*Free admission / No previous experience required.
Separate the tears from the water …
they will come back to haunt your trees.
The Dancing Plague of 1518 was a phenomenon of collective dancing mania that occurred in Strasbourg. The outbreak began when Mrs. Troffea began to dance fervently in the street. Her manic movements lasted somewhere between four and six days, but within a week thirty-four others had joined, and within a month over four-hundred people were taken by this torrential force. In an attempt to halt the epidemic, the government arranged for an orchestra as accompaniment to the movement. Their efforts failed, and eventually many people died, collapsing from heart attacks, strokes, or physical exhaustion. This dance epidemic happened in silence, yet most likely there was music in their minds. Contemporary performer Emma Howes will present a new piece by taking this historical event as her cue.
Concept: Emma Howes and Ece Pazarbaşı
Emma Waltraud Howes (CA/DE) works as a translator between movement and form. Her interdisciplinary works manifest as multiple reconfigurations of the body and space informed by her background in dance, performance theory, and the visual arts within the framework of a conceptual art practice. Her labour is guided by observations of gestures with a focus on the development of an expanded choreographic practice incorporating public interventions, kinaesthetic and architectural research, and an underlying drawing component in the form of graphic scores for performances as compositions representative of a stage in the development from concept and intention to depiction and effect.
Recent and upcoming solo presentations include: Scores for Daily Living, ZIL, Moscow (2019), The Nine Returns to the One, The Place, London and Centrum, Berlin (2018), dreiküchenhaus: Labour, Ritual, and Civilization, Hamburg (2018), Scores for Daily Living, Kunstmuseet Nord-Trøndelag, Namsos (2018). She has performed with and for: ‘Ten Days Six Nights’, Joan Jonas, Tate Tanks, London (2018); ‘Dynamis’, Georgia Sagri, Documenta14, Kassel (2017); ‘Liminals’, Jeremy Shaw, Venice Biennale (2017); ‘Symphony for a Missing Room’, Lundohl & Seitl, Martin-Gropius-Bau, Berlin (2016). Howes leads workshops for artist and dancers alike, including: Alive ... & then Some, Ateneu, Porto, and Martin-Gropius-Bau, Berlin (2018), and is currently working towards a lucid opera with Just In F Kennedy. www.emmawaltraudhowes.com