WEAVING POLITICS symposium 2012

WEAVING POLITICS international interdisciplinary symposium on Choreography, Human Rights and Violence took place in Stockholm, 12-14 December 2012. The symposium was initiated and curated by Professor and ccap director Cristina Caprioli as pivotal event of her art-based research project at DOCH; mediality reciprocity gesture – Choreography as the Weaving Labor of Politics.

The symposium invited prominent scholars and researchers such as André Lepecki, Boyan Manchev, Irit Rogoff, Irina Sandomirskaja etc., and special guests Peggy Phelan, Julia Kristeva, Diamanda Galas, Kendall Thomas, William Forsythe and The Forsythe Company.

The event presented eleven lectures, four key-notes, one round-table, three open discussions, two book releases, four choreo-events by Cristina Caprioli/ccap, and (twice) the installation Human Writes by William Forsythe and Kendall Thomas, performed by a joint cast of dancers from The Forsythe Company, the Cullberg Ballet, ccap, and the local indipendent scene.

WEAVING POLITICS was a collaborative project across institutional borders that set academia and art-based research in interaction with peers and general audiences. The symposium sustained knowledge exchange on high theoretical and artistic level, thus highlighted the need for crossings of critical discourse whilst dealing with complex matters such as art and politics, hence by counterpoint of choreography, philosophy, political theory, ethics, and semiotics promoted local, national and international interweaving of discourse.

Core subject of the symposium was the notion and practice of Choreography as Politics, here addressed in terms of language and ethics, by a survey of speaking versus writing, of what is human and what is right, from topical local and global perspectives, in reference to different social, cultural and historical contexts and in light of the reality of today. As a result, media-specific research was informed, interdisciplinary relations articulated, new networks and collaborations paved for, and new encounters with new audiences encouraged and sustained.


WEAVING POLITICS attracted a wide range of audiences; artists from the fields of choreography, theatre, performance and visual art, as well as scholars, students, and general public gathered on the grounds of a common set of concerns and interests, ready to collectively engage in productive exchanges.

In all 650 peoples attended the symposium, and approx. 500 the Human Writes performances.
Local attendance outmatched expectations, and a large number of participants joined from Finland, Denmark, Italy, Germany, Belgium, England and Russia.

Several efforts were made to support access and dissemination; the Swedish National Research Program scheduled the symposium as a regular PhD Course, DOCH students attended off and on curriculum, EU Culture funded organization Kulturkraft purchased fifty tickets to sponsor local practitioners by, and the Swedish Art Council funded the participation of six artists and scholars from Indonesia. Finally, students and young artists from different countries were engaged as volunteers and in return given access to the symposium, and behind the scene dynamics.


WEAVING POLITICS had great media impact; local and national press, net-publications, blogs, radio stations, Academic press, and other magazines all paid specific notice. The event was covered not only by culture editorials, but also by political publications. For instance the UN/Sweden association on the Millennium Goal wrote a comprehensive coverage, then published by SVD, one of Sweden’s main daily papers, as well as used as study material in public Schools. This alone allowed the symposium to achieve one of its prime goals, namely to communicate to civil society a more articulated understanding of choreography as politics. Lastly, as to ensure future distribution, all lectures and choreographic events were published on www.weavingpolitics.se; the site has since been visited by thousands of world-wide spread parties.


The project sustained specificity of knowledge, and committed to trans-disciplinary language of inquiry. Time was limited, the concerns at stake plenty, and demandingly complex. The symposium turned into a high-pitch race, quickly shifting track, overloaded, and incredibly dense. Thus required, but also produced total attention, and quick flexibility of response, and consequentially, was incredibly productive.

In other words; although strenuous, the rigorous format of the symposium, devoted to subjects of research crucial to scholars and artists, and at the same time committed to interaction with general context, ultimately did provide (a) common place of reflexivity, whereby specificity of speech and plurality of approach were simultaneously sustained, and different languages and legacies of knowledge kept in precarious (un)-balance, that is; held in place and at the same time set in motion.


In this sense, the symposium did not mark a destination, but rather traced (a) place of departure.
Thus paved for new tracks of labor, and new modes of inquiry. More so, it anticipated, and enabled new trajectories of action; all encouraging to profit from, cultivate, and disseminate provided experience.

Therefore; whilst the symposium operated by the univocal coinciding in time and place of diverse processes of elaboration, individually pursued, in own time, and elsewhere, a new format is now proposed, able to support more inclusive and simultaneous interaction, by a series of collective processes, placed at a physical common, repeatedly enacted, in a variety of elsewhere.


WEAVING POLITICS produced a remarkable amount of relevance, and dynamics of exchange.
By massive investment, and considerable efforts, from all parties involved, not least attending audiences. All this deserves to be taken advantage of, and further challenged; by the launching of a new project.

And where the symposium engaged in the slow weaving of (a) place of scrutiny, then set a dead line and called for a single assembled event, the new project should fold provided fabric, procrastinate closure, and navigate adrift.


CHOREO_DRIFT project 2014 2015 (as of August 15th 2013)


CHOREO_DRIFT departs from the symposium and insists on not leaving. Then targets deviation, and travels elsewhere. Determined to remain in (a) place, and at the same time move, the project embarks a series of repetition and dislocation, both of itself, and context; by the turns and returns of language, and the uncanny of staged encounters, ultimately to sustain continuous writing, and proliferation of response.

Purpose of the project is to repeatedly address one and the same set of concerns, whilst interacting / interfering with diverse locations and communities. As to recurrently confirm and disperse, resist and allow, induce, produce and repeatedly share. Thus, crucial to the project is the dwelling of (a) temporary common, whereby proximity may be perceived, and reciprocally mediated; and whilst mobility of sign is ensured, and resistance of trace endured, (a) choreography may be produced, and reciprocally exposed.


Language, and its shadows still determine the agenda, as do Violence and the notion of Rights.
The question of the human is now addressed in terms of the trans-ultra-human, hinged to technology, translation, ars memoriae and the diagram, thus by deviation to object-oriented ontology, and Thingliness. Voice is now properly in focus, specifically the figure of the Castrato, thus the matters of trans-voice, falsetto, emasculated poetics, hence of violence of language, of speech and of poetics itself. Furthermore; belief, devotion, investment, and credit, all emerged at the symposium are now discussed in relation to religious faith, specifically to the notion of high fidelity, thus also to the politics of the negative, and otherwise religion. Also, new feedback-threads are progressively introduced: Sight and beauty, the gift, and the Potlatch, more so, the notion of the enemy, and of terror, thus the idea of counter-memory, and of war. Finally (2015) two new and conclusive double figures are proposed; Corpse Bride (de-composition/torture) and Chorus (multitude/repetition). Lastly; the notion of Labor of politics, and of poetics are jointly addressed by a number of collective experiments, already targeting proliferation of action, eager to further challenge, and enforce, our notion and practice of choreography as politics.


The project argues for choreography as the staging of participatory structures, which require (a) place of departure, and continuous labor of response, thus by reciprocal investment, and counterpoint of mediality. Therefore sustains a practice of spectatorship that operates as the dwelling of (a) temporary common, whereby the normative familiar and the unexpected incomprehensible do allow, yet not appropriate one another, nor co-produced patterns and gaps. Finally to promote choreography as event not to be forged, understood, held on to, or owned, but rather jointly staged, barely grasped, responded to, and let go of.


The project understanding mediality as the daring thrust of trajectory, by which mobility of trace is unleashed, and simultaneously resisted; thus which requires, but also generates determination, and an open field of action. More so, the project suggests reciprocity as counterpoint of shared responses, where to ‘receive’ is fundamental condition of ‘sharing’, and response not the ‘giving’ of an answer, but rather the ‘taking’ responsibility of ‘taking in’ (comprehend/comprise), in other words, the practice of risk-taking trust. Thus, the project advocates practice of inter-passivity as mode of interaction, and the daring trust/thrust of response as production of reciprocity; by the makings and un-doings of (a) temporary, repeated, yet each time differently specific, singular yet collective choreography.

New format

A group of scholars and artists are invited to repeat their contribution to the symposium in a number of different locations and various circumstances, and by exposure to multiplicity of response unavoidably bound to challenge trajectory of discourse. Peers and other guests based in visited locations are also invited to join with a lecture or other action, thus to contribute to dynamics and immediacy of exchange.

Each event performs a number of lectures, round tables, and general discussions, all merged into a set of interactive choreographies, curated according to location and targeted addressee. The event welcomes scholars, students, artists and general public, may last one or more days, in one or several spaces, for a small or larger audience, workshops and other projects may be arranged, relating publications will be provided. Lastly, each event is framed by club activities what sharing of food, drinks and music belongs to the interweaving process of exchange.

Why (again) a new format

This new format, which retakes all constitutive elements of WEAVING POLITICS (thematic, lectures, choreography, audience interaction, conviviality) only to expound, reprogram, and reassemble itself, as to dwell in outmost osmosis with, or decline to encountered scenarios, is none but a transformative process, itself bound to induce or else provoke, either way ensure differentiation of repetition of experience, thus itself provide the alteration and dissemination of discourse pursued by the project. Therefore, a format at once tool, strategy and achievement, itself purpose.

More so; although prime interest of the project de facto is to work on trans-flexibility of format, ultimate and crucial function of the format itself is to re-orientate departing focus towards performativity of present tense. Hence highlights the process of choreographic becoming of each event as such, academic inquiry within. Therefore sustains the dwelling of interactive experiments, and provides for simultaneity of exchange. Ultimately, whilst performance performs itself, at (a) very place of taking place, to allow departing focus to repeatedly (un) fold, both in itself and surrounding circumstance, that is; to allow (a) responsive now itself to pursue the final aim of the project.


Prior departure, the project provides WEB access to programmed lectures and choreographies, for all parties to pre-scrutinize and process, individually and jointly. Purpose of this set-up is to provide all parties (visiting team included) the space, time and insight necessary to respond to the complexity of proposed discourse, thus due time, enable all parties to sustain and challenge a true participatory encounter.

Terms & Conditions

The project asks for a space, a circumstance, and a few hours critical attention.
Salaries, per-diems and travel costs will be self-financed; support with local accommodation appreciated. Fee is to be negotiated, and if needed co-financed by co-applied grants.


The project is initiated, curated and directed by Cristina Caprioli
Project manager and ccap producer Christoph Fielder
CHOREO_DRIFT is a ccap2014 2015 production
Produced with funds from The Art Council of Sweden and other international institutions.


For more information please visit www.weavingpolitics.se and www.ccap.se
Or contact: info@ccap.se + 46 8 545 200 55
For further enquires contact producer christoph.fielder@ccap.se + 46 73 648 88 44
Or director cristina.caprioli@ccap.se + 46 708 81 86 99
Address ccap Körsbärsvägen 9 NB 114 23 Stockholm Sweden


Press information may be found here.

Weaving Politics 2012 supported by

ENPARTS (European Network of Performing Arts), Swedish Arts Council, Kulturkontakt Nord, The Swedish Arts Grants Committee, KulturKraft Stockholm  and The Swedish Research Council.