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writing
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GROPIUS BAU
JOURNAL
“Extemporary Rituals:
Notes on the Dances of
Marcelo Evelin and Tosh Basco”
by Noémie Solomon
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essay
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Incorporating ritual forms, experimental sonic terrains and temporal shifts, the fugitive choreographies of Tosh Basco and Marcelo Evelin offer glimpses into how ruptures can be created in the orderly march of post-colonial history and the violence of modern thought. Writer and curator Noémie Solomon focuses on Tosh Basco’s Untitled Duet (the storm called progress) and Marcelo Evelin’s A Invenção da Maldade (The Invention of Evilness)—two works performed as part of the Gropius Bau’s Rituals of Care programme—to look at dance’s relation to normative time and how it might shape imagined futures.
[...] dancing bodies have the capacity to counter normative orders of time: to conjure multiple and contradictory temporalities at once, disidentifying from the march of history to enact, instead, dissident futurities.
Dance holds a paradoxical relation to time. Folkloric and archaic, but also fleeting and ephemeral, dance has been repeatedly marked by a temporal ambivalence within aesthetic and epistemological regimes. Yet, within this constitutive ambiguity, dancing bodies have the capacity to counter normative orders of time: to conjure multiple and contradictory temporalities at once, disidentifying from the march of history to enact, instead, dissident futurities. Such fugitive choreographic practices, I suggest, can be seen as extemporary. They figure impromptu and improvisatory trajectories that run against the grain of history, disorienting the logics of both capitalism and colonialism. [...]
Untitled Duet (the storm called progress) is a durational work that was conceived and performed by Tosh Basco in close collaboration with dancer Josh Johnson and the DJ and sound composer Total Freedom for the Lichthof atrium of the Gropius Bau. It departs from Walter Benjamin’s musing on the Angelus Novus (1920), a monoprint by Paul Klee that depicts the angel of history contemplating the “catastrophe” of the past that “keeps piling wreckage upon wreckage”,[footnote] as it is swept through the passage of time, eyes staring, wings spread wide open.
translation Rituelle Formen, experimentelle Klangterrains und zeitliche Verschiebungen bestimmen die flüchtigen Choreografien von Tosh Basco und Marcelo Evelin, die Anstöße geben, um Brüche innerhalb postkolonialer Geschichte und der Gewalt des modernen Denkens zu bilden. Die Autorin und Kuratorin Noémie Solomon untersucht die Beziehung des Tanzes in Bascos Untitled Duet (the storm called progress) und Evelins A Invenção da Maldade (Die Erfindung des Bösen) – zwei Werke die im Rahmen der Performancereihe Rituals of Care im Gropius Bau aufgeführt wurden –, zu normativer Zeit und nimmt ihr Potential in den Blick, imaginierte Zukunftsvorstellungen zu formen. |
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translation
writing
language
expression
GROPIUS BAU
JOURNAL
“Extemporary Rituals:
Notes on the Dances of
Marcelo Evelin and
Tosh Basco”
by Noémie Solomon
translation
essay
excerpt Rituelle Formen, experimentelle Klangterrains und zeitliche Verschiebungen bestimmen die flüchtigen Choreografien von Tosh Basco und Marcelo Evelin, die Anstöße geben, um Brüche innerhalb postkolonialer Geschichte und der Gewalt des modernen Denkens zu bilden. Die Autorin und Kuratorin Noémie Solomon untersucht die Beziehung des Tanzes in Bascos Untitled Duet (the storm called progress) und Evelins A Invenção da Maldade (Die Erfindung des Bösen) – zwei Werke die im Rahmen der Performancereihe Rituals of Care im Gropius Bau aufgeführt wurden –, zu normativer Zeit und nimmt ihr Potential in den Blick, imaginierte Zukunftsvorstellungen zu formen. |
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