An artist and his review

[Jochem Naafs]

My press kit inside the artist goodie-bag I got yesterday seems to represent my split personality during Springdance. On the one hand I am being the objective journalist, writing my columns about the programme, atmosphere and side programme. On the other hand I am the dramaturge for Michael Pinchbeck’s End. Considered an artist, at least according to the batch I received with my goodie-bag, I morphed into another person in a split second. And is it not the task of the artist to present a subjective perspective on this world?

Of course two issues come to mind straight away. Can I be objective whilst being commissioned by Springdance to write about Springdance? How can I be critical about my own commissioner? The other issue is the question what it is to be a dramaturge. Does my subjective view matter for the artist I am working with? Or should I be able to objectify my own perspective on the performance. Should I try to represent the audience that will come and see the show?
In the end I prefer to mix up a clear subjective view with some elements, which I think are more objective. I try to use this approach in my writing, my research and my dramaturgical practice. Alternating in describing the subject matter and my own position in relation to that.

I can’t help thinking of Simon Ellis’s Down (working title). Ellis, one of the participants in Europe in Motion, not only presented his solo performance, he also provided the context of this performance. From the introduction, where I imagined myself in his place, having just introduced Beginning Middle, End myself an hour earlier, to the reviews, audience reactions and even the specifications for touring.
As an artist Ellis took the liberty to be lecturer, choreographer, dancer, critic, audience and PR assistant in one. Criticising both dance and the dance community, he shows, as the devil’s advocate, the ‘like knows like’ existence of this dance community. He left his audience powerless. Everything was already said. Interesting enough Ellis manages to represent several of my positions during Springdance & performance festival. And by doing this he got me thinking about my position(s) in this community.

In a way Ellis covers himself against any criticism from others, wrapping his entire performance. I could write a review on Beginning, Middle, End today…

Beginning, Middle, End by Andrea Bozic, Julia Willms, Madalina Dan and Michael Pinchbeck tonight (April 23), 19.00h in Theater Kikker.
More Europe in Motion: April 23 and 24, 20.30h in Theater Kikker.

[Annette van Zwoll]

And the response of Ellis on the writing of Jochem, to have it all complete ;).

'I was very aware, whilst developing this work (in a hurry), that I was gently stripping something away from the audience: responsibility? effort? fear? certainty? uncertainty? I certainly did not wish to alienate them through cynicism and irony. Rather, I tried to tread a very fine line, of creating a space for some dancing by filling the periphery (both before and afterwards) full of the other things that go on in the branding of dance.

The challenge became to find a way to be fallible in the dancing, despite (or in spite of) the words. By critiquing the production of dance, I was trying to find a place in which the dancing might occur unencumbered by such systems of production. I think I was setting myself up for failure, but as a performer I liked this provocation.

In the conversation afterwards (yes there were things left to talk about) Igor Dobricic described the feeling of having the slate cleaned in order for him to watch the dancing (I think those were his words).

I probably should write something about in-jokes and being a 'devil's advocate' but I am out of time.'

PS Thanks Jochem for taking the time to consider the work, and I really like the symmetry that is going on here.

[Jochem Naafs]

Simon Ellis responded to my column on his own Springdance/Europe in Motion blog. Unfortunately I wasn't at the after talk, because I was making a declaration of love in the small tent on the patio (Locus Amönus – a romantic installation by White Horse). By stating that Ellis made the audience powerless I hope to provoke some reactions as probably did Ellis by filling in the thoughts and feelings of his audience. By creating the context for his own performance he made me think on a larger scale about dance rather then just about his performance. The feeling of being powerless to react on one single performance perhaps causes the urge to gain power over the bigger picture.

Oh, and Simon, thank you for the inside Europe in Motion jokes: there are always smaller communities inside communities. And because you asked me about the other day: cynicism was certainly not what I experienced during Down (working title).