international choreographic arts centre amsterdam
September – December 2009
On Hospitality unconscious/semi-conscious nervous responses implied in the complex paradox of ‘having a body’
We are travelling to China with the essay Interculturele Intoxicaties by Flemish dramaturge Erwin Jans in from the body. In the confronting and lonely envi- and at the same time ‘being a body’. In ZERO, this
our bags. We recognise, underline, question, reject, agree or doubt his wide-ranging arguments. It makes ronment of an empty dance studio, I committed was focal: to a certain extent it seemed to me that
us think. In the middle of the workshops we give to dance tutors and students at the Beijing Normal myself to avoiding intentional movement choices my body concretely took on a life of its own,
University suddenly the question comes up where, precisely, our curiosity of the other stems from. Why as much as possible, merely supporting the body embracing a new independence. The physical
is it that we wish to have this curiosity satisfied? Conversely, on our journeys, often in the context of our with subtle stimuli (mostly different types of inha- area to which ZERO belongs appears to me as fer-
workshops, we come across ‘the hunger’ of the Chinese, the South African, the North American or the lation and exhalation) and observing its reactions. tile but also very frail and ambivalent, indeed to be
Italian dance students, an unexplained interest in what we are carrying in our luggage when we are ZERO has been a process of washing off anything questioned and researched further.”
guests in their (really very diverse) surroundings. that is not ‘the body for the body’, anything that is
clear and defined (therefore already ONE). All this ICKamsterdam has invited choreographer
So what can this curiosity be? In our work proper, we have never up to now specifically defined or outlined
allowed me to discover and access two different Andrea Bozic to be artist in residence for the
this (universal or individual) desire to get to know the other, even if we have allowed our choices to be
‘physical environments’. The first is dense and coming two years. This residency will be sup-
guided by it as by a matter of course. ICK and the other: that was and is our starting point for the coming
glacial, rich in echoes, movement rebounds, ported by Frascati. Bozic’ work is mainly cross
years; the source of projects like BEYOND, the Altra Cosa, the Accademias. But where, exactly, does that
ancient physical memories, while the second disciplinary and includes performance, installa-
starting point place us, with our views on art, culture, politics and world order? Is it true that instead of bas-
shows up as very chaotic, fragmented, with a fast tion and short film. Greco and Scholten first met
ing our (existential?) significance purely in ourselves, we are deriving it from our relationship with the other?
pace, in a hyperactivity of limbs and facial mus- Bozic in 2005 when she was a participant in an
How did our journey, which began with the search for meaning in (the own) body, bring us to this other?
cles. On these two platforms, the body plays and EG | PC-conducted Gasthuissessie on Dante’s
In his essay, Jans quotes De l’Hospitalité by Derrida –- a text in which the latter attempts to define what converses with its owner according to ambiguous Inferno. They have since followed her develop-
‘a stranger’ (to us: the other) is and what hospitality means. According to Derrida the guest poses an rules that both owner and body are in agreement ment into a mature theatre maker closely and are
important question to his host in which he also directly confronts him with the question about the politics on. The reason why I talk about my body as some- particularly taken with the way she involves new
of his house. How we behave towards the other, how we answer his questions, tells something about who thing distant from myself (yet connected) is media in her work.
we are; how we reflect on his question tells something about how we define ourselves meaningfully.
In our daily practice of intercultural exchanges, from an artistic practice that has its roots in Europe, but Dancer’s Report
that at the same time has a global reach, we are now the host, now the stranger. We pose the questions
by Vincent Colomes bination emerged a new, more humble moving
and open the debate, but more often than not the stranger poses his question to us and lets us redefine
La forza della vulnerabilità o la vulnerabilità body; a body without ornaments, fast and with
ourselves and the rules of our house. Not seldom do we catch ourselves relying on Eurocentrism – rea-
della forza clear choices.
soning from what we know and recognize – our own traditions, cultural history and the art forms that are
In July I joined the creative team working on Under the guidance of film director Maite
familiar to us. By being able to be both stranger and host frequently, we hope we may stay alert to this
Double Points: Rocco for a short residency at the Bermúdez the students further explored
fact, to entertain a truly open dialogue and to gain a true understanding of the other.
Operaestate Festival in Bassano del Grappa, Visconti’s film. Extracting a scene from it, analys-
Italy, in order to teach a week-long Accademia ing it in order to understand the mechanisms
We hope to open the doors of our temporary abode towards the end of September. It will be an open
Mobile to 20 dance students, as well as to wit- that create a dramatic situation by a certain use
house of hospitality, where understanding of the other will have a mutual significance.
ness the continuation of the creative process of of space, light or colour. Using these new tools
Double Points: Rocco. On the day of arrival we all the participants created dancing situations.
Emio Greco | Pieter C. Scholten
watched Visconti’s film Rocco e i suo fratelli.
Somehow the movie displays perfectly the differ- Meanwhile the three dancers of Double Points:
Altra Cosa ent fields that this Accademia Mobile programme Rocco were working hard to evolve the piece and
set out to investigate: boxing and dramaturgy to enrich it with the fresh experience of the box-
Of passers-by and residents: Matteo Graziano was given the opportunity as an
embraced by dancing bodies. ing. I witnessed the magic of a piece growing into
Matteo Graziano and Andrea Bozic artist en passant to work on the research for his
The following morning the first boxing training a performance.
Altra Cosa is one of the seven pillars supporting solo ZERO. On June 28th, the work-in-progress
started. There was curiosity on both sides. How
ICKamsterdam, and stands for the artistic dia- was presented to a select audience at the
can a dancing body become a boxing body? The Life, like the movies, has its own dramaturgy: the
logue between the other and ourselves. University Theatre of Amsterdam. Below Matteo’s
teacher enthusiastically transmitted his knowl- night before the première one dancer was
Collaborations and dialogues can take different reflection on the work done up to that point.
edge to his unorthodox students and challenged declared K.O. Time froze. By the same magic
forms and do not by definition need to result in a
“The idea that pushed me into undertaking this them with exercises to improve fast reflexes, the which operates in the creation process, the
concrete, tangible product. The starting point is
research arose from a curiosity towards locating velocity of the feet, strength and agility. All this piece was instantly transformed to fit two danc-
the ‘open source’ that can be enriching as well as
the multiple meanings of the number zero inside with the aim to concentrate on the moment, ers instead of three, while at the same time
be enriched itself. There are two formats within
the physicality of the body. This may appear to be while keeping the capacity to anticipate. keeping all of its intensity. This experience still
the Altra Cosa programme: the beginning artist en
a purely theoretical starting point. Indeed, the Following this, I taught the Double Skin/Double makes me reflect on the fragility of the dancing
passant, who is involved with ICKamsterdam for a
process of translation from concept to bodily Mind workshop, in which the dancers detail the body, on how a huge amount of work can be
shorter period, and the more experienced artist in
experience started out as rather obscure. It has body, articulate it and in doing so almost break swept away in one instant, but also on how the
residence who intertwines his professional work
been extremely challenging to accurately delin- the solid structure created in the boxing class. strength of this working body can remain present
with ICKamsterdam for a longer period.
eate the divides between induced muscular inten- Boxing and dancing obviously have similarities even in absence and can be transformed into
In May and June last, young Italian choreographer tions (conscious commands from the mind) and and contradictions but from this peculiar com- another entity.
The Press testing and the linking with the Frame Theory from ers to develop movement material. Another ses-
cognitive linguistics, is beginning to provide the sion is planned for November, when the terms and
Double Points: Rocco. Dance in the ring their physical strength, but also their mental
project with an unprocessed methodology. After concepts that are most efficient for and most
During a 40-minute stage performance, two strength.
this session a first list of terms has been defined. strongly linked with the creative work of EG | PC will
dancers express tension, conflicts, intervals and
Much work still needs to be done in order to arrive be selected. Testing by and feedback from mem-
reflexion. A true fratricidal struggle, a fight The two performers personify the fratricidal strug-
at the final goal of the project, which is to develop bers and non-members of the company will be a
between two boxers using a new language: one gle, represent Kaïn and Abel, Romulus and
an innovative way of transmitting and using move- next step that surely will enhance the project.
that results from the encounter of modern dance Remus, the good and the bad. Their bodies are
ment concepts that can be appropriated by danc-
and fistfights. expressive and wavy, and at the same time power-
ful and violent. Gradually the change from one
There is no stage, no podium. Rather, the podium type of movement to the other becomes invisible, Accademia Mobile – Education
is a boxing ring with chairs for the spectators on as there is no division between irony and pain.
Dance Seminar at the University of Amsterdam Artists’ Lab – Dance creative process
all four sides and a fight in the middle. Once the
The Dance Seminar at the Theatre Department of During five days in July a group of choreographers
two leading players are prompted by the audi- They bend their bodies towards each other and
the University of Amsterdam taught by members from South Korea, South Africa, India, Croatia,
ence, they enter the ring and the fight begins. A then close up again, inquisitively touching each
and artistic associates of EG | PC last semester, China, The Netherlands, Lebanon and Switzerland
fight in the form of two contradictions challenging other and then colliding to create distance again.
embraced the two complementary directions of met in Amsterdam within the framework of the
one another, which is also expressed physically. Then, suddenly, the bodies disappear: moving
theory and practice, that together make up the Artists’ Lab. This encounter is organized biannu-
arms, backs or legs no longer exist, all shapes dis-
co-creative activities needed to make a dance ally by Julidans and Borneoco and provides begin-
Everything goes on as in a real boxing match with appear. All that is left is a thought which is formed
performance. The theoretical part provided many ning choreographers from different cultural back-
proper rounds and breaks during which the two on stage and reaches the audience directly and
insights into the elements that make up the con- grounds with a space for discussion and exchange.
boxers sit in a corner of the ring, drinking, wiping unfiltered, hypnotizing the audience looking at
temporary practice of dance art. Group discus- The aim is to join in a process of questioning and
off sweat, resting and looking at each other. The the transpositions, the movements and the vibra-
sions were held with the goal of establishing a discovery of what the other brings along in the way
lights are dimmed until the bell rings, calling the tions of the two contestants in the ring: a continu-
critical attitude towards the multi-dimensional of experience and technique. In short: to learn
boxers back into the ring and the fight continues. ous tension resulting in a standing ovation.
language that is dance, and to increase the under- from each other’s creative processes. This year’s
Like true boxers they test their strengths, not only Chiara Ribichini – mag.sky.it
standing that dance language can contain expres- edition was facilitated by Bertha Bermúdez.
sions which need to be read in a way that is sensi- Besides watching the performances in the Julidans
Double Points: tive to all its linguistic qualities. Festival, physical trainings, work presentations
and discussions formed the core activities of the
Collaboration with violinist Janine Jansen seem to ‘listen’ to the dance in a way that is new to
By physically and mentally experiencing the Artists’ Lab. This immersive environment provided
Over the past months – whenever their different us. On the other hand, the way the musicians
Double Skin/Double Mind preparation for creative a great chance to go in-depth into artistic ques-
busy international schedules allowed – Emio Greco move while making music is almost dance in itself
processes in dance, the students obtained the tions that may feed and shape individual choices,
and Pieter C. Scholten, with dancers Suzan Tunca and provides us an entry point for the choreogra-
tools to concretely experience abstract notions doubts and creative perspectives.
and Victor Callens, have joined forces in the dance phy”. The challenge for Greco and Scholten is: “to
like: greater length, further extension in space
studio with world-class Dutch violinist Janine combine great virtuosity in music and great virtu-
and expansion of content from within (the body). How do we communicate when inside the creative
Jansen and Swedish clarinetist Martin Fröst. All osity in dance and so to find just that joint quality
By digesting and processing both the theoretical process? What is the goal of the artist?
this in preparation of the choreographed concerts which supersedes mere technique, in order to be
and the practical information, the students pro- What defines us as artists? Truth, honesty, authen-
in Dortmund (Konzerthaus, avant-première on 24 able to tell a whole new story”.
gressed towards the creation of short pieces, ticity: why do we use these words? What do we
October) and Amsterdam (Concertgebouw, world-
towards presenting their own ideas on stage by mean by them? How much do we think about the
première on 26 October). While Martin Fröst is an Greco and Scholten have been working on the
means of movement. In the end, their under- audience while creating? How do we develop a way
old hand at connecting movement and music in relationship between physicality and musicality for
standing of dance was deepened, as was their of transmission that feels personal? What is the role
his concerts, it will indeed be the first time for several years now. In light of this, the request from
awareness of the body in relation to space and of of theatre and its mechanisms within contempo-
Janine Jansen to involve herself in dance. Scholten: Janine Jansen to explore the relation between
the body’s creative potential. rary society? Who are we? Where are we going?
“It is exciting to work with her as she is very willing dance and music fits in very well with their scope
to explore unknown, less obvious paths and does of activities and research. For the full programme
not shy away from new and at times tough physical see: www.konzerthaus-dortmund.de and: Accademia Mobile – Education
challenges. In this process both musicians have www.concertgebouw.nl.
USA activities three different levels. First, the participants will
proven to be very open and constructive. They
Along with the North American tour of [purgatorio] watch the filmed documentary Double Skin/
POPOPERA in September/October the company Double Mind, to get an introduction to the materi-
will present an Accademia Mobile educational al, next they will experiment with the material by
Accademia Mobile – Research programme for dance students and young profes- using the interactive DVD-ROM and the last ses-
Pre-choreographic elements selection, definition and categorization of those sionals at the Clarice Smith Performance Arts sion provides them with a physical experience of
In the month of June another working session concepts from the creative processes of EG | PC Center, Maryland and at MASSMoCA, North the material through the live workshop. Dancers
within the pre-choreographic elements research that generate movement material. The combina- Adams. This programme gives an insight into the Suzan Tunca and Vincent Colomes will guide the
took place. This project focuses on the search, tion of physical experiences, verbal exchanges, Double Skin/Double Mind workshop material on participants through all three levels.
Intensive programmes as local artists and teachers, offer students from – In May of this year Emio Greco | PC presented HELL at the Teatro Valle in Rome. Organisers Entre
ICKamsterdam also organizes more intensive edu- different backgrounds in the Arts and Sciences a Teatrale Italiano (ETI), were so enthused on that occasion, that they decided straightaway to invite the
cational programmes. These take place regularly diverse immersion in specific themes around company back to Rome for a ten-day period of performances in October. This time not only HELL, but
in three selected locations: Bassano del Grappa dance. After the first of a series sessions on drama- also [purgatorio] POPOPERA and One & Two will be presented on the stage of this intimate baroque
(Italy), Amiens (France) and in the home base of turgy took place in Bassano last July, the intensive theatre.
Amsterdam. As a combination of artistic creation Accademia at the Maison de la Culture in Amiens – Rome will not be the last Italian venue EG | PC will visit this year. For October/November EG | PC’s Italian
and education these interdisciplinary projects and will focus on the relationship between dance and agent ATER has organized a short tour, during which HELL will be presented in Ferrara and Bologna. In
residencies represent deeper exchanges with edu- music. The first session in this series (from 11 December the company revisits the Torino Danza Festival in Turin, where it will perform Extra Dry.
cational and presenting institutions. In the form of through 15 November) investigates the possible – Extra Dry will return to the Dutch stages, too. In November this performance will mainly visit cities in the
coaching projects, seminars, academia’s, these relation between movement and sound. East of the Netherlands.
longer-term projects involving international as well – The year will be concluded with an End of Year Event from 20-23 December, with performances at
Frascati and other activities at ICKamsterdam.
The full programme will be published on www.ickamsterdam.com at the beginning of December.
Bits and Pieces
– At the beginning of this year Emio Greco and Pieter C. Scholten were invited to contribute to the
Moleskine Detour show. This project by the well-known brand of notebooks and diaries, is dedicated
to culture and creativity worldwide and features internationally recognized artists. The choreogra-
phers, too, were invited to compile and illustrate a notebook with experienced knowledge and insider
tips, to present the audience with an intimate insight into their creative process. Their notebook was
exhibited at the Detour exhibition in Istanbul last Spring and is now online on www.moleskine.com. Tourdates
– In May of this year a booklet (in Italian and English) was published, containing dialogues between September
Italian choreographer Virgilio Sieni and Emio Greco; dialogues on dance as contemporary art, on the 21, 23, 25 Accademia Mobile Clarice Smith Performance Arts Center Maryland (USA)
transmission of knowledge and skills, on the relationships between the arts, on the birth of artistic 24-25 [purgatorio] POPOPERA Clarice Smith Performance Arts Center Maryland (USA)
manifestoes. The book was edited by Francesca Pedroni. 29-30 [purgatorio] POPOPERA The Joyce New York (USA)
– Dancer Sawami Fukuoka has taken a break from her work with the company to work for a longer term
with Japanese Budo teacher Toru Higashide. Sawami was touched by the workshops that Higashide October
taught as part of the project BEYOND in Seoul last April and hopes to acquire a more profound knowl- 1-4 [purgatorio] POPOPERA The Joyce New York (USA)
edge of Budo, a knowledge which she wishes to transfer to her dance and possibly to the work of the 6-8 Accademia Mobile MASSMoCA North Adams (USA)
company in general. 10 [purgatorio] POPOPERA MASSMoCA North Adams (USA)
– From 17 till 19 August Emio Greco and Pieter C. Scholten taught a three-day workshop Double Skin/Double 13-14 HELL Teatro Valle Rome (IT)
Mind as part of the 6th edition of the u|v|a grapes contemporary dance festival in Catania, Sicily (IT). 17-18 [purgatorio] POPOPERA Teatro Valle Rome (IT)
– One week later the choreographers arrived at the Beijing Normal University in Beijing, China where 35 20 One & Two Teatro Valle Rome (IT)
dance students, teachers and choreographers were also guided through the DS/DM-material. This 24 Double Points: Janine | Martin Konzerthaus Dortmund Dortmund (DE)
workshop was part of a Masterclass Contemporary Dutch Dance, organized by Borneoco and 26 Double Points: Janine | Martin Concertgebouw Amsterdam (NL)
CultureXpress and supported by the Netherlands-China Arts Foundation. 31 HELL Teatro Communale di Ferrara Ferrara (IT)
Bits and Pieces November
3-4 HELL (tbc) Teatro Duse Bologna (IT)
– As per 1 September 2009 Emio Greco | PC welcomes a new dancer to the company: Dereck Cayla. 6 Toolbox Tanzkongress Hamburg (DE)
Dereck studied at the Conservatoire National Supérieur de Musique et de Danse de Paris, where he 11-14 Accademia Mobile Maison de la Culture Amiens
graduated in 2008. In autumn 2008 he did a dance apprenticeship with EG | PC, during which time he 12 [purgatorio] POPOPERA Maison de la Culture Amiens (FR)
learnt Double Points: HELL and was involved in the creation of Double Points: Rocco. 20 Extra Dry Odeon de Spiegel Zwolle (NL)
– On 24 September [purgatorio] POPOPERA will have its North American première. Maryland, New York 21 Extra Dry Korzo5HOOG Den Haag (NL)
and North Adams will be (re)visited. In the Joyce Theater in New York, the production will be shown no 24 Extra Dry Deventer Schouwburg Deventer (NL)
fewer than six times. Naturally, composer Michael Gordon will attend the performance there. 25 Extra Dry Podium Twente Enschede (NL)
– On October 10th Bertha Bermúdez will give a lecture at the Kedja Dance Encounter in Oslo. Kedja organ- 28 Double Points: HELL Charleroi Danses Charleroi (BE)
izes different encounters with the aim of providing more insight in the organization of contemporary
dance in the Nordic and Baltic countries. This specific encounter focuses on Dance & New Media. December
Bertha will give a lecture on the role of this topic within the Inside Movement Knowledge research 3-4 Extra Dry TorinoDanza Turin (IT)
project. 7-19 Accademia Mobile BEYOND ICKamsterdam Amsterdam (NL)
– One of the central questions of the Tanzkongress in Hamburg and Kampnagel (DE) this year, is: ‘How is 20-23 End of Year Event ICKamsterdam/Frascati Amsterdam (NL)
dance history recorded today and what will the dance archives of the future look like?’. In that framework
Bertha Bermúdez will, on 6 November, provide a practical toolbox on the interactive DVD-ROM Double Contributions to this newsletter by: Bertha Bermúdez, Vincent Colomes, Francien Eppens, Matteo Graziano, Suzan
Skin/Double Mind. Tunca. Editor: Annet Huizing, The Loft v.o.f.. Translations: Mariella Lombardo; Nils Voskuil, The Loft v.o.f..
The International Choreographic Arts Centre Amsterdam
is an initiative by choreographers Emio Greco and Pieter C. Scholten.
From the starting-point of dance, ICKamsterdam and dance company
Emio Greco | PC strive for the continuous development and enrichment
of dance as well as other art forms. ICKamsterdam is intended as a dialectical
space, with residents and passers-by who interrelate through communication,
confrontation and exchange, with ideas, schemes, known and unknown projects.
Central to ICKamsterdam are the seven pillars such as artistic productions, talent
development and knowledge transfer, reflection and research, innovation and alliance.
Agent for Italy ATER | Associazione Teatrale Emilia Romagna
Francesca Zitoli, email@example.com
Agent for North America MAPP International Productions
Cathy Zimmerman, firstname.lastname@example.org
Photo: Jean François Lange
Witte de Withstraat 117III
1057 XR Amsterdam
tel +31 (0)20 6167240 / fax +31 (0)20 4891205