Essay – The Body in Revolt 2.0

THE BODY IN REVOLT 2.0 —

time is short, our lifetime long —

Emio Greco | Pieter C. Scholten February, 2020

Angelus Novus, Paul Klee, 1920

‘I’m sitting on the side of the road.

The driver changes the wheel.

I don’t like where I’m coming from.

I don’t like where I’m going.

Why do I watch the wheel change with impatience?’

Bertolt Brecht, 1953

The changeover The above-mentioned poem Der Radwechsel1 effectively describes the moment where we are now: a pit stop between where we come from and where we are going or could go. A time between knowing and not knowing, between yesterday and tomorrow, between rest and unrest, between a feeling of shame and a drift to shamelessness. Sitting on the roadside we experience a clash.

Awaiting the (new) journey through time, dynamics and space, we dress up as Angelus Novus2.

The longing Your and my body connects who we are with the world we live in. The body operates in the tension between tradition and modernity, between melancholy and utopia, between craft and technological developments. The question of our identity is essentially a question of the identity of our body.

What ‘touches’ our body in today’s society? How does our body relate to robotization? How does our body act in porn culture? To continue with the latter; why do we undress Eros to the bone and lose his original meaning: the indeterminate desire for the other?

The angel who in philosopher Walter Benjamin’s interpretation faces the past. His spread wings catch the wind from paradise and the rising storm propels him forward in an uncertain adventure. There we come: back to the future!

It is precisely through the other that we can define and redefine our own bodies.

What is our body actually, what is the body of the other and what (exists) stands ‘between’ these bodies? What connects us and what separates us from each other? How can we overcome fears and build bridges?

According to historian and publicist Rutger Bregman4, the fact that people are naturally selfish is an outdated ‘oldfashioned’ doctrine. In his view, people are more inclined to cooperate than to be selfish. In doing so, he goes against the neo-capitalist world view. Let us consider this as the rebellion of the intuitive body in search of connection with the other.

Let’s ‘make’ history by ‘being’ in history.

After all, history is stored in the human body, transformed and brought to the future. Our bodies are bearers of history and at the same time creators of a new history. The body knows that its unconscious experiences of the past still have consequences. For us, the body is full of inner and outer processes, battles and clashes. Our own body is in the world as the heart is in the organism: it keeps the visible spectacle constantly alive; it breathes life into it and sustains it inwardly, and with it forms a system.3

1. Bertolt Brecht, Der Radwechsel. Out: Buckower Elegien, 1953 2.

Angelus Novus is a watercolour by Paul Klee from the year 1920. The German loser Walter Benjamin used this painting for his philosophical researches and theses. about history in About the concept of history. Walter Benjamin, Über den Begriff der Geschichte, 1940 3. Maurice Merleau-Ponty, Phenomenology of Perception (Phénoménologie de la perception), 1945 4. RutgerBregman, De meeste mensen deugen, 2019

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For us, the other represents the unfulfilled because the unfulfilled is the permanent. Through the other, that which is lost and/or unfulfilled can still show, something that seemed lost can return, in a form as we remember it or in another, new form or body. As a new human being. The other is also a kind of helper who brutally disturbs things, causes disruption to push us out of our safety zone. For the Italian philosopher Giorgio Agamben, for example, Pinocchio is a perfect assistant, neither dead nor alive, half golem, half robot, an in-between creature. The assistant is the figure of what loses itself.5 Or rather, of the relationship to the lost.

Through the assistants we can come into contact or stay in contact with the lost, the past and secure it for the future. In our work the assistants are alter egos, anonymi, doubles, mirror images, killjoys, mystery men and women, fools, pioneers, lovers and connection makers.

One way, or another?

Let us continue to tilt the world, by revealing contradictions and revealing what is behind ‘a world’ and what can arise when certainties and achievements are released. We want to shape tabula rasas to redefine time and space, and to create a new space, a space in between, a space between people, between bodies, between ideas. Let’s stay in touch; reach out to each other.

We are “postdramatic” in the sense that we let fantastic expressions of photography, film, visual arts, music and text ‘crash and clash’ in which the body as a beacon sets the tone. We use an open dramaturgy in which we search for in-between worlds:

5. Giorgio Agamben, Profanations, 2015 (Profanazioni, 2005)

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the world between the comprehensible and the unintelligible and unutterable, the tension between the inner and outer worlds, of hiding and showing, of being innocent and guilty, the world between the profane and the sacred, the concrete and the abstract, the logical and not logical, of measurable and not measurable, of earthly and astrophysical, of growth and wear and tear, transformation and erosion. The twilight zone of childhood and the melancholic longing: back to the openmindedness of that time, the search for the missing something, for another half, for another half, for a chunk of perfection.

Let us approach the uniqueness and specificity of things, events and situations by entering an imaginary world that does not focus on linear time, measurability and unequivocalness.

We search for spaces and positions of the body in the space ‘where things have not yet been named and recorded’ so that we can ‘make room’ for coincidence, risk and playfulness.

Let’s conjure up and leave spaces in a different way, create and break them down, using the new measurement.

This form of measuring is inspired by astrophysics, by things in space. Now we are dealing with the astrophysics of dance: to study bodies in space, and how these bodies move in and through this space, at what speed, in what direction, where and how they collide.

In endless space, a space is evoked by a number of stops and markings of the body. Through these frames, a smaller and temporary space can be observed within a much larger space.

It is a physical search for a form of ‘grip’ that is both specific and indeterminate at the same time, and in which the bodies are like atomic particles from form to formless, from instrumental to mental, from time to timeless.6 With our creations we want to organise a theatrical clash, a clash and linkage in one, of different, sometimes contradictory idioms. For example, the original choreography of Swan Lake by Marius Petipa and our dance language may clash, the ballet music of Tchaikovsky with the voices of David Bowie, Queen and Blondie, the Kindertotenlieder by Gustav Mahler with the synthesizer doll of Forever Young by Alphaville, the ballet music of Stravinsky with the Italian folk dance Tarantella, the sacrifice of Le Sacre du printemps with the rebirth of Lust for Life, Joan of Arc with The merry widow Hannah, emancipation with eroticism, the energetic stranger Medea with the present European, who built a fortress to protect his continent from the flood of refugees, man and man, woman and woman or man and woman in times of climate change, poetry and politics, rationality and the animal, the conscious and the subconscious, reality and dream, texts from then and now with the body of today. One and the other. We want it all.

Adieu to Farewell, and beyond We sit along the road and replace the wheels in a place between past and future, between childhood and adulthood, between melancholy and utopia. In 2012 we stepped on an ark with the location performance Addio alla Fine (Farewell to End) to take our audience on a journey to an unknown destination. After the end followed the prelude to a new beginning. It was the start of a chain of performances with the motif ‘The body in revolt’. Through dance we went in search of new connections with ourselves (our own body) and society (the other bodies).

6. Marina Abramovic / Ulay, Nightse Crossing, 1981

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The body is vulnerable and strong, grows and changes through influences from within and outside, through experience and knowledge, through the stimuli of the world around us, through technology. The rebellious body is a communicating medium and search engine in one, intuitive, curious and ‘learning’. The body’s struggle has not been won and may never be won, but it must be fought.

And now what? Man faces great challenges in the Anthropocene.

Western man has regarded growth and prosperity as synonymous for decades.

After these years of permanent growth we are at an important turning point in our history: quo vadis homo sapiens in times of climate change, global warming, immigration, post-truth, alienation, fear of the other, increasing loneliness, depression? What consequences do the changes in our living environment have for our bodies?

The arts are always dependent on economic and political developments.

However, the value of art, theatre and dance cannot be measured by numbers and sums. Art never has the function of creating a measurable added value, but of confronting and shocking, and of evoking a space of experience.

Art is about immaterial and ethical awareness, about something intangible and inexplicable.

The body is tangible, recognizable and concrete. The body ‘speaks’ a universal, border-crossing, sensory language.

A body is material because you can touch it, caress it, support it, lean on it, push it, pull it, make it, break it. The body breathes, sweats, trembles, lives, vibrates, smells, touches, grows, learns, wears, ages and dies. A body allows itself to be grasped without having to understand. The body is our guide, game changer.

Let our bodies be the joker

We are one, but not the same Fortunately, there is also room for diversity and polyphony in this day and age. Let diversity not only be a policy issue and arranged marriage, but an intrinsic attitude, a social break with the status quo, a search for the other, to touch and be touched by the other.

We are all bodies, but our bodies are different, diverse and different. We embrace the complexity of the hybrid identity that we all carry within us.

When you touch someone, everything moves. A person’s identity (...) is like a pattern drawn on a tightly strected parchment. Touch just one part of it, hust one allegiance, and the whole person will react, the whole drum will sound.7 Diversity is not only about ethnicity but about the diversity of thoughts, moods, attitudes, bodies that transcend ethnicity, skin color, race, sexual orientation. Each body is a priori different and carries with it a different history, and that already contains a lot of diversity for us.

The body is a discourse. Sexuality, gender, ethnicity, religion, biology, anatomy are all discourses, and the body is a representation of these discourses. The boundaries of these discourses are determined by how we stand, walk, fall and continue in the world, and how we look at the world and interpret it.

The times they’re a-changin’. It is no longer just male norms, values and concepts that determine our society.

The third wave of emancipation is in full swing. The classic gender roles no longer exist. We are in transition, we learn from and with each other, we stack perspectives on and next to each other. It is time for intuition, connection and vulnerability because the challenges we face demand this.

Intuition is not just a ‘gut feeling’ but above all a combination of wordless, inexplicable and archetypal knowledge and experiences. We possess ‘hidden’ history, so also a piece of history that we haven’t experienced yet but to which the body is ‘connected’ and has access. In today’s ‘disenchanted world’ there is less and less room for mysticism, but why explain everything and make it explainable?

Let us not understand everything. The will to control, our memory, our memory of unwilling experiences stands in the way of touch and enchantment.

To meet, we have to be receptive and vulnerable, we have to dare not to want to understand (everything). Not every wisdom can be expressed and/or understood, there is also such a thing as a ‘silent’ wisdom in the body and between bodies, a sensory memory. Let us be curious about the beast in man, about the irrational, the uncontrolled urges, the cannibalism and the unbridled lust.

7. Armin Maalouf, In the Name of Identity (Les Identités Meurtrières), 1998 8. freely interpreted from Rebecca Solnit, Hope is an embrace of the unknown, The Guardian (15/07/2016)

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The fluke Characteristic for a road trip is the search for something that is subject to the journey. Whoever goes on a road trip cannot predict the course of the journey, even if some routes and stops are known. A stop can be adjusted, changed or become obsolete. Let’s focus more on searching and researching in order to keep moving. A movement that offers room for that which can suddenly and unexpectedly present itself. Through the dramaturgy of chance we remain open to developments within us and ICK, within dance, within the arts and the world. In the creation process, coincidences produce inspiring and essential discoveries. The openness also suits the live-medium theatre par excellence. Something happens in the moment and cannot be ‘planned’. In the moment there are new possibilities that can be picked up and incorporated.

Let us continue to create space for coincidences and break through walls in order to share the moment and the experience with the spectator.

Our road is not just a paved road, and we don’t travel with a Tom Tom (but with Major Tom). Getting lost is part of travelling and discovering new areas, just like another way of exploring space.

Yes, space doesn’t actually exist yet, but is only evoked in the interaction with the body and its actions and movements. We wonder what happens when the familiar perspective begins to waver and crumble, when, for example, the inside is turned outside.

When it has rained, mushrooms appear everywhere - apparently out of nowhere.

But many mushrooms grow from a gigantic underground network of fungi, largely invisible and unknown. Uprisings and revolutions often seem to arise spontaneously, but are often the result of underground preliminary work. Just as changes in ideas and values are the result of the work of artists, scientists, public intellectuals and social activists.8

So let us lead the world through the intuitive body and interact without a navigation system, without Siri.

New perspectives Disappearing and appearing, death and birth, being reborn as an undescribed leaf to draw again fascinates us. In 2012 we formulated seven possibilities from a zero point of view how dance can save the world: these were the perspectives of Mapping, Abracadabra, Rhythm, Vacuum, Bridging, Ondulation and Leaving Aura. In short, these remedies stand for taking steps, for using the imagination as a motor and theatrical magic, for rhythm as a cadence and source of energy and playfulness, for flowing and coagulating, being soft, becoming strong, transforming, for bridging distances by travelling, being on the road, receiving and passing on energy, for active resonance and for consciously leaving traces. These perspectives have evolved and evaluated, will continue to resonate and are embedded in our new keywords that are anchored and represented in this essay with enclosed glossary. They have the function of compass and map, of positioning and new adventure:

The above key concepts manifest themselves emphatically in our projects, activities and collaborations.

Which of these key concepts will be leading and how they relate to each other differs per project, activity and/or cooperation. In a dynamic and flowing way the different lines are interwoven as communicating vessels, on a content and thematic level, in terms of dance language and movement research.

Rücksichtslos we play and experiment with clichés and break through theatrical self-evidentities. We question operetta, opera, Greek tragedies, texts and poetry and throw the body into the struggle to stretch its language into new forms.

The master key is in the hands of our mascot who leads the 7 keys, embodied and in different guises in the projects will appear and disappear in order to reappear: Don(ña) Quichot.

Don(ña) Quichot and the rücksichtslos idealism The 17th century Spanish novel by Cervantes about Don Quixote deals with the question of what is reality or dream in our world, and deals with the conflict between reality and ideal. The main character is the crazy idealist on the one hand, and the ridiculous jester on the other. Don Quixote is ambiguous, paradoxical, and, in a sense, a split figure, a border-crosser, someone who stretches the limits of reality, and goes beyond the limits of the perceptible into the mystical realm of the impossible and unspeakable. It doesn’t matter whether he is insane or just playing a game to hold up a mirror to society. Don Quixote continues to fight resolutely for his ideal and continues to develop in the process. He makes a spiritual journey and physical development, and later becomes a wise man. His way is the goal. He is a knight, a traveller and a man in rebellion.

Rebellion is for us the natural nature of man. The human being rebels against a certain reality, defends and defends himself against negative developments and says No.9 He is a knight, a traveller and a man in revolt. He stands up for something he wants to protect or realize. He acts from a certain human and world view, from a certain ideal and from a utopia.

Because of this he also says Yes and can find supporters for his rebellion and connect with others. His view is focused on the past as well as the future: back to the future. The artist is a rebel in optima form. He refuses to accept one reality, deviates from reality and works on another reality. We feel attracted to different forms of rebellion.

BACK TO THE FUTURE EROS EROSION THE INTUITIVE BODY THE CLASH THE JOKER THE (NEW) MEASUREMENT 9. See also Albert Camus, Man in revolt (L’homme revolté), 1951.

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Don Quixote is an exemplary ‘dreamer’, a fantasist who rebels against reality and fights with unconditional idealism for certain ideas that serve a higher purpose. He does not fight for himself but for a common ideal. Don Quixote is hero and anti-hero in one, he is determined and idealistic. To us, Don Quixote is an absurdist in optima forma.

Rebellion is his intrinsic urge not to accept a certain reality and at the same time the search for connectedness, to be able to be together in one (new) reality. His struggle is rücksichtslos and idealistic, and of course it is also a physical struggle.

The mystery man, the energetic Medea, the inflexible Antigone, the youthful and holy Jean d’Arc, the furious Greta Thunberg, the unguided projectile, the passenger, the idiot, the lively Iggy Pop and the cheerful Sisyphus are all Don Quixote. Our mascot can manifest in all bodies and be represented by all bodies, regardless of origin, gender and culture. The Don Quixote of this world is a shameless idealist, an idealistic jester. His rücksichtslos idealism is the opposite of ego culture, cynicism and fatalism. He believes in the possibility to change the world and shape it according to the images of his dreams and his love for the world. His approach is to embrace contradictions and contrasts, and to place another idea next to one’s own ideal in order to interact and intensify.

In his struggle he also searches for supporters, assistants, the Sancho Panzas. The rücksichtsloos idealist will not spare himself to reach his higher goal, he sacrifices himself for the other and for others. He is like the hermit Domenico in Andrei Tarkovsky’s film Nostalghia. If truth must be said by a madman, so be it.10

Let’s be the ‘idiot’ par excellence and deliberately cheat reality by considering windmills as giants. No acceptance of self-evidence but elevating the absurd to the highest power. Our idiocy opens up a virgin space, a remote space that allows us to create a completely different, new space in which we can live like a flower: a simple opening to the light11.11 Guided by a natural measure, we claim back and redefine corrupted notions. Our bodies have knowledge and access to these lost things.

The rücksichtslos idealism is therefore also a melancholic idealism. Melancholy is about something that man has lost forever. Melancholy is, as it were, an inverted utopia. While utopia is the longing for something yet to come, melancholy nourishes the longing for something that has already been, and in most cases is gone forever.

Like childhood. But we carry with us in our bodies the experiences of what was then. Melancholy is something physical. In ancient Greece, melancholy, blackness, was literally a disease because there are too many black juices in the body. Now the ‘loss’ propels our body dancing forward into the future with melancholy as a source of knowledge and intuitive power.

We spread our wings. The storm rises.

10. Andrej Tarkovski, Notalghia, Sovjetunie/Italië 1983 11. Botho Strauss, Lichter des Toren. Der Idiot und seine Zeit, 2013

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ICK—Glossary Keywords The glossary has been written down and provided with lyrics of pop songs by Florian Hellwig

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Back to the Future (the future is back) Dealing with history is physical and sensory. Our bodies are ‘carriers’ of history and ‘creators’ of a new history.

Back to the future is an ambivalent and paradoxical movement, back to move forward and forward to be able to go back. The body is ‘now’ and stands in the field of tension of past and future, of melancholy and utopia, childhood and adulthood, innocence and guilt. It is not one or the other, it is both: a synthesis and intensification, deconstruction and construction in one. The body is a learning entity. It learns on the one hand through its own efforts in the here and now, through movements, encounters, confrontations, frictions and collisions. On the other hand by the experiences stored in him. By going back in time and space, a piece of stored and hidden history can be made accessible for the future. The ‘behind’ offers the possibility to come to a ‘before’. What was once can be brought back to the now, what is yet to come can already be evoked in the now, even if it can then only show itself temporarily, disappears again before it would ever become a reality. What is the universal value, and how can the work be permeated by a new necessity and topicality?

Well, we know where we’re goin’ / But we don’t know where we’ve been / And we know what we’re knowin’ / But we can’t say what we’ve seen / And we’re not little children / And we know what we want / And the future is certain / Give us time to work it out Talking Heads - Road to Nowhere

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Eros Eros stands for beauty, love, passion, eroticism, attraction to the other, the desire for connection. Eros is the antithesis of pornography. In pornographic society 1 everything is focused on the satisfaction of the ego and the own lust principle, and we pay less and less attention to the other. As a result our society as well as our own identity flattens out. Without the other we lose our identity, without the other is the world without a mirror that can show us an image of ourselves, who and what we are. The other is also an assistant, a partner in crime. And also a louse in our fur. We need the ‘touch’ with the other or other bodies in order to obtain an identity. Eros is the idealization of the other, of the subject, without fears and prejudices. The other can support us in our search for an identity and in our desire to become different. The search can be, for example, the search for a hidden, lost, desired or utopian identity.

The other offers us infinite ‘possibilities’, a different side of our existence. We can let go of something, lose it, merge into something else, find it and find it again.

I’ll be your mirror / Reflect what you are, in case you don’t know / I’ll be the wind, the rain and the sunset / The light on your door to show that you’re home /When you think the night has seen your mind / That inside you’re twisted and unkind / Let me stand to show that you are blind / Please put down your hands / ‘Cause I see you, I find it hard to believe you don’t know / The beauty that you are.

The Velvet Underground & Nico: I’’ be your mirror

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Erosion Erosion is caused by water, wind, fire, friction, collision and explosion. The material is corroded, the original disappears and something new appears. Erosion can be caused by a ‘force of nature’ but also synthetically. It is a process that takes time. In the artistic process such a process can be accelerated or slowed down. Erosion is physical and dynamic. There is movement and stillness, pulling and pushing, falling, falling for each other, getting up and going. Bodies rubbing together create warmth, at the same time there is a risk that bodies become tired and tired. As a result of erosion, fiction can develop and/or be found. Friction creates fiction.

Time will crawl / Till our mouths run dry / Time will crawl / Till our feet grow small / Time will crawl / Till our tails fall off / Time will crawl / Till the 21st century lose David Bowie - Time Will Crawl

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The intuitive body Intuition is not only a ‘gut feeling’ but above all a combination of wordless, inexplicable, archetypal knowledge, physical experiences and a piece of ‘hidden’ history, i.e. also a piece of history that someone has not or not yet physically experienced but to which the body is already ‘connected’ and has access. The intuitive body uses its senses, instincts and reflexes, follows its urges and spontaneous impulses, allows itself to be guided and seduced by the subconscious. Through our intuition we can also be the animal and beast that we are and/or ever were and/ or always wanted to be, the hairy monkey, the idiot, the dancing fool. The intuitive body is irrational, animal and mystical. The intuitive body moves on the touch, on the breath, like a ‘blind person’ in the darkness. The intuitive body feels shame but also goes beyond this shame to be shameless, to let go of the brakes, to suspend and stretch boundaries.

Maybe I don’t know if I should change / A feeling that we share / It’s a shame Talk Talk - Such A Shame.

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The Clash The clash usually serves to question, open up, disrupt and further develop something.

The paradox is a dramaturgical engine. The paradox is an ability to synthesise and merge that is ambiguous and dubious, which in turn calls itself into question. It is reason and anti-rede, construction and deconstruction in one.

By bringing different elements, disciplines, bodies, ideas together and allowing them to collide, sparks can arise, opposites and contradictions can rub against each other. The paradox is not the exclusion of something but the attempt to make the impossible possible, even if this is impossible or only temporary. It is like fighting the beer quay, or rücksichtslos idealistic, shameless and above all unconditional. Not being afraid but being curious, making new connections, meeting the other and exploring unknown domains, break on through to the other side. The theatrical clash is an experimental situation for bodies. Here a crash and crash test can take place, certain (theatrical, physical, visual) elements can be added or omitted, different and contradictory particles can collide with each other at high speed or slowed down, can be stacked, can contaminate and intensify, reinforce and wear each other out. With the help of a crash we can tell our history; our personal (future) story.

Boing boom tschak / Boing ping boom tschak peng Kraftwerk - Boing Boom Tachak

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The Joker The joker is an in-between creature with a fluid identity. He/she has different genders and can appear in different guises and appearances, for example as a harlequin, jester, anonymous, shadow, mystery man or mystery woman, angel, devil, assistant, lover or lover, double, mirror and killjoy. The joker is twofold: in addition to his playfulness and irony, he also has a dark side. The jester consists also trouble. He also embodies our deepest fears, traumas and secrets. The joker can change rules, undo them and introduce new ones. He is a game changer who shamelessly disrupts, confronts, confuses, puts things on edge or helps to order and/or restore order. His presence changes the energy in space forever, as does the perception of time and space. His presence is in the heat of the moment, nunc stans and thus lasts forever. The joker is a restless traveller, the passenger, who suddenly appears and just as suddenly disappears again because he cannot permanently connect to a specific time, place and the other. The joker encourages the other person to walk, to fall and to get up again, to perform childish acts, to take risks, to make sincere attempts and not to be ashamed of vulnerability, flaws and failures, but rather to embrace them as new possibilities.

You’re a man of the mountains / You can walk on the clouds / Manipulator of crowds / You’re a dream twister / You’re going to Sodom and Gomorrah / But what do you care ? / … / Oh, oh, oh, Jokerman.

Bob Dylan - Jokerman

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Measuring (new) The new measurement is inspired by astrophysics and the ‘parts’ in space. The astrophysics of dance is about studying bodies in space, and how these bodies move in and through space, how they conjure up spaces, demarcate them and make them disappear again. What kind of space are created and disappear through dance and movement, what markings are there, what stops? With what speed and inertia do the bodies move through space, with what expression, posture, alienation, in what direction, where and how they collide et cetera. How does time and our perception of time change through the journey the body makes, floating and weightless, light and heavy, ascending and falling. The new measurement is at odds with a purely mathematical way of counting. Instead of counting numerically, the new measuring uses the breath, the heartbeat, an inner movement as a ‘unit of measurement’, of the point of a body in space, in relation to other points, bodies and things. Space is evoked and marked by the movements of one or more bodies, as temporary as that is. The departure, starting point and zero point are variable.

In this way, every movement, attempt and measure-action can have its own ‘zero’. In the large, physical and visible space many small, hidden and temporary spaces slumber that can be perceived through the movements and markings. Bodies search for a temporary ‘grip’ that is specific and at the same time indefinable. The bodies are just like atomic particles. The new measurement is also about another experience of time and measurement of time.

Instead of chronological and linear clock time, it is about the inner and experienced time. According to the new measuring, a moment can be an eternity; time can shrink or expand, slow down or accelerate.

All that you touch / And all that you see / All that you taste / All you feel / And all that you love / And all that you hate / All you distrust / All you save / And all that you give / .../ And all you create / And all you destroy / And all that you do / And all that you say / .../ And all that is now / And all that is gone / And all that’s to come Pink Floyd - Brain Damage / Eclipse

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ICK—Glossary Dictionary Endless...

— Contact ICK Amsterdam Meer en Vaart 290 1068 LE Amsterdam The Netherlands 020-6167240 www.ickamsterdam.nl

Photography — Laurent Ziegler, Alwin Poiana Art direction — Clifford Portier Graphic design — Katja van Stiphout ICK is a platform for contemporary dance led by Emio Greco and Pieter C. Scholten.

ICK is Amsterdam’s city dance company and is supported by the Performing Arts Fund NL, the City of Amsterdam and EU Culture. © 2020, ICK — Nothing from this publication may be reproduced and / or made public without the prior consent of the publisher.