What is the problem that you / we are dancing to?

To be able to identify what is your problem as an artist or a researcher is a vital task. To look at how we dance a problem implies to identify the main driving forces motivating our journey, and to observe how our obsessions or needs become the detonator of our artistic research. To define and become aware of these personal obsessions will be one of our challenges: first we will determine what makes us move, what impulses force us to dance a problem. Then we will translate each others´ problems into a series of exercises, which will allow us to experience each others´ practices from tangible physical/performative situations.

During this two weeks we will create exercises that provide new conditions for dance to happen, or, in other words, we will trigger forms of embodiment by exposing our bodies to unknown conditions. We will investigate what is the intimate affinity between the Body and the Event: when does the body trigger an event and vice versa. In this light, the event is not “what happens” (case / accident) but what demands to be understood “in” what happens.

To explore the intimate affinity between dance and problems

When does dance become a problem? When does a body that is thrown across a space become a difficulty, a puzzle, an astonishing event? The problematic body - the dance that becomes a problem - is the body whose movement generates a problem in space, a movement that implies a difficulty that hits you and puzzles you. How can a dance hit? And hit what? Another body? Or the audience’s perception? A difficult dance is not the dance that is difficult to perform, but the dance that generates difficulties, that becomes an obstacle, that paralyzes you. We will practice dance as the art of generating dilemmas, a turbulence that transforms the space into a puzzle and generates perplexity and occasionally vertigo, turning the situation into a troublesome, turbid, agitated, disordered event. We will practice choreography as the art of throwing invitations to dance, as the activity of transforming situations into dangerous domains of influence. The choreographer brings tempestuous weather on a sunny day.

We will explore if the mission of articulating problems belongs intrinsically to the practice of choreography. To articulate problems implies to throw out difficulties; bodies become puzzles thrown into the distance, a difficulty transforms the scenario into a problematic dance floor. Problems turn the situation into a turbulent event, into a domain of dangerous influences.

Injecting the anomaly in the public space

Here the “public” is understood as that result from the transformative process that implies the encounter between the heterogeneous. The concept of promiscuity comes to remind us that, especially in the field of politics, there should be a continuous predisposition to be involved in a process of transformative mixing, that is, a need to confuse different things with the purpose of something else or something new arises from that heterogeneous mixture. Subjectivity has to be understood fundamentally as open reflexivity to alterity and predisposition to disorder. We will create exercises for public spaces to research on what are our bodies legitimizing, what kind of world are we implanting with our actions?


Diego Agulló is an independent researcher and a dilettante artist intervening mainly in the field of contemporary dance and performance investigating the affinity between Body and Event. His work covers different media such as dance, performance, essay writing, publishing books, video art, laboratories for research, the organization of participatory events as well as the creation of contexts to continue practicing and investigating the relation between the body and the event. 

Diego´s frame of research is called Theoros , and it is dedicated to create contexts for learning and investigating the affinity between Event, Body and Theory in the frame of an artistic practice. It deals with the intersection between education and art, dilettantism and professionalism. In this light, the artistic practice becomes a way of practicing philosophy. The workshops are facilitated frames for a temporary collective body to engage in the process of dancing and choreographing a series of practical problems using the methodology of cyclic interval oscillation, a practice that seeks to keep open the relation to alterity. 

He is the editor of the Circadian press where he has published Dangerous Dances (2015) in which he analyzes the intimate affinity between dance, the problem, the devil and ballistics, and Betraying Ambition (2017) where he displays a critique to the ideological implications of ambition in the art world. Diego teaches workshops and laboratories internationally and in Berlin he collaborates regularly in educational contexts such as the HZT University, Smash / Roar platform and Affect at Agora collective. During 2016 and 2017 he carried out an interview project under the name Measuring the Temperature of Dance, analyzing the ethical and political conditions of the dance context in Berlin. He is also co-founder of Pinpoint Tv, an online platform for the dissemination and investigation of contemporary dance. 

Website 1
Website 2


Photography: Diego Agulló, Patrick Beelaert,  Maarja Viiding