Paz Rojos doctoral research project ”The decline of choreography and its movement: a subaltern pathway” problematises the question of freedom of the individual self via choreographies proposing the question of the potential of movement itself, thereby, the possibility for choreography to dissent from itself. Paz is a docoral student in Choreography.
A short presentation of Paz Rojo's doctoral research project:
This inquiry situates the term 'choreography' at the centre of contemporary production of value. Accordingly, choreographic practice is connected with different modalities artistic subjectivity is produced, structured and organized. The starting point of this research draws attention on forms of choreography that appear from changes in the production of dance techniques from the 60's till our current modes of production, whose logics such visibility, self-representation and communicability not only are choreographing our subjectivity but are making impossible to escape the promise of economic value and the potential for sale. Accordingly, the methods applied seek for subjectivities and modes of doing that abandon the aforementioned neoliberal logics; arguing that the choreographic potential for emptying out might liberate movement, opening it up to its own potentiality, even when this might mean interrupting and unworking any identity determination. At the core of this disruption we would find a refusal to choreograph or be choreographed, which would trigger an inevitable shift for the choreographer into an acknowledgement of the subordinate condition of his or her capitalist subjectivity, thus allowing his or her subaltern potentiality to be encountered. What would our movements do, if we approach them from bellow? Could we move choreography away from the individual free neoliberal subject? What would be a choreographic practice that makes things move without organising them? How could choreography affect our own trajectories if we address it through an invisible point of view? How would this affect choreographer's subjectivity? How to free movement from the neoliberal gaze and its forms of recognition? What would it mean to move from a point of view worthless to neoliberal gaze? These questions are intertwined with a broader one: What can “invisibility” do in our current contexts?. Could invisibility be a condition of potentiality in the context of choreography and dance production?
At the moment I'm busy with the notions of “invisibility and desire” and what they may entail in the context of dance production and as (an artistic) form. My inquiry draws attention upon that ambivalent place in between being invisible and the desire to exist, which in respect to dance, entails a renewed consideration regarding its value as aesthetic experience. What kind of value systems could be inaugurated by the non-necessity of movement if dance approaches “invisibility” as a condition of potentiality? How does the incalculable and opaqueness of an invisible force enable an intensive process of movement based on desire?. I'm interested to discern how the production of dance may involve a displacement of the notion of “necessity” as to materialize the distance between dancing (what) matters from its own ends: How can we think of a movement (or dance) that is only necessary to itself, but useless to any constitution of value? How does movement materializes the distance in between what is being and its actualization as choreography? Hence, how does movement allow for an intensive process of production based on desire? From the perspective of practice and production, my interest is to elucidate how to deactivate current regimes of visibility and recognition intertwining the kinetics of movement, aesthetic experience and ethics applied to professionalism in the performing arts.
Paz Rojo (1974, Madrid). Choreographer, dancer and researcher whose activity develops in the cross between artistic practice, choreography and philosophy. She investigates the value creation of dance within neoliberalism and post-fordism. Currently she is a phd candidate at the Stockholm University of the Arts, Stockholm (Sweden) with a research project called "the decline of choreography and its movement: a subaltern pathway". Research with a broad trajectory and associated to various institutions, self-organized contexts, exhibition frameworks, educational programs and independent initiatives in Europe and Latin America and that has had different manifestations such as the dance solos "whatever moving like this" (lo que sea moviéndose así 2011). The collective performance experiments "Inaugural Action" (2011); "YES WE CAN NOT, a pre-formance in the era of con-fusion" (2012); “The Gerries by Gerry” (2012). The audio-visual essays: "I do not like community in the same way I do not like contact-improvisation" (2013); "DANCISMO" (2014). The dance performance ECLIPSE:MUNDO (2018) and the print publication “what do we talk about when we talk about dancing on a plane of destituent perception? (2018). Curator and artistic director of the festival "What can a body do?" (La Casa Encendida, Madrid 2014-2015). She initiates and facilitates the collective research contexts: "ASSIM NÃO, BUT HOW?", (LOTE, Sao Paulo, 2017); "[FIELD # 1] choreographing dissidence" (Teatro Pradillo, Madrid 2014); "What if we let go being (artists)?" (La Casa Encendida, Madrid 2013); "A piece ... together?" (Barcelona, Sao Paulo, Vienna 2010-2011); and the itinerant laboratory "choreography: a problem to practice" since 2011 (Madrid, Barcelona, Sao Paulo, Vienna, Amsterdam, Istanbul, Brussels, Moscow, Stockholm and Mexico City).