#Back to the future 99 free
According to Duncan, the Dancer of the Future was to be a she, and she was free to proclaim herself outside of the chauvinist order and its form of storytelling. There have been several key steps toward this end, however-for example, a statement of purpose articulated by postmodern dance forerunner Anna Halprin, which includes this line: “We dance the renewal, recreation, and healing of ourselves and our world.” 1Īt the beginning of the twentieth century, Isadora Duncan proposed a philosophy and technique of dance that would become the foundation for her concept of the “Dancer of the Future.” She wrote and spoke, notably in a 1903 lecture in Berlin, about the emancipation of bodies and the reinvigoration of their powers.
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In such a world, the sociality of the dancing body is yet to be reclaimed. A modernity emerging from imperial, colonial, and genocidal will shaped the world we have come to inherit.
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In the industry of the Baroque ballet-the first format of mass production-they were not granted the possibility of feeling their own movement. In the era of the nascent Enlightenment, dancers were both prisoners and functionaries in the formation of Europe. While the aesthetics of each king’s power were immortalized through performance, the dancing letters melted into air. As an alphabet of their own alienation, the dancers were the only ones to miss what was being written by the choreography of Renaissance kingdoms, organizing their bodies for the sake of reproduction. Like a letter in an alphabet, it was used for texts written for and by somebody outside of the dance. The Continuing Beauty of the Curveįor a long time, the dancing body was the center of its own absence. In this text, established concepts, names, and references from Western philosophy are deliberately replace by concepts from dance and choreography- concepts that are derived directly from the living body at work. Simultaneously, they began writing about their work with the purpose of articulating the laboring body’s political history, starting in dance, viewed as the engine of this history. Starting from the living body as a muscle of thought, they created a score for movement and learning, which they have been practicing across Europe. The Future Body at Work is a collaboration between choreographer Kasia Wolinska and writer Frida Sandström, who between their practices wanted to develop a method for studying, learning, and making dance, philosophy, and politics- beyond specific artworks or discourses.