Spring Forward umea2014

Umea: 2014 / Questions

What do we want from performance and why are we here?

What are our individual histories, and how do these affect our taste?

And what do we all want from dance?

Why are there so few actual steps nowadays, and is this a good thing?

Or is dance going the way of conceptual art?

Why do so few people use music now?

With so many techniques and styles being integrated, are we in the middle of a dance revolution?

Are rigour, precision and skill still important?

And why, within dance, is large-scale work given more gravitas than small?

How did nudity become such an innovation in Hodworks?

How did I know Dawn was my favourite piece already even though the festival had hardly started?

Was Nora Elberfeld’s triangular trio the only time I ever saw an audience so bored they started talking amongst themselves?

Are we the sum of what our minds allow us to be?

What do we ask of performance, and do we need answers?

Do we know enough to judge?

Is performance a conversation?

How affected are we by the opinions of others?

Why is the opposite opinion to one’s own so interesting?

Are we too scared to sit in circles and have open discussions of the work, or is that wrong in this context?

How do I listen to a performance?

Am I open to it and, if not, why not?

Must I be entertained to connect with what I’m watching?

What is the gap between understanding and innovation?

When, as I quite often thought, will this performance end?

To the artists, does your show matter?         

If this were to be the last piece you ever made, would it really matter?

How can Aerowaves become as much for the general public as for programmers?

How can we, as dance writers, preview as well as review?

Can we have a zine attached to the festival with background on the companies and artists? 

How can all theatres get a sound system as fabulous as the one at NorrlandsOperan?

Do ten shows in a day in some way become a ten-act work?

How did we survive watching almost 25 shows over a single weekend?

How did Aerowaves find so many of us such a fabulous hotel (Winn)?  

How did this writing experience for Springback change me?

Have I leaned to temper my reactions to dance?

Is it possible to love a piece, but only in retrospect and not whilst there?

Dig my Jockey had a great title but did it do justice to S&M?

Did Skin Me show that not everything needs a reason? 

How did Out of the Grey’s new cast member learn his role in just two days?

Will I ever get One Final Evolutionary Note out of my head? 

Will I, in fact, end up being Aoife McAtamney’s dramaturg in Berlin? 

Will my new friend Jochen Stechmann who made me laugh so much become, one day, an old friend?

I hope so.

Sally Marie

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