Artefacts: a multi-voiced collection of paraphernalia, documentation and reflection on the space and words for dancers work-week

Artefacts is a multi-voiced collection of paraphernalia, documentation and reflection relating to a week-long event (July 2015) that revolved around the work of dancers and poets Julyen Hamilton (Spain) and Billie Hanne (Belgium). Hosted by Chisenhale Dance Space, London, and curated by dance-artist Antonio de la Fe and artist/scholar Robert Vesty, the Space and Words for Dancers event consisted of a six-day workshop for 25 dancers led by Hamilton and Hanne that focused on the use of space and words in performance; two solo performances by Hamilton (Play) and Hanne (Deep Brown Sea); an Evening Talk event with Hamilton and Hanne talking in-depth about their work and the making of poetry and dance; as well as an open-to-the-public Discussion Day that used Open Space Technology (OST) as an organizing tool to discuss the question ‘What skills are required of the dancer and poet to produce poetry and dance in performance?’. Artefacts is a collaboration with graphic designer Tomas Di Giovanni and includes Billie’s Outline, a rationale for bringing words and dance together in the workshop, written by Hanne; poetry by Hamilton and Hanne composed especially for this Words and Dance issue of Choreographic Practices; programme notes from Play and Deep Brown Sea; a reflective piece by Antonio de la Fe on the nature of work for the dance artist as performer entitled That You Took the Workshop Doesn’t Mean You Have Done the Work; a photo-essay by resident photographer Maria Andrews; extracts from the transcript of Evening Talk collated around the headings On Poetry and Dance, On Space, On Making Pieces, On Repeating Pieces and On How it Works; and finally, a nod to the discussion day. Overall, the aim of Artefacts is to pull together some coordinates of the different and multifarious strands of activity that went into and came out of the Space and Words for Dancers work-week, which inspired this special Words and Dance edition of Choreographic Practices, but to do so in a way that might begin to perform and applaud the aesthetic quality of the work with space and words.

This is an Accepted Manuscript of an article published by Intellect in Choreographic Practices. The accepted manuscript is made available in accordance with Intellect's green open access policy https://www.intellectbooks.co.uk/journals/page/index,name=openaccess... The published articles is available online at: https://doi.org/10.1386/chor.8.1.131_1