CHOREO_DRIFT departs from the WEAVING POLITICS 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 commits to a series of repeated enquiries, whilst visiting different locations and various circumstances.

The project promotes choreography as the orchestration of participatory structures whereby (a) different common is collectively produced and perceived. Thus, it sustains choreography as practice of politics – by the interweaving of discourse.

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. 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.

 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 are 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 also 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.


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, to enable all parties to sustain and challenge a true participatory encounter.

CHOREO_DRIFT travels Europe and visits the US east coast to experience and equally support the singular local and the collective foreign. Not to promote the global or construct a shared ground, but rather to sustain and allow both specificity and multiplicity; on stage, in school, at home, in the streets – here and here, on the spot, elsewhere, whilst moving adrift.


The project begins its journey in Cambridge Massachusetts and the Graduate School of Design at Harvard University where it outlines the scope of the Spring Course of the program Quantitative aesthetics. The Course targets the issue of ‘Attention’ and investigates digital technology as choreographic device for a redistribution of the sensible.


The project performs its first public event at Tanz im August in Berlin where it investigates the weaving transformative writing technology of choreography. Then travels to Copenhagen and The Danish National School of Performing Arts to address the choreo_poetics of political narratives. Later to return to Stockholm and Dansens Hus where it dwells into the politics of a choreo_poetics of violence, to finally visit Tensta Konsthall where it sustains the politics of a choreo_poetics of disenchantment.


CHOREO_DRIFT 2015 leaps across the ocean and visits the US east coast.

The first overseas event takes place at MoMa PS1 in Long Island New York where special guests Peggy Phelan and Avital Ronell continue to address choreography as politics, by a sustained scrutiny of writing and of the trans_human. The project travels then to Philadelphia and the Slought foundation where it argues for choreography as political narrative. And returns to Cambridge Massachusetts to dwell into a virtual landscape of digital technology.

2015 In the pipeline

CHOREO_DRIFT final phase embarks a series of exchanges with partners from the Balkans, Reykjavik, and Cairo.

With this final phase, the project disseminates its labor over places and societies otherwise foreign to its own field of action. Most importantly, it challenges its own (enclosed) white western field of discoursivity by interacting with peoples and cultures otherwise out of reach.

CHOREO_DRIFT is an art project, but also a political project – placed in the ‘outside’. As such, it must dare to engage in the urgency of elsewhere, leave its own safe environment and challenge its own line of thought and action. Intertwine with peoples and places, exchange strategies and discourses. Receive, respond, contaminate and be overwhelmed. Dare and endure the labor of a different (crucial) navigation of its choreo_politics.

The Balkans, Reykjavik and Cairo are places in political turmoil, torn by local conflicts and global crises. Where citizens and artists alike live and breathe a state of emergency. Thus, where art practice, not least choreography operates under enormous distress – hence with great urgency. This  final phase is crucial to the project.

Collateral moves

In addition to the above, the project increases its collaboration with sister organization c.off, run by Executive Director Hanna Wildow.

With this (in house) collaboration other narratives of identity and power are further investigated. Here supported by Hanna’s particular interest in collective practices, process-oriented work, and affinity as a political strategy. The collaboration operates as a double journey across disciplines and territories, whilst engaging in dis-abilities of all kinds, and exchanging moves with post-Yugoslavian feminism.


Cambridge Massachusetts Harvard University Graduate School of Design
Berlin Tanz im August
Copenhagen The Danish National School of Performing Arts
Stockholm Dansens Hus
Tensta Tensta Konsthall
New York MoMa Ps1
Philadelphia Slought Foundation
Cambridge Massachusetts Carpenter Center


Gabriele Brandstetter Mark Franko Mattias Gardell Julia Kristeva André Lepecki Boyan Manchev Felicia McCarren Peggy Phelan Irit Rogoff Avital Ronell Marcia Sá Cavalcante Schuback Irina Sandomirskaja
Sophie Augot Ulrika Berg Philip Berlin Pavle Heidler Emelie Johansson Sebastian Lingerius Pontus Petterson
Cristina Caprioli Håkan Larsson Panagiotis Michalatos Andrej Mircev

Partners in the pipeline

Ljubljana NOMAD Dance Academy
Rijeka University of Rijeka
Skopje Lokomotiva Center for New Initiatives in Arts and Culture
Sarajevo Tanzelarija
Cairo Adham Hafez Company
Reykjavik Reykjavik Dance Festival


Director and overall choreography Cristina Caprioli
Co-dramaturge and respondent Andrej Mircev
Photos and documentation Håkan Larsson
Technique Tobias Hallgren/Lumination
US consultant Irene Hultman
Project manager & ccap international relations manager Kory Davis
ccap producer & artistic collaborator Tina Eriksson Fredriksson