PCG at CODA Oslo International Dance Festival, Oslo, Norway Oktober 2019
CODA International Dance Festival, Oslo 2019: Workshop and panel talk on Decolonizing dance criticism with Critical Interruptions (UK).
Participants: Plamen Harmandijev, Nadji Aïssa Khefif, Grace Tabea Tenga, Sanjoy Roy, Ann Christin Berg Kongsness, Marte Reithaug Sterud. Diana Damian Martin, Bojana Jankovic. Anette Therese Pettersen, Hild Borchgrevink. From PAHN: Christina Friis
PROGRAMME
SATURDAY 19 Oct
10:00–13:00 Industry Workshop
Open panel
14:00–16:00 Panel talk on themes from the workshop.
Panel:
Diana Damian Martin – Critical Interruptions
Sanjoy Roy – dance critic The Guardian
Grace Tabea Tenga – dancer and critic Scenekunst.no
Moderator: Hild Borchgrevink – critic, Performing Criticism Globally
SUNDAY 20 Oct
10:00–13:00 Industry Workshop
The workshop and talk are parts of Performing Criticism Globally, a project initiated by Danse- og teatersentrum / Performing Arts Hub Norway and critics Hild Borchgrevink and Anette Therese Pettersen to strengthen performing arts criticism in Norway and abroad. Co-produced by CODA Oslo International Dance Festival 2019. Supported by the Norwegian Ministry of Foreign Affairs.
CODA International Dance Festival, Oslo 2019: Workshop and panel talk on Decolonizing dance criticism with Critical Interruptions (UK).
Participants: Plamen Harmandijev, Nadji Aïssa Khefif, Grace Tabea Tenga, Sanjoy Roy, Ann Christin Berg Kongsness, Marte Reithaug Sterud. Diana Damian Martin, Bojana Jankovic. Anette Therese Pettersen, Hild Borchgrevink. From PAHN: Christina Friis
PROGRAMME
SATURDAY 19 Oct
10:00–13:00 Industry Workshop
Open panel
14:00–16:00 Panel talk on themes from the workshop.
Panel:
Diana Damian Martin – Critical Interruptions
Sanjoy Roy – dance critic The Guardian
Grace Tabea Tenga – dancer and critic Scenekunst.no
Moderator: Hild Borchgrevink – critic, Performing Criticism Globally
SUNDAY 20 Oct
10:00–13:00 Industry Workshop
The workshop and talk are parts of Performing Criticism Globally, a project initiated by Danse- og teatersentrum / Performing Arts Hub Norway and critics Hild Borchgrevink and Anette Therese Pettersen to strengthen performing arts criticism in Norway and abroad. Co-produced by CODA Oslo International Dance Festival 2019. Supported by the Norwegian Ministry of Foreign Affairs.
————
We are very much looking forward to working together in Oslo next weekend as part of CODA – Oslo International Dance Festival.
As we mentioned in the call out, we will be pooling knowledge and experience, share resources and practices, and think about dance criticism and its entanglements with (neo)colonial regimes of knowledge and thinking.
In advance of the workshop, we would like to invite you to read a couple of texts which we will discuss together. These are:
Walter Mignolo ‘Looking for the Meaning of “Decolonial Gesture”’
Julietta Singh ‘The Particularities of Mastery’ in Unthinking Mastery
Alexandrina Hemsley ‘How long will it be until we are home? The scattering effects of marginalisation’ from Disability Arts Online
Nayantara Sheoran Appleton ‘Do not decolonize… if you are not decolonizing’ in Critical Ethnic Studies
The reading can be found here.
We would like to also invite you to:
Add a text that you found relevant in thinking about decoloniality and criticism by Sunday 13th October. You should be able to add texts to the folder above – let us know if you bump into any problems.
Bring a piece of critical writing to the workshop that you think is doing the work of decentering criticism (not your own). This can be in a language other than English. We will be discussing these texts on the second day of the workshop.
If you have any questions, please let us know.
All the best,
Diana and Bojana.
CALL:
Decolonising dance criticism: towards formal and structural change
Time:
Saturday Oct 19
10:00 – 13:00 Workshop
14:00 – 16:00 Panel talk on themes from the workshop. Panel: Diana Damian Martin (Critical Interruptions), Sanjoy Roy (dance critic, The Guardian), Grace Tabea Tenga, dancer and critic (Scenekunst.no). Moderator: Hild Borchgrevink (critic, Performing Criticism Globally).
Sunday Oct 20
10:00 – 13:00 Workshop
Place: Skatten Oslo, Tøyen Torg, Hagegata 22-24, 0653 Oslo, Norway. The venue is wheelchair accessible.
Map: https://goo.gl/maps/W9HzZZKRYYkvM4q97
Transport: Any subway line to Tøyen. Bus 20 to Tøyen, bus 60 to Tøyen skole
Deadline for applications: 2nd October, 18:00 (CET). Applicants will be notified by 7th October.
Critics and dance professionals engaging with critical writing are invited to apply for a two-day workshop on decentering knowledge and dance criticism, at CODA Oslo International Dance Festival, 19th and 20th October 2019. The workshop will be facilitated by Critical Interruptions, a Romanian-Serbian critical cooperative. The workshop will consider ways to challenge formal and structural elements of criticism as a practice that continues to operate through a white, colonial logic.
Criticism constitutes, engages with and reproduces networks of power. As a practice, it is entangled with (neo)colonial regimes of knowledge and thinking, reproducing and often reinforcing racialised, gendered and Western-centric ideas about rationality, authority and authorship. These regimes can appear most visible in form and language of criticism but they are also, and importantly, structural. Resisting the lure of mastery, as shown by Julietta Singh, is resisting its colonial logic and rethinking relations of dependence. A meaningful discussion of decolonisation, as argued by Ngũgĩ wa Thiong’o, accounts for social forces that have ‘made it both an issue demanding our attention and a problem calling for a resolution’.
Over the course of two sessions facilitated by Critical Interruptions, we will pool knowledge and experience, share resources and practices, and together ask:
How does criticism reproduce structural inequality?
What frames do we think about, and do dance criticism through? How do they relate to colonial, racialised, gendered, ableist forms of knowledge?
What is recognised or seen as legitimate criticism, and what practices are rendered marginal, even as they engage in rethinking and decentering knowledge-formation in criticism?
What are the ethical and political questions surrounding decolonisation and dance criticism?
What new relations between dance and criticism, the body and critique can we develop?
How do we produce alternate forms of dance criticism? What forms, languages, labour conditions and relationships might it require?
CODA International Dance Festival, Oslo 2019: Workshop and panel talk on Decolonizing dance criticism with Critical Interruptions (UK).
Participants: Plamen Harmandijev, Nadji Aïssa Khefif, Grace Tabea Tenga, Sanjoy Roy, Ann Christin Berg Kongsness, Marte Reithaug Sterud. Diana Damian Martin, Bojana Jankovic. Anette Therese Pettersen, Hild Borchgrevink. From PAHN: Christina Friis
PROGRAMME
SATURDAY 19 Oct
10:00–13:00 Industry Workshop
Open panel
14:00–16:00 Panel talk on themes from the workshop.
Panel:
Diana Damian Martin – Critical Interruptions
Sanjoy Roy – dance critic The Guardian
Grace Tabea Tenga – dancer and critic Scenekunst.no
Moderator: Hild Borchgrevink – critic, Performing Criticism Globally
SUNDAY 20 Oct
10:00–13:00 Industry Workshop
The workshop and talk are parts of Performing Criticism Globally, a project initiated by Danse- og teatersentrum / Performing Arts Hub Norway and critics Hild Borchgrevink and Anette Therese Pettersen to strengthen performing arts criticism in Norway and abroad. Co-produced by CODA Oslo International Dance Festival 2019. Supported by the Norwegian Ministry of Foreign Affairs.
————
We are very much looking forward to working together in Oslo next weekend as part of CODA – Oslo International Dance Festival.
As we mentioned in the call out, we will be pooling knowledge and experience, share resources and practices, and think about dance criticism and its entanglements with (neo)colonial regimes of knowledge and thinking.
In advance of the workshop, we would like to invite you to read a couple of texts which we will discuss together. These are:
Walter Mignolo ‘Looking for the Meaning of “Decolonial Gesture”’
Julietta Singh ‘The Particularities of Mastery’ in Unthinking Mastery
Alexandrina Hemsley ‘How long will it be until we are home? The scattering effects of marginalisation’ from Disability Arts Online
Nayantara Sheoran Appleton ‘Do not decolonize… if you are not decolonizing’ in Critical Ethnic Studies
The reading can be found here.
We would like to also invite you to:
Add a text that you found relevant in thinking about decoloniality and criticism by Sunday 13th October. You should be able to add texts to the folder above – let us know if you bump into any problems.
Bring a piece of critical writing to the workshop that you think is doing the work of decentering criticism (not your own). This can be in a language other than English. We will be discussing these texts on the second day of the workshop.
If you have any questions, please let us know.
All the best,
Diana and Bojana.
CALL:
Decolonising dance criticism: towards formal and structural change
Time:
Saturday Oct 19
10:00 – 13:00 Workshop
14:00 – 16:00 Panel talk on themes from the workshop. Panel: Diana Damian Martin (Critical Interruptions), Sanjoy Roy (dance critic, The Guardian), Grace Tabea Tenga, dancer and critic (Scenekunst.no). Moderator: Hild Borchgrevink (critic, Performing Criticism Globally).
Sunday Oct 20
10:00 – 13:00 Workshop
Place: Skatten Oslo, Tøyen Torg, Hagegata 22-24, 0653 Oslo, Norway. The venue is wheelchair accessible.
Map: https://goo.gl/maps/W9HzZZKRYYkvM4q97
Transport: Any subway line to Tøyen. Bus 20 to Tøyen, bus 60 to Tøyen skole
Deadline for applications: 2nd October, 18:00 (CET). Applicants will be notified by 7th October.
Critics and dance professionals engaging with critical writing are invited to apply for a two-day workshop on decentering knowledge and dance criticism, at CODA Oslo International Dance Festival, 19th and 20th October 2019. The workshop will be facilitated by Critical Interruptions, a Romanian-Serbian critical cooperative. The workshop will consider ways to challenge formal and structural elements of criticism as a practice that continues to operate through a white, colonial logic.
Criticism constitutes, engages with and reproduces networks of power. As a practice, it is entangled with (neo)colonial regimes of knowledge and thinking, reproducing and often reinforcing racialised, gendered and Western-centric ideas about rationality, authority and authorship. These regimes can appear most visible in form and language of criticism but they are also, and importantly, structural. Resisting the lure of mastery, as shown by Julietta Singh, is resisting its colonial logic and rethinking relations of dependence. A meaningful discussion of decolonisation, as argued by Ngũgĩ wa Thiong’o, accounts for social forces that have ‘made it both an issue demanding our attention and a problem calling for a resolution’.
Over the course of two sessions facilitated by Critical Interruptions, we will pool knowledge and experience, share resources and practices, and together ask:
How does criticism reproduce structural inequality?
What frames do we think about, and do dance criticism through? How do they relate to colonial, racialised, gendered, ableist forms of knowledge?
What is recognised or seen as legitimate criticism, and what practices are rendered marginal, even as they engage in rethinking and decentering knowledge-formation in criticism?
What are the ethical and political questions surrounding decolonisation and dance criticism?
What new relations between dance and criticism, the body and critique can we develop?
How do we produce alternate forms of dance criticism? What forms, languages, labour conditions and relationships might it require?
Critical Interruptions (Diana Damian Martin and Bojana Janković) is Serbo-Romanian critical cooperative exploring performance criticism. With little regard for review, we search for critical forms and strategies in dialogue with performance, wonder how to develop rigorous and relevant critical writing, and lure new writers into thinking about radical and experimental work. Collectively, we have occupied galleries, museums, studios, theatres, universities, digital spaces and streets, to talk, perform, write, and think about (amongst other things) migration and Eastern European identities and diasporic cultures.
This workshop is part of Performing Criticism Globally, a series of workshops and talks curated by critics Anette Therese Pettersen and Hild Borchgrevink in collaboration with Performing Arts Hub Norway.
The workshop is a collaboration with Performing Arts Hub Norway with support from Norwegian Ministry of Foreign Affairs. and is programmed in collaboration with CODA Oslo International Dance Festival.The workshop language is English.
For any questions, please contact Geir Lindahl: geir@pahn.no