Yes, Address Me as a Location

A research on “dis-orientation” as choreographic strategy.


Juli Reinartz’s research project (2019-2025) explores the concept of “dis-orientation” as a choreographic strategy. The project draws a connection between the ways in which bodies become visible on stage and processes of gen­dering and intends to challenge these processes through choreographic means. Following the idea that one of the central objects of feminist research today is to observe how affect is trans­ferred and, by way of that, informs bodies and decisions, the research refers to Sara Ahmed’s term “orienta­tion” (2006) as a way to think the affective relationship between bodies (here meant are human bodies, ani­mal bodies, objects, ideas and practices) spatially. It looks at modes of becoming visible of bodies on stage and how they affect the relationships between each other and to oneself. Departing from a feminist perspec­tive, the project thus asks about the processes of gendering within performative set-ups and how choreogra­phy can become a critical practice towards them. How can it critically explore and invent anew strategies of becoming visible?

Yes, address me as a location is a practical research project in the field of choreography and uses the term “dis-/re-orientation” as a starting point for its artistic approach. Through setting up multi-sensorial scores with a group of collaborators which change, shift, disrupt or divert the visibility of bodies in its first artistic part, the project reorganizes spaces and temporalities of dances. It thereby attempts to generate changes in the affective relationships between bodies. This movement between bodies, rather than of bodies, is the tool for an affective “dis-orientation”. How theses scores allow for bodies to perceive them-selves and others anew, will be then their the key point of interest. In a second artistic part, the feelings and moods generated within the scores will be singled out and explored as potential new choreographic propositions. What new orientations are generated and how bodies enact gender differently is central to this stage of the research. Fo­cus, here will be, what can be seen as a body within the rearranged set-ups. The projects follows Judith But­ler’s claim (1996) that body norms along gender dualisms determine what can be a recognized as body at all.

By looking at modes of becoming visible from a queer perspective, Yes, address me as a location does not only reflect processes of gendering but also offers a reflection on processes of the production and presenta­tion of dances. Through exploring new formats, the project critically investigates choreographic practices and their political entanglement. The research relates to bodies as sites of negotiation for past and present knowledges and wonders what their future knowledge might be.

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Yes, Address Me as a Location