What do ballistics, problems, the devil and dance have in common? What is the secret affinity between these four concepts? There is common denominator between having a problem, bumping into the devil, accepting a dance invitation and being hit by a bullet. Etymologically speaking, they all share the same root, from Greek, ballein, which means, “to throw so as to hit“. Something has been thrown, something falls in the middle, something appears unexpectedly in front of you, all of a sudden something hits you, and unexpectedly you are invited to dance. But what or who throws? What is thrown? What does its trajectory look like? What does it encounter? What is hit? How does being hit affect it? Can violence trigger movement?
A difficult dance is not one that is difficult to perform, but a dance that creates difficulties and problems in the space, that becomes an obstacle, that paralyzes you. When does dance become a problem? When does a body that is thrown across the space become a difficulty, a puzzle or a astonishing event? The problematic body—the dance that becomes a problem—is the moving body that movement generates a problem in the space, a movement that implies a difficulty, a dance that hits you, that puzzles you. How can a dance hit?
These questions will be the starting point for Dangerous Dances, a 5 days workshop and seminar. Dance and philosophy will meet around the question, “What does it mean to dance a problem?”
The participants will be encouraged to confront their own practices with the aforementioned topics. The 20 hours will combine theoretical and physical approaches to dance and choreography. The main methodology will consist of giving problematic tasks to each other in order to trigger and stimulate movement.