Research  (creation 2027)

In this final part, in search for new aesthetics, I wish to delve more deeply into the intersection between walking and dancing. This border is as fragile as the one between document and fiction. What happens when a simple walk — charged with memories, techniques, and cultural traces — is perceived as dance? And what happens to dance when it is reduced to an act as ordinary as walking?

It is within this threshold, between the familiar and the unfamiliar, the uncanny-  that I believe a new dance-aesthetics can arrise. A dance that acknowledges its history yet refuses to be burdened by it. A dance that carries its archive visibly, while at the same time opening a space for what is not yet written. 

If one’s training or repertoire has always avoided a certain part of the body, a particular emotion, or a specific rhythm, how does that impact the aesthetics we produce? New aesthetics can only be reached when daily living changes, when training changes, when a thought rewires, when a walk  transforms.

Unlike the previous two parts, which were created in a solo format, this work will involve multiple voices. Dancers from different generations, based in Gothenburg, Stockholm, Brussels, and Zagreb are invited into the process. Through interviews and a re-investigation of the known ans unknown, a polyphonic archive of movement and text will emerge.

FOr this work I want to explore how the documentary form can inhabit the stage. Inspired by filmmakers such as Agnès Varda, Werner Herzog, and Pedro Costa, I wish to embrace the ambiguity where testimony becomes both document and fiction. Within this space, I seek to make visible how artistic historiography, cultural ideologies, and aesthetic labor are inscribed in the dancers’ bodies.

The long-term goal is to create a movement-based documentary for the stage where dancers reveal their onto-epistemological dialogue with the art of dance itself.

A living circuit board, where the connections that appear lead toward new and unforeseen expressions.