A theoretical exploration departing from the performance Delayed movements for an obstinate joy

Authors

DOI:

https://doi.org/10.34629/rcdmt.vol.1.n.2.pp85-113

Keywords:

Practice as research, Transdisciplinarity, Choreography, Visible/invisible, Collective research, Dancepting

Abstract

This article reflects on a practice initiated by Inês Zinho Pinheiro and Massimo Milella following their 2023 performance Delayed Movements for an Obstinate Joy, created with an informal group of performer-researchers in sound, dance, and visual dramaturgy. The practice is guided by a developing methodology introduced by Inês, called dancepting, which merges choreography, dance, and theoretical inquiry. The article unfolds three key questions drawn from their performance: ‘How can we imagine a choice?’ explores the potential of movement yet to occur, highlighting the tension between the visible and invisible; ‘How do we concretize something intangible?’ addresses the challenge of making abstract ideas visible and tangible, while preserving their intangibility; ‘How do we go through it together?’ considers the balance between autonomy and collectivity in their performance. The article concludes with a dancepting conversation blending narratives and readings, and marked by a slight ingenuity essential to pursuing an obstinate joy.

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Author Biographies

  • Inês Zinho Pinheiro, University of Lisbon – Faculty of Fine Arts and Institute of Education

    Inês Zinho Pinheiro, born in Lisbon (1993), is a dancer, educator and researcher.

    She graduated from the Dance School of the National Conservatory of Lisbon (2011) and danced with CINEVOX Junior Company (Switzerland, 2012). She earned her BA in Ballet and Contemporary Dance from the Rambert School (2015) and an MA in Dance History and Philosophy from Roehampton University (2019), London.

    Currently a PhD candidate in Performing Arts and the Moving Image at the Faculty of Fine Arts (University of Lisbon) with a scholarship from the Foundation for Science and Technology, she has taught dance, choreography, and educational practices at the Higher School of Dance (Polytechnic University of Lisbon).

    Inês created Sonic Voyaging, a platform for improvisational dance and music and worked with various choreographers/artists, frequently collaborating with composer Lilja Ásmundsdóttir.

  • Massimo Milella, Universidade de Lisboa

    Is a PhD candidate in Theatre and Performance Studies at the University of Lisbon. His dissertation explores aesthetic connections between still-life painting and certain contemporary theatrical practices. Since 2022, he has actively participated in academic conferences and published articles in Portuguese and international journals. Beyond his research, Massimo engages with theatre as a critic, playwright, or dramaturg. He is also among the co-authors of the film inspired by the performance Delayed Movements for an Obstinate Joy, with Moss Dean, Inês Zinho Pinheiro and Connor Scott.

References

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Collet, Michel and André Éric Letourenau, dir. 2019. Art Performance Manœuvre, Coefficients de Visibilité. Paris: Les presses du réel.

Cvejć, Bojana. 2013. “On The Choreographic Production Of Problems”, in Dance, Politics and Co-Immunity, edited by Gerald Siegmund & Stefan Hölscher, 137-144. Berlin: Diaphanes.

Deleuze, Gilles. 2023. Sur La Peinture. Paris: Éditions de Minuit.

Deleuze, Gilles, and Claire Parnet. 1995. Abecedário De Gilles Deleuze. Paris: Éditions Montparnasse.

Didi-Huberman, Georges. 1992. Ce Que Nous Voyons, Ce Qui Nous Regarde. Paris: Éditions de Minuit.

Fiadeiro, João, e Fernanda Eugenio. 2012. “Secalharidade Como Ética E Como Modo De Vida: O Projeto AND_Lab E A Investigação Das Práticas De Encontro E De Manuseamento Coletivo Do Viver Juntos.”. In Urdimento: Revista de Estudos em Artes Cênicas, 2 (19), 61-69. https://doi.org/10.5965/1414573102192012063.

Fabius, Jeroen. 2009. “Seeing The Body Move: Choreographic Investigations Of Kinesthetic At The End Of The Twentieth Century” in Contemporary Choreography, edited by Jo Butterworth and Liesbeth Wildschut, 331-345. London-New York: Routledge.

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Lepecki, André. 2006. Exhausting Dance. Performance And The Politics Of Movement. New York-London: Routledge.

Lispector, Clarice. 2020. A Paixão Segundo G. H. Rio de Janeiro: Rocco.

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Ploebst, Helmut. 2001. No Wind No Word: New Choreography In The Society Of Spectacle. München: K-kieser.

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Spatz, Ben. 2015. What A Body Can Do: Technique As Knowledge, Practice As Research. London: Routledge.

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Performances

Scott, Connor, e Inês Zinho Pinheiro, Moss Dean, Massimo Milella. 2023. Delayed Movements For An Obstinate Joy. [Lisbon].

Stuart, Meg. 2004. Soft Wear. [Brussels].

Painting

Velasquez, Diego. 1623. El Aguador de Sevilla. Oil on canva, 107,7 x 81,3 cm. Wellington Museum, London.

Kalf, Willem. 1659. Still Life With Fruit, Glassware, And A Wanli Bowl. Oil on canva, 58,4 x 50,8 cm. Metropolitan Museum of Art, New York.

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Published

2024-12-20

Issue

Vol. 1 No. 2 (2024)

Section

Articles

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How to Cite

A theoretical exploration departing from the performance Delayed movements for an obstinate joy . (2024). RHINOCERVS: Cinema, Dança, Música, Teatro, 1(2), 85-113. https://doi.org/10.34629/rcdmt.vol.1.n.2.pp85-113