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Soft Choreographies. On Experimental Dance Performances for Families

100%
Müller A., Wycisk K.
Didaskalia. Gazeta Teatralna
|
2022
|
issue English Issue 2022
31-57
EN
The article discusses characteristic dramaturgical and ethical strategies that appear in the field of experimental dance for families. It describes selected works of Anna Wańtuch (Contact Families Show) and the Holobiont collective (_on_line__) in which children and their guardians are invited to participate in a creative process. Moreover, kids do not imitate adults, but are encouraged to act and perform according to their own wishes and conditions. Both projects practise care and affectionate relations, value the process as an element of production, and are inspired by change. The article argues that these interactive performances can be described as examples of what Mette Ingvarsten calls ‘soft choreography’, i.e. a choreography that produces a safe space for a dialogical meeting and particularly stresses the importance of being attentive and responsive to the different needs of others. It proves that dance works that embody non-hierarchical social systems and do not objectify young audiences have enormous emancipatory potential and can be treated as speculations about possible, more inclusive futures.
2
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Miękkie choreografie. O tańcu eksperymentalnym dla rodzin

100%
Müller A., Wycisk K.
Didaskalia. Gazeta Teatralna
|
2022
|
issue 167
236-262
EN
The article discusses characteristic dramaturgical and ethical strategies that appear in the field of experimental dance for families. It describes selected works of Anna Wańtuch (Contact Families Show) and the Holobiont collective (_on_line__) in which children and their guardians are invited to participate in a creative process. Moreover, kids do not imitate adults, but are encouraged to act and perform according to their own wishes and conditions. Both projects practise care and affectionate relations, value the process as an element of production, and are inspired by change. The article argues that these interactive performances can be described as examples of what Mette Ingvarsten calls ‘soft choreography’, i.e. a choreography that produces a safe space for a dialogical meeting and particularly stresses the importance of being attentive and responsive to the different needs of others. It proves that dance works that embody non-hierarchical social systems and do not objectify young audiences have enormous emancipatory potential and can be treated as speculations about possible, more inclusive futures.
3
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Taniec eksperymentalny dla rodzin z perspektywy practice as research na przykładzie spektaklu Dookoła kolektywu Holobiont

84%
Bylka-Kanecka H.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
|
2020
|
vol. 111
|
issue 4
135-144
EN
Written from the perspective of performance as research, this article seeks to apply the language of critique to the field of experimental dance for children and families. The flows of the theory and practice are discussed on the example of the DOoKOŁA performance by the Holobiont collective, showing the direct influence of institutional conditions on the final form of the event. Various interdisciplinary tools (reflection in psychology, pedagogy, theatre studies, dance theory, and philosophy) are used to highlight the emancipatory potential of dance for families. The seemingly distant languages – one connected with attachment parenting (described in Poland for example by Agnieszka Stein) and another with the political nature of dance (e.g. Anna Vujanović) – appear to be related. The production process, performance construction, and adopted choreographic strategies are also discussed. The article poses a series of critical questions that were asked during the multiple presentations of the DOoKOŁA performance. The text encourages progressive research and an artistic reflection on performances addressed to families with young children, recognising the relationship between the adult carer and the child as the axis of the political.
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