Paz Rojo

the refusal to choreograph and its movement: the sub-altern pathway

Researcher: Paz Rojo

Paz Rojos doctoral research project ”the refusal to choreograph and its movement: the sub-altern 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.

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Paz Rojo is a cultural worker whose activity develops in the field of live arts, movement and choreography. Preceding her phd project at Stockholm University of the Arts, she initiates “C O R E O G R A F X S” a critical and experimental framework and which now follows in the context of her phd in Stockholm. This frame-work includes the itinerant laboratory “choreography: a problem to practice” and the solos, movement-actions, video-essays and lectures “whatever moving like this” (2011); Inaugural Action (2011); “EX POSICION UNIVERSAL (democracy is a psycho-kinetic training)” (2012); “YES WE CANNOT, a pre-formance in the  era of con-fusion” (2012); “The Gerries by Gerry” (2012); “I don´t like community in the same way I don´t like contact-improvisation” (2013) DANCISM (2014-2015); Artistic director of the festival  “what can a body do?” (2014); She initiates collective contexts such “Not like this, but how to?” (2017); “[OUTBACK # 1] choreographing dissidence” (2014); “what if we let go being (artists)?” (2013); “a piece…together?” (2010-2011); VOCABULABORATORIES (2008-2009).