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Saturday March 16 | Session 13:15 - 14:45 (20 min)
De Brakke Grond | Rode Zaal

pavleheidler has been dancing-performing, studying, writing, and teaching dancing professionally since early teenage-hood; inevitably considering their varied engagements with the field of experimental dancing and choreography––where choreography is understood to be an expanded practice––as opportunities to continue studying the notions of (1) embodiment, (2) performativity, and (3) success in communication.

pavleheidler studied at the Salzburg Experimental Academy of Dance, graduated from the Performing Arts Research and Training Studios in 2012, and took their MFA degree in Choreography-specialisation-Performance from the University of Dance and Circus at the Stockholm University of the Arts in 2015. They are currently studying Body-Mind Centering® with Embody-Move, UK.

pavleheidler is the recipient of the 2018/2019 International Choreographer’s Stipend awarded annually to a Swedish dance artist by the Swedish Arts Grants Committee.

pavleheidler.wordpress.com / attogetheralone.wordpress.com / dancerswriting.wordpress.com / soundcloud.com/togetheralonepodcast / pavleheidler.tumblr.com /
The study I engage in is a matter of continual returning to the following question: Why is it that we, dance artists functioning in the west, know and value the difference between theoretical knowledge / intellectual understanding and bodily knowledge / practical experience; and what is [or else: what is it not yet, but ought to be understood as] the physical consequence to knowing? One could say that the purpose of my study is to build the case for a definition of thinking that will argue thinking not as an alternative to physical action, but as a synonym for physical action and vice versa: it is to build the case for the definition of physical action not as an alternative to thinking, but as a synonym for thinking.

My (overall) aim is to outline an intelligible, consistent, and informed critique of the western and institutionalised practice of disembodiment; and to address the western cultures’ present detachment from the inherently queer and queering practices: the practice of critical thinking, the practice of non-linear and/or abstract thinking, and the practice of art-making and -consuming.

Embedded in that is the interest in articulating the practice of study (Moten, Harney) as a quintessentially physical practice and asking in which way would the institution need to reorganise (structurally speaking) were it to organise around the experience of study, instead of study as framed by the pace of the academic year? (for example) Another way of framing this question is: what should be the knowledge-producing institution’s priority in this day and age?

This performance lecture is to argue for, in the words of Angela Davis, “[the kind of] capacious feminism that allows us to work at the heart of contradiction.”
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