would be inconceivable without the interplay of inspiration and appropriation, any by implication the global groove of art, dance, performance, and protest. From a historical perspective, the German expressionist painter Ernst-Ludwig Kirchner (1880-1938) was from an early stage enthusiastic not only about non-European cultures, but also for dance. This very intersection was precisely where the avant-garde found its starting point: in movements from elsewhere.

He who fights is a warrior. Or an artist? And where is the border to dance? Israeli choreographer Yotam Peled explores the similarities between combat and dance practices. A conversation about (violent) fantasies, tenderness, pain and vulnerability.

Hong Kong belongs to China. New laws, including those aimed at containing the virus, are not making it any easier for the city to find its way into its still-new role. This is also the case for the dance scene. So is the dance scene: the departure on the one hand, the attempt to go new ways and to break with traditions on the other.

Burkina Faso is one of the poorest countries in Africa and indeed the world. Despite a recent military coup, it is the venue for a dance festival that allows guests to gain deep insights into the mentalities of the African dance scene. On stage, people argue, dance, and forge new partnerships. Europe has funded this festival – so that it may approach the scene on an equal footing.

On 12 September 2018, 20 dancers of the Antwerp-based company Troubleyn published an open letter in the Flemish digital art magazine Rekto:Verso accusing the founder and artistic director, Jan Fabre, of having created a misogynistic atmosphere in which: “Humiliation is daily bread in and around the rehearsal space of Troubleyn.

Given my fascination with spirits, I kept asking myself how can we still get to know this endangered species that represent the oldest vision of humanity? Given my fascination with spirits, I kept asking myself how can we still get to know this endangered species that represent the oldest vision of humanity? At best, they are considered as revenants who cavort in virtual reality, in comics, in painting, and on stage, because they embody that yearning to make contact with the beyond.

Millions and millions of kilometers of yarn are unwound unremittingly from bobbins worldwide – in the myriad textile and sewing factories on this earth. Mechanically speaking, bobbins perform an almost endless pirouette. The human body follows exactly the same principle.

Theaters like to be the good guys in three ways: Good for the citizen. Good for culture. And good for the zeitgeist. Being good is part of the essence of theaters; they do not want to be accused of being racist. But does this fit the reality within the institution itself? The case of Raphael Moussa Hillebrand casts doubt on this.