What is left over if I subtract the fact that my arm goes up from the fact that I raise my arm?
Ludwig Wittgenstein, Philosophical Investigations §621
The Dancer that Paused :
Probably, the idea of leaving the path to became a Dancer and embrace instead , The Pause , the no-Dance as dance , started long ago, between a mirror and an acrobatic like gesture, between time 5 or 8from the tempo and the sweat of too much physical exercise.
For the love of what for me Dance should be , stay , go and come from, the dance that I learn to hate and the one I end up finding and Love.
Dance as entertaining , as a court event of miraculous acrobatic achievements or Dance as Ritual , as Language , as gestures that induced trance and communication .
Dance as a private intimate perception , on every day's body trajectories , o quotidian signs, positions, that our life has produced and keeps creating: walking, kneeling,crawling, eating,cleansing, bathing, showering.....and more and more
Old and new poses , positions, mixed with new movements and actions from our relation to new machines ...
creating new trajectories
I left Dance as a path , to keep dance where I wanted it to be, not on a stage , not submitted to cultural politics or to the need of some entertainment huge apparatus .. not either submit to youth and and only physical and technical abilities . This Modern Court , that transforms talent in to a o
commodity , that exploits artist as its front line soldiers , to sustain the whole machinery of capitalist values till the paroxism , where artist has to suffer , compete, sweat (but not like on a sport but like Roman Circus ) . Any one is free to be an Acrobat , but Dance can be also just more similar to natural gestural life .
Dance Tropisms :
At work here is a new tropism and a new sort of reflexivity, involving artists as well as theorists and activists in a passage beyond the limits traditionally assigned to their practice. The word tropism conveys the desire or need to turn towards something else, towards an exterior field or discipline; while the notion of reflexivity now indicates a critical return to the departure point, an attempt to transform the initial discipline, to end its isolation, to open up new possibilities of expression, analysis, cooperation and commitment. This back-and-forth movement, or rather, this transformative spiral, is the operative principle of what I will be calling extradisciplinary investigations.
excerpt from Brian Holmes text
In this section there are a series of selected images that come from staring points in testing alternative movements and interaction to other faces of my work, some performing at gallery spaces in 1996 other in urban sites and later back in to the gallery space 20 years later.
Movement or Dance?
Spectacle or Conversation?
Interaction or Acting?
Real or Staged?
A whole ambivalence about vocation, talent, gift, mediumnistic capacities, mysticism, ritualistic relations and celebration and how to negociate navigate produce cope dialogue inhabit the world that transform all of this in spectacle, entertainment, excellence, competitiveness, envy, betrayal, isolation, surface, monetary investment propaganda,distraction, decoration.
My training as a Dancer has been very intensive over the years since 1970, but I also had experienced a massive crisis about what was for me to be a Dancer and what was Dance, and my need of questioning tuck me to unexpected conclusions.
I had stop dancing on various occasions and had come back to it every time to find new insight and techniques that surprised and inspired me.
But I had to break free of what it felt like a too intensive physical dynamic on my life as an artist and producer of some possible art and of liberated context for it.
Dance Theatre seemed more close to what I felt like, but some how, after years of investigating and insatisfactions too, I have found a Zone of Action for my self :
As actor, medium and agent, inside a context that could be film, installation, book or stage.
I am using and reviving,( in a sort of hauntological exercise)pictures and films of ancient rehearses of a self that has long gone from 1997, when I used to search movements and positions that could be used for my work as a visual artist too.
Always aiming at a cross over, at a feed of one on to the other, a mirror perhaps, or a step from one dimension on to an unknown yet place. Esther Planas