Tantsnusk
Photo: José Figueroa
Tantsnusk is a performance about popfictional horniness.
Romantic popular fiction has been around in the kiosk shelves for decades all over Sweden. Have the stories provided a secret place for women to explore sexuality? Horny depictions of loosing oneself in a wave of desire, groans, soft touch and pleasure or something covered up in gloss that serves patriarchy, and will make you puke up? ”It is revolting” Jan Myrdal stated in 1983, speaking of romantic fiction for women and coined the term ”Tantsnusk” (”Lady Porn”). A performance about pleasure, desire, pain and power where low culture confronts high culture and are intersected by the artists own perspectives.
Inkonst, Malmö and Dramalabbet, Stockholm 2010
Performance by: Kajsa Wadhia, Maria Stiernborg och Katja Seitajoki
Texts by: Hélène Cixous, Susan Crosby and other Harlequin-authors, Colleen McCullough, Kajsa Wadhia and Katja Seitajoki
Light Design: Lina Benneth
Sound Design: Tomas Björkdal
Side-kick: Anders Paulin
Producer: Elin Alvemark
Supported by Swedish Art Council, Riksteatern and Studiefrämjandet .
Snailing
Photo: Arena Baubo
Public action as part of the project Tantsnusk 2010Leadingfollowing: the spectator's dance
Photo: José Figueroa
School of Dance and Circus, MDT in Stockholm and Inkonst in Malmö 2014An artistic investigation into leading through following and following through taking initiatives.
9th - 11th September 8 pm and 10th September 6 pm at MDT Stockholm
Arena Baubo works with the unforeseen impulses and rhythms that the practice of leading and following together, at the same time, can provoke. They question and rethink power relations using the method of leading through following and following through taking initiatives. A constant negotiation between positions and roles weave into and affect the structure of the performance. The performance draws attentions to the feedback loop of the audience which makes up the dance between the art work and its spectators. Katja Seitajoki and Kajsa Wadhia are exploring how they can simultaneously lead and follow the process artistically and organisationally while raising the question if the method could be applied politically on a larger scale.
A performance by Kajsa Wadhia and Katja Seitajoki
Sound design: Martin Vognsen
Light design: Johan Bjellsäter
Film: Ylva Henrikson
Producer: Emelie Bergbohm
Documentation of the performance by Tove Salmgren >>
Clemens Altgård / Skånskan
www.skanskan.se >>
The premiere was at Inkonst in Malmö 14- 15 of May 2014
Supported by Swedish Art Council, DOCH and Dansens Hus in Stockholm
A record of “LEADINGFOLLOWING: THE SPECTATOR’S DANCE” by Tove Salmgren
WHAT IS A DOCUMENT OF WHAT
WHAT IS A LEADINGFOLLOWING
WHAT IS A DANCE
WHAT IS A SPECTATOR
WHAT IS A SPECTATOR’S DANCE
WHAT IS A LEADINGFOLLOWING DOCUMENT
WHAT IS A SPECTATOR’S DOCUMENT
WHAT IS A DANCE DOCUMENT
WHAT IS A DOCUMENT OF A FOLLOWER
WHAT IS A FOLLOWER
WHAT IS A SPECTATOR’S FOLLOWER
WHAT IS A LEADINGFOLLOWER´S DANCE
WHAT IS A SPECTATOR OF A LEADING FOLLOWER
WHAT IS A FLOWER
WHAT IS A SPECTATOR OF A DANCE
WHAT IS A DOCUMENT OF A SPECTATOR’S DANCE
WHAT IS A LEADER OF A DANCE
WHAT IS ”LEADINGFOLLOWING: THE SPECTATOR’S DANCE”
WHAT IS FOLLOWING A DOCUMENT
WHAT IS SPECTATORSHIP OF A DOCUMENT
WHAT IS IT TO DOCUMENT A DANCE
WHAT IS IT TO LEAD A FOLLOWERS DANCE
WHAT IS IT TO FOLLOW A LEADERS DANCE
WHAT IS IT TO LEAD A DANCE
WHAT IS IT TO DOCUMENT THE DANCE
WHAT IS IT TO BE A SPECTATOR OF A DANCE
WHAT IS IT TO BE THE DANCER OF A DOCUMENT
WHAT IS IT TO DOCUMENT A SPECTATOR
WHAT IS IT TO DANCE THE DOCUMENT
WHAT IS IT TO DOCUMENT THE LEADER
WHAT IS IT TO ENGAGE IN LEADINGFOLLOWING
WHAT IS IT TO NOT ENGAGE IN LEADINGFOLLOWING
WHAT IS IT TO NOT FOLLOW A LEADERS DANCE
WHAT IS IT TO NOT LEAD A FOLLOWERS DANCE
WHAT IS IT TO NOT DOCUMENT A DANCE
WHAT IS IT TO NOTE
WHAT IS IT TO DIE
WHAT IS IT TO NOT DIE
WHAT IS NOT A DOCUMENT
WHAT IS NOT A LEADINGFOLLOWING
WHAT IS NOT A DANCE
WHAT IS NOT A NOTATION???
WHAT IS NOT A SPECTATOR
WHAT IS NOT A SPECTATOR’S DANCE
WHAT IS NOT LEADINGFOLLOWING A DOCUMENT
WHAT IS NOT A SPECTATORS DOCUMENT
WHAT’S NOT A DANCE
WHAT’S NOT A DOCUMENT
WHAT’S NOT A FOLLOWER
WHAT’S NOT A LEADINGFOLLOWER´S DANCE
WHAT’S NOT A SPECTATOR OF A LEADING FOLLOWER
WHAT’S NOT A FLOWER
WHAT’S NOT A SPECTATOR OF A FOLLOWER’S DANCE
WHAT’S NOT A LEADER OF A DANCE
WHAT’S NOT FOLLOWING A DOCUMENT
WHAT’S NOT A DOCUMENT OF THE SPECTATOR’S DANCE
WHAT IS IT TO NOT DOCUMENT
WHAT IS IT TO NOTE A DOCUMENT
WHAT IS IT TO NOT BE LEADINGFOLLOWING
WHAT IS IT TO NOT DANCE
WHAT IS IT TO NOT BE A SPECTATOR
WHAT IS IT TO NOT DO A SPECTATOR’S DANCE
WHAT IS IT TO NOT DOCUMENT A SPECTATOR’S DANCE
WHAT IS IT TO NOT DOCUMENT THE FOLLOWING
WHAT IS IT TO NOT DANCE
WHAT IS IT TO NOT DOCUMENT
WHAT IS IT TO NOT FOLLOW
WHAT IS IT TO NOT DO A LEADINGFOLLOWER´S DANCE
WHAT IS IT TO NOT BE A SPECTATOR OF A DANCE
WHAT IS IT TO NOT BE A SPECTATOR OF A DANCE
WHAT IS IT TO NOTE A SPECTATOR OF A DANCE
WHAT IS IT TO NOTE A DANCE OF A SPECTATOR
WHAT IS IT TO BECOME A LEADER OF A DANCE DOCUMENT
WHAT IS IT TO NOT BECOME A LEADER OF A DANCE DOCUMENT
WHAT IS IT TO BECOME A FOLLOWER OF A DOCUMENT
WHAT IS IT TO NOT BECOME A FOLLOWER OF A DOCUMENT
WHAT IS IT TO BECOME A DOCUMENT OF THE SPECTATOR’S DANCE
WHAT IS IT TO NOT BECOME A DOCUMENT OF THE SPECTATOR’S DANCE
WHAT IS IT TO BECOME A SPECTATOR OF A LEADING FOLLOWER
WHAT IS IT TO NOT BECOME A SPECTATOR OF A LEADING FOLLOWER
WHAT IS IT TO BECOME A SPECTATOR
WHAT IS IT TO NOT BECOME A SPECTATOR
WHAT IS IT TO BECOME A DANCER
WHAT IS IT TO NOT BECOME A DANCER
WHAT IS IT TO BECOME A DOCUMENT
WHAT IS IT TO NOT BECOME A DOCUMENT
WHAT IS IT TO BECOME THE SPECTATOR’S DANCE
WHAT IS IT TO NOT BECOME THE SPECTATOR’S DANCE
WHAT IS IT TO FOLLOW WHAT IT IS TO NOT FOLLOW
WHAT IS IT TO NOT FOLLOW WHAT IT IS TO NOT FOLLOW
WHAT IS IT TO FOLLOW WHAT IT IS TO FOLLOW
WHAT IS IT TO NOT FOLLOW WHAT IT IS TO FOLLOW
WHAT IS IT TO BE ALIVE
WHAT IS IT TO DIE
WHAT IS IT TO HAVE A LIFE
WHAT IS IT TO HAVE A DIE
WHAT IS IT TO HAVE A DIET
WHAT IS IT TO HAVE A GO
WHAT IS IT TO HAVE A LIFEJACKET
WHAT IS IT TO HAVE A DIEJACKET
WHAT IS IT TO HAVE A DREAM
WHAT IS IT TO HAVE A PIE
WHAT IS IT TO BE DEAD
WHAT IS IT TO BE A BREAD
WHAT IS IT TO GO AHEAD
WHAT IS IT TO START TO STOP
WHAT IS IT TO STOP TO START
WHAT IS IT TO NOT START TO STOP
WHAT IS IT TO NOT STOP TO START
WHAT IS IT?
The Prostituition Tribunal
Photo: José Figueroa
Teater Tribunalen, Stockholm and Inkonst, Malmö 2010
Concept: Arena Baubo
Art works by: Katja Seitajoki, Maria Magdolna Beky Winnerstam, Lina Benneth, Efwa-Wiktoria Rodell, Maria Stiernborg och Kajsa Wadhia
More participants: Tomas Björkdal, Lina Samuelsson, Karin Hauptmann, Ludvig Uhlbors, Isabella Lund, Tanya Suhinina, M, Fairy, Timo Nieminen and Ida Wahllund.
For ”Union Meeting for Prostitutes” (2007) Arena Baubo asked sex workers to write texts about their work, in ”Swedish Punters 09” (2009) sex buyers were invited in interviews to share their own stories and lives. The stories are now put up against each other in a performing arts gallery where we navigate between facts and myths.
The artists work with anti-hierarchical and multi-disciplinary methods with individual pieces responding to the documentary material. The art works take the form of performances, installations, photography and video art, intervened by a seminar connecting to the topic. An all night event of art and debate.
A tribunal with luxury-, junk-, and other whores’ own stories side by side with confessions of punters, dirty old man behaviour, filth and sexual paradises.
ARENA BAUBO – ARENA FOR POLYPHONIC PERFORMING ARTS
Katja Seitajoki | katjaseitajoki@gmail.com | +46 702 698 532
Katja Seitajoki | katjaseitajoki@gmail.com | +46 702 698 532