Shared RISK

COMMUNITY • Sharing knowledge, resources and approaches to choreography  •
CPH. DENMARK • MAR. 2014 - SEP. 2015

Shared RISK is the title of a project conceived in the early months of 2013. Kicked off a year later it ran its course over a period of one and a half year. Through a series of different events our aim with this project was to encourage a more open and committed dialogue between choreographers who are affiliated with the scene in Denmark. We wanted to create situations that could help manifest a more concentrated and outspoken network to make us more visible - nationally and internationally, among relevant institutions and in regard to Danish cultural politics. Shared RISK was launched with a workshop by Swedish choreographer Mårten Spångberg and later followed up by another workshop with Danish choreographer Mette Ingvartsen. In between of these two sessions we launched a format for work/practise presentations where a handful of local artists concerned with choreography shared their practises with the community.

Due to the fluid working structure of RISK several elements were added to the project as it unfolded. One of them was the concept Shared RESEARCH, where we invited Troels Schulz Larsen, a Danish Bourdieu specialist and associate professor at Roskilde University, to speak about the body's relevance as impetus for reflexivity. This was our attempt to present a format for how artistic research can be opened up in a relevant way to other artists. Another element in the project was Shared CALENDAR. The calendar is conceptually linked with the Shared BLOG. Our colleagues were invited to write on the blog about their current, practise related interests and submit to the calendar any public events they were involved in as artists. The purpose was to create distinct point of orientation, that could serve the uninformed (nationally or internationally) in their attempts to access the scene. Events such as feedback sessions, exhibitions, showings, discussions etc. were equally welcome as living proof of the diverse contexts in which choreographic practise takes place. Finally, a publication was made as a means of documentation.