They try to imagine that coercion and control can make us safe
On Saturday, visits I am a dance performance in Copenhagen. It is the first weekend of summer, and I know because everything is still moving and still seems: people look out, looking for innovation and a desire to be fulfilled by a feeling that was in silence during the winter months. The show is called “proceeds” and is shown in the dance halls in Vesterbro, next to the old carlsberg brewery.
Then I understand that Yield means something other than what I thought. I always thought it means desires, but it actually means to admit. Yet it is precisely between these two views about the word – the actual and what I had thought – that the work I have just seen seems. The dancers move away from each other in circles, go backwards, in an incomplete desire to be moved and affected by the other. And then they suddenly admit, and it could have ended there, to meet, but that is rarely reality. We are not done with ourselves, nor with the other. We stay long and one movement leads to another, until we end up in a place that we didn’t know we would end up. It is the insight that makes change possible.
After the dance performance The choreographer speaks Escarleth Romo Pozo And the moderator Alex Blum About how important it is to be overwhelmed. Instead of imagining that we have control, we must dare to admit to what we do not yet know.
Control is sold as a necessary evil to prevent a larger movement
They talk about the personal movement, but also about the political: refusing to submit to the idea that it is possible to be completely complete. This insight can be understood as the opposite of the political project that is being carried out today. In Tidö-Sweden and, as found, in the vision of the opposition, society is a chaotic place that needs to be checked. The politicians try to imagine that there is a pure condition that has been distorted, and that they can ensure that we return to a forgotten, safe place through coercive measures. It is a false dream of man as a static object, a desire of the movement. Because the freedom of movement of someone else is limited, someone who is stopped and visited in the disturbing reality that has become every day in workers’ areas, we imagine that everyone can move us more often. The control is sold as a necessary evil to prevent a larger movement. In the dance halls the dancers never stop, and although their movement pattern is sometimes synchronized, they never return to the same step, but admit and admit and admit.
It is sometimes uncomfortable and intense to look at, but after that we understand that it is normal so that we can move forward. They move, and we move, and nothing will ever be like before.
The Chair Circle Special: Interview with Willem Dafor
With Willem Dafoe in Venice
15:08
