Annika Pannitto

Annika Pannitto
Cohort 6: 2012-2014


(Not) knowing: a choreographic research on the emergence of some thing

With this research I am looking at how a choreographic process is perceived and reinvented, how physical movement should be (re)presented and how body knowledge is produced, retraced, analyzed and transmitted in contemporary choreography.

Starting from the human body and its relation to time and space, I am interested in the conditions that exist before physical movement and how specifc conditions –of the body, of space and time- can be established as a compositional practice so that movements can take place and allow the emergence of some thing.

The main motivation for the research is the desire to understand, to know how, not necessarily what some thing is about but rather as an invitation to suspend the search for meaning when looking at a dance and focus on what a dance does.

In the overall research the desire to know and the attraction for some thing that escapes rational understanding has been present as a tension that has fed the search for a choreographic practice where less visible movements, possibilities and latencies that counterbalance what is tangible and graspable of a body in motion coexist.

Therefore, articulating on the relation between condition(s), composition and form is crucial in my investigation. More specifically, I am seeking for a choreographic practice that combines composition as the setting up of conditions through which the emergence of a choreographic image becomes possible[1] and form as a structural procedure, for example in relation to a piece of music.

[1] Ric Allsopp “Something else:on latency and composition” in Inventing futures, ArtEZ press 2013, p.23


Research Question/ Position statement

Looking at how movement has been perceived in past dance practices such as ballet, modern and post modern dance I position my research within the field of contemporary choreography and dance studies. In particular I am looking at how dance as a physical practice has kept on questioning its own ontology, how physical movement has been codified, reinvented, exhausted and even denied in recent choreographic practices. My own practice and research wants to exhaust movement by rediscovering the roots of dance as a sophisticated and rigorous practice and to invite the performer and spectator to draw into the body’s articulation and its production of space and time.

I believe that this research can contribute to a dialogue on choreography as a field of knowledge among practices based on movement research.

If some thing is itself a movement and a condition, how does the body articulate so to bring “it” to surface and embody less visible movements and conditions? How does a body in motion, according to specific conditions, make time and space? How does dance write?

Considering choreography as compositional practice that on the one hand generates the conditions that lead to some thing and on the other hand organizes visible and less visible movements between conditions, how does the relation between composition and form serve the emergence of some thing?

Method in relation to discursive Practices and Art Banding

I have started the research by analyzing my own movement material to extract theoretical notions, such as presence and absence, condition, emergence and articulation  that have been unpacked and have reinformed the practice.

I am looking at other choreographers’ practices, engaging with choreographers of different generations such as Anne Teresa the Keersmaeker, Emio Greco, Rosemary Butcher, Salva Sanchis, Rosalind Goldberg, Michele di Stefano, Frédéric Gies, particularly looking at their approach to the human body in movement and how they have dealt with choreography as composition and form. The analysis of those practices have made my research more and more specific and also helped me to understand that the physical practice and principles that I have been talking about in the beginning of the research, such as the initiation of phyisical movement in the pelvis, are clearly the how rather than the what of the research overall.

I have found several sources that can definitely support my research and questions, which I have brought to the studio and tried to answer through practice, such as:

– Andre Lepecki, Exausting dance, performance and politics of movement (Routledge 2006) to reflect on how movement as been perceived in history and exausted in recent choreographic practices.

– Ric Allsopp: “Notes on poetics and choreography”, keynote lecture Erasmus IP 2013 on how the something else of performance deals with composition and form.

– De Keersmaeker, Cveijć A choreographer’s score (Mercatorfonds 2012)

I haven’t considered the discursive practice and the art branding as two different practices but as two sides of the same coin. Though in the art branding I focused more on the visual aspects of my work, I have tried to integrate the two practices to sharpen my position in the field considering the “brand” as content and core of my entire work, which can find an outcome as many different objects: images, videos, texts, dance pieces. Through the different assignments for both DP and AB I have tried to experiment with different kinds of writing and spoken language to be able to refine the research and find nuances to talk about it from different points of view.

The main topics of my research will be shared with a group of artists of my generation to create a written dialogue that will be the final outcome of Art Branding practice, a publication made in collaboration with Erica Preli called “ Table conversation”. The publication is a written dialogue based on four words/topics that arose from the overall research (body, condition, articulation, resonance) as a means to exchange knowledge and expertise with a group of artists from different fields. The choice of the written dialogue reflects my interest in getting to know how it is possible to write about choreography as an interdisciplinary dialogue to broaden the scope of my own research and articulate on it also according to others’ practices and ways of considering choreography.

(v. April 27, 2014)

[1] Ric Allsopp, Something else:on latency and composition. Inventing futures, ArtEZ press 2013,p.23


(Not) knowing: research on something in choreography

(Not) knowing: a research on some thing in choreography is a composition of questions, possible answers, thoughts, practices and dances that have constituted the ground of my two-year research for the MA of choreography at ArtEZ in Arnhem. The thesis supports my interest in choreography as the setting up of the conditions that allow the emergence of some thing and as a structure that wants to grasp the visible and also less visible movements produced by a body in motion.

The notion of some thing is in fact the main topic of the thesis and it derives from the one of something else by theater scholar Ric Allsopp, whom has extensively written about “the affective something else as ubiquitous but obscure presence in performance in the relationship between latency and composition”.[1]

The thesis opens a reflection on dance as physical activity through which some thing can emerge as a resonance, a space that exceeds the human body, a shared field where movements happen as events that can change or even subvert the existing condition(s) of space and time.

Key words: Waiting, condition, articulation, emersion[2] and resonance are the key words that constitute the main sections of the thesis.

[1]Ric Allsopp “Something else: on latency and composition”in Inventing futures, ArtEZ press 2013, p.23

[2]Mix of emergence and immersion that indicates a double dynamic: inside-out and outside-in

Choreographic projects:

  • Dances beneath the Oak, Tuning and Delay
  • Dances beneath the Oak, Consequential Movement