Next showing: 3 July 2015 6 pm – Tanzfabrik Berlin (Uferstudios, Studio 4)

Premiere: 3/4/10/11 September 2014          GOLEM (Große Elbstraße 14, Hamburg)

about remix- and remake-culture from the dance perspective, learning methods in choreography, identities, interpretations, dance-text-dance translatability, transformative art and copyright.

Design: Julia Bührle-Nowikowa

 Can dance can be described with words?
If not with words, can dance be described with anything else, that is not dance?
Is the dance and the one who is dancing it inseparable?
If someone else is dancing the dance, is it still the same dance?
A remix is a song that has been edited or completely recreated to sound different from the original version.
A remix may also refer to a non-linear re-interpretation of a given work.
The process of combining and re-contextualizing will often produce unique results independent of the intentions and vision of the original designer/artist.



The idea of this experiment was the result of the organisational mistake that happened while working on the project “Retrospective” by the choreographer Xavier le Roy in frames of Kampnagel Summer Festival 2013. One email with the links to all videos of Xavier’s works was not forwarded to three participants of the project. I was one of them. Like this appeared the idea to undertake the experiment of recreating /reinterpreting a famous choreographic work without watching it, by having access only to textual materials (books, interviews, descriptions, articles e tc). That means not applying the traditional “copy-paste” method of physical imitation for transferring choreography from A to B.
For this investigation I decided to take one of Trisha Brown’s early solos and see, where the experiment of making a choreographic remix without watching the original can lead and what potential it can open.

The final work consists of two parts: the “visual” (choreographic material) performance and the “theoretical” part, or performance-lecture on this experiment. A lecture (as a presentation model of scientific inquiry) and a performance (as a presentation model of artistic research) should mutually reflect each other and feed back into each other. So the idea is to undo the separation of the performance (as aesthetic outfit) from the lecture (as representative unit) through the creation of a product that deals with its  own process of becoming.

This production is supposed to be performed in non-theatrical conventions and unexpected public spaces, where public realm can be actively engaged. It aims to stretch the boundaries of communication in the public realm outside the conventions of traditional theatrical regulations. It should remind that public spaces function as the epicenter for diverse social interactions and encounters.

Other aspects important for current artistic research :

  • Copyright law in choreography
  • Body and the performance itself becoming the subject and object of investigation at the same time
  • Phenomenon of remix. Culture of remixes
  • Theory becoming a practical matter
  • Body art becoming the conductor of experience and a didactic instrument for explaining the process of making an art work
  • Body & language relations
  • Theory and practice of translation related to the process of recreation (translation) of the dance performance. Phenomenon of intersemiotic translation. Techniques of “acculturation” and “foreignisation”.
  • Identity of the one as an artist, as a human being, as a spectator.
  • Challenging conventions on all fronts: the nature of the  artist, the nature of the work, the nature of the spectator.
  • If Item 1 is a work of art, is Item 2 (translation of Item 1) is also a work of art? Or item 2 may be a piece of criticism? Or…?
  • Art is not merely an independent system of significations. It is a social practice, so the range of meanings available and produced by art are circumscribed by its historical situations. To work with this idea reconstructing the work from ‘70s in 2013-14.
  • Art production as social form of production, problematic participation in the economy of the art market. Subjugation of artistic and scientific research to the laws of capitalist value production and market of spectacular industries.

Idea, choreography, performance: Irina Demina
Dramaturgy assistance, texts: Sara Veit
Video: Karsten Wiesel
Light: Ricarda Könecke
Scenography: Lisa Kruse

Supported by              Kulturbehoerde_engl   HKS logobunt auf weiss

Kulturbehörde der Freien und Hansestadt Hamburg (Hamburg Cultural Authority),
Hamburgische Kulturstiftung and Alfred Töpfer Stiftung F.V.S.

Mit freundlicher Unterstützung von Golem, Tanzinitiative Hamburg e.V., K3 – Zentrum für Choreographie | Tanzplan Hamburg, Tanzfabrik Berlin, Hochschulübergreifendes Zentrum Tanz Berlin.