Springback

Features

Тhe politics of dance at Spring Forward 17 -  Beauty re-invented

Yasen Vasilev on Spring Forward 2017

Dance gave more of everything

Ana Vallejos Cotter on Spring Forward 2017

‘A Vision of the World’

Donald Hutera on Spring Forward 2017

Minority identities and the politics of turning one’s back

Daniel Pitt on Spring Forward 2017

“Dance is art, not information”

Anna Dohy on Spring Forward 2017

O Death, where is thy spring?

Sanjoy Roy on Spring Forward 2017

Caring for the Swan: A precarious moment for dancing

Sebastian Kann on Spring Forward 2017

The truths of performance

Róisín O’Brien on Spring Forward 2016

Dancing in Tumultuous Times

Oonagh Duckworth on Reflections on dance

Bambi-Eyed in Pilsen

Francesca Pinder

The Importance of Being Present

Stella Mastorosteriou on Reflections on dance

Do dancers write differently about performances than non-dancers?

Riikka Laakso on Reflections on dance

Do you see what I am talking about?

Anastasio Koukoutas on Reflections on dance

Who am I to say? Inner battles of a dancer turned critic for a weekend

Lucia Fernandez on Reflections on dance

Subject–verb: on solos and sentences

Sanjoy Roy on Reflections on dance

A View From Afar: Experiencing Contemporary Performance Online

on Reflections on dance

Recently, we asked dance writers around the world watching Spring Forward 16 online, to review performances of their choice.  Lauren Warnecke from Chicago, USA watched and reviewed a couple of Spring Forward performances via our Live Stream.  Below, she writes about her experience, and what is lost and found watching dance online.

You can read the live stream performance reviews here

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Spring Forward Live Stream: The Online Reviews Are In!

on Spring Forward 2016

Not content with simply live streaming our festival online, we were interested to see how the viewers at home experienced a cyber contemporary performance. One open call later, and we had a team of budding dance writers from around the world watching the live stream and reviewing shows of their choice.  Here’s how they got on…

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The universal (English) language of dance

Jelena Mihelčić on Reflections on dance

Le Quotidien des Plateaux - a view from behind the camera

Marie Pons on Reflections on dance

I had the great pleasure of being part of the web-tv team at Les Plateaux, in CDC La Briqueterie from 23rd-26th September. 4 days, 17 companies and shows to capture, and 11 people behind cameras to do so. Here’s a sneak peek behind the scenes!

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Words as footsteps

Niko Hallikainen on Spring Forward 2015

For me writing on dance has been a form of documentation. Each text is always an attempt to capture verbally something that has evaporated physically. The form’s requirement to be documented in writing is questioned by the visual access afforded by ArtStreamingTV's live broadcasts of some of this year’s festival pieces. It does so in such a way that, bewilderingly, many can have a personal, yet mediated, experience of a performance. In such a context this technical milestone questions my job as a writer.

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(Ine)quality and dance criticism: but what about the dance?

Luke Forbes on Spring Forward 2015

The call for expressions of interest to take part in the Springback Academy promised mentorship in quality dance criticism. The texts we produced were subsequently posted on the Springback Academy website in an attempt to “stimulate conversations online that will enable Aerowaves to connect with digitally active dance enthusiasts across Europe–ensuring people who are not in Barcelona share ideas, thoughts and views.” However, in a round of introductions prior to the festival, and again during a panel discussion titled Critical Issues, seemingly conflicting efforts at Spring Forward to (i) encourage discussions about dance online, and (ii) simultaneously problematise dance criticism published/posted online, became apparent.

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On the banks of the dance river

Gaia Clotilde Chernetich on Spring Forward 2015

We don’t need to be scientists to know that, mainly, the universe depends on movement. The smallest atoms, as well as the farthest planets, dance in space. And then there’s the realm of live bodies for whom movement in itself is a symptom of life.

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Glimpses and thoughts upon a European Dance Mercat

Anna Chirescu on Spring Forward 2015

72 hours in Barcelona, 23 performances to watch and only 140 words with which to lay out your thoughts about each one on virtual paper; and this after a long day, when Barcelona starts to gorge its artery with late night drinkers.

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Reviewing the review and the viewer

Louise Tanoto on Spring Forward 2015

By definition a spectator is ‘a person who is present at and views a spectacle’.

A viewer is ‘a person or thing that views’. The audience, spectators at a public event, collectively view. But a ‘reader’ can ‘look carefully so as to understand the meaning’, ‘apprehend or interpret the meaning’ and still has room to ‘make out the significance by scrutiny or observation’. If audiences were called 'readers' rather than viewers how different might that feel?

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In tune: on dance, dramaturgy and being happy together

Marie Pons on Spring Forward 2015

Aerowaves raised a bunch (a tremendous bunch) of questions about performance, dance, audience reception and everything entangled in between. Gulping down 23 shows in one go – which neither our brain, nor our eyes nor our senses are prepared for – raised the questions: what’s making it work for me? What makes one performance stand out from others?

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On the way: from stage to text

Clàudia Brufau on Spring Forward 2015

Dance on stage has many simultaneous layers. Besides, it is ephemeral: watching dance is chasing something that it is already not there.

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In and outside the box

Donald Hutera on Spring Forward 2015

Things peculiarly clarifying (yet also potentially distorted) happen when you attempt to digest 23 largely 40-minute dance works in two and half days. You start to get a stronger sense of what you might want from live performance generally and, perhaps, dance in particular.

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Watching dark matters (Aerowaves: titles and aftertastes)

Elina Cire on Spring Forward 2015

It is a tricky era to watch contemporary dance.

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Late night diary of a dance festival junkie

Oonagh Duckworth on Spring Forward 2015

Watching 23 live dance shows over one weekend is not your everyday audience’s experience. I found it induced an addictive state of emotional and intellectual overdrive  — you know you can’t really cope with another show but you just can’t bear to miss one either. Nor miss being part of the debate…

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Dance across Europe: Critical issues on the geography of the body

Anastasio Koukoutas on Spring Forward 2015

In the last decade we have been witnessing the emergence of new choreographing practices in the performing arts. There has been a great shift in choreographic scores and it is becoming commonplace to consider dance a hybrid art exploring the many possibilities of physical articulation.

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English first, English second

Sanjoy Roy on Spring Forward 2015

They say dance is a universal language, because movement is wordless. Okay, the image is neither exact nor exactly true; but there is truth in it.

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The Long Dance

Hannah Tookey on Spring Forward 2014

A number of pieces in this year’s Spring Forward dance festival might have been mistaken as being the product of a group of A Level drama students who’d all been given the same brief for their exam. Now this is absolutely not to say that the quality of work wasn’t high or that there weren’t some exceptionally clever and entertaining performances, but that the general body of work at the festival reeked of a similar theme: long, slow, and drawn out.

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In the way of making

Christel Molin on Spring Forward 2014

Every choreographer takes pride in his or her art, just as every producer takes pride in letting each artist’s piece be fully experienced onstage by them and those who are in the audience.

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Umea: 2014 / Questions

Sally Marie on Spring Forward 2014

What do we want from performance and why are we here?

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Delivering the unsaid

Chiara Organtini on Spring Forward 2014

Springback to make the best jump. Springback to sit in the first row, and be ready to get not on but into the stage. Take a breath, springback and dive in even in a state of apnea and against the ticking of time. 

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Many faces of contemporary dance on display in Umea

Petra Dotlačilová on Spring Forward 2014

Four days, seven theatrical spaces, twenty four shows. These are the most important numbers of the 4th Spring Forward Dance Festival which took place in the Swedish city of Umeå from 24th to 27th of April 2014.

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Wellsprung

Morag Deyes on Spring Forward 2014

In the light and freshness of Umea we were indeed sprung forwards, diagonally and sideways but never backwards.

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Art=Good

Jochen Stechmann on Spring Forward 2014

First impressions are often based on only superficial observations and might quickly lead to judgment – about a person as well as an artwork. 

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Tastemakers

Alice Robotham on Spring Forward 2014

Spring Forward proved to be a chocolate box of a festival, not everything was to my taste but overall, a stimulating gift.  So who were the tastemakers?

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Paint dries, kettles boil

Sanjoy Roy on Spring Forward 2014

Duration and endurance at Spring Forward.

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Towards a new and franker criticism

Margareta Sörenson on Spring Forward 2014

Artistic quality is my focus as a critic. Easy to say, but then we all know all the other aspects which are involved; the practical, economic and geographic ones, educational elements and levels of development.

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Where are the words?

Donald Hutera on Spring Forward 2014

Finding just the right words has usually been a key aim when writing about dance. Which ones best capture the essence of a performance as well as my experience of it?

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Spring Forward
28 – 30 April 2017

Watch on demand: aerowaves.org/springforward

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