Dance and (Dis)Ability
"A choreography in which a disabled person is present is not necessarily an example of integration [...]" Adam Benjamin. It is within the thickness of time that a more balanced perspective of inclusive dance can be achieved, one that integrates different characteristics and capabilities of what is usually considered a conventional body. The concept of inclusion focuses on building a new relationship stage. It requires infection, influence and/or a simple encounter between human landscapes.
During different periods of the 20th century, alternative movements moved dance away from the stage and the theatre to rediscover the body, to reintroduce ritual, organic dance in the Monte Verità community, dance that was highly-personal and inspired by everyday realities for the members of the Judson Dance Theater, dance that was urban and responsive to its environment at the turn of the 21st century. When dance moves outside, it uses the front-stage, and occasionally even horizontality and weightlessness. Its spectacular and performative aspect is, as such, questioned, shifted; its creative codes are shook up.
Dance and percussions
In the West, the early 20th century saw noise, as an element of the environment, becoming a source of fascination and inspiration for new soundscapes, which made increasing use of the constantly evolving percussion family. Growing awareness of non-European music also generated more interest in rhythm and gave a new dimension to compositions for percussion. Dance and percussion are partners in crime, two histories colliding, often intersecting and growing together, enriching the other and always reinventing themselves, to our constant delight.
The place where a choreography is performed is a setting that is viewed from the front and obeys the rules of perspective. At the beginning of the 20th century, however, the scenic space became the subject of research work and experimentation. In the 1970s, the American postmodern movement, which called performance codes into question decreed that dance could be performed anywhere: in lofts, parks, on the roofs of buildings... A Thema, which had every reason to exist!