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date: 05 December 2020

Abstract and Keywords

This chapter explores the methods of appropriating and reactivating past knowledge of European dance practices, focusing on contemporary choreographic approaches funded by the German national program Tanzfonds Erbe (Kulturstiftung des Bundes). Eyeing three distinct productions—Jochen Roller’s The Source Code (2012), Christina Ciupke and Anna Till’s undo, redo and repeat (2013), and Henrietta Horn’s rendition of Mary Wigman’s Le Sacre du Printemps (2013)—the inquiry focuses on the reflective possibilities disclosed by reenactment. To seek the remains of dance historicity across bodies, “witnesses,” notes, and digital media, the chapter analyzes the different approaches to actualizing choreographic knowledge of the past in the modes of occupying vacancies—reaching into an open wound of loss (death). Since every act of remembering is placed between the past and the present, the logic of reenactment constitutes in dance a staged act of activated memory continually carrying out the work of its own self-assertion.

Keywords: Henrietta Horn, Le Sacre du Printemps, Christina Ciupke, Anna Till, Tanzfonds Erbe, The Source Code

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