DANCE AS RESISTANCE
A fashion and performing art project against the rise of nationalism
Body, cloth and movements are the first elements that one notices about the ‘’Other’’. They form the ground on which prejudices and fears may grow.
Hence, I decided to use dance, music and fashion as a means to question xenophobia and the rise of nationalism. Through a dance performance featuring my garments and a movement workshop, I tried to design collective experiences that connect people in an intimate way and facilitate communication. The performance had to be postponed, but instead is taking place a virtual dance conversation that we are currently filming.
The outfits were designed either to be armor-like and protective, either to enhance the body’s vulnerability. Their patterns were inspired by nationalistic iconography and brutalist architecture.
The dance performance meant to highlight the dangers of an excessive love of the nation, and the divides it brings within a society.
Music : Hunter Hanson
Choreography : Serena Woolman
Art direction : Iris Favand
Dancers : Rawinwan Asawakanjanakit, Juls Trout, Marianna Russel,
Dance performance rehearsals
A virtual conversation through dance,
to get around the new borders that separate us.
As the pandemic happened, the dance performance had to be postponed. In the meantime was organised the CorresponDances, an alternative dialogue, between the dancers and me, and between the dancers themselves. They answer questions I sent them through movements improvisations, and these replies are sent to the next dancer, who then reacts to it.
''Dancing with others is something I miss dearly so I wanted to replicate it by using the wind. It had just stormed in New York, so the wind was heavy and almost felt like responding to another person."
Erin Maher, NYC - Stuck in her New York apartment during the quarantine, she decided to dance with the wind on her rooftop.
Contact improvisation workshop and conversations
The Dancing Dialogues workshop used dance and music to create intimacy between strangers. The participants did movement exercises that required them to trust and rely on each other, before having conversations about nationhood and identity.
Photo credit : Maliyamungu Muhande