Copernicus drifting
How can something so slippery as dance, that basically disappears the moment it is over, be preserved? How can something be shared that vanishes, and how can something vanished be passed on? Dance poses a problem to ways of recording and remembering, and perhaps also to what it means to make something. “Copernicus Drifting” ventures into the shady terrain where looks deceive, words hide behind their meaning and dance turns on itself.
Three women are dancing together, evoking a space that is contemplating the notion of paradigm shift, an irreversible advancement within a discipline and the tension generated between new forms of knowledge and the necessary coming to an end of established world views. These overlapping ambiguities, drifting time and space and that what is left in the intervals of transmission, link to sensations of anxiety and grief paradoxically experienced as a doubling of a wishful anticipation of what has yet to come.
Emmilou Rößling
Emmilou Rößling is an artist and choreographer based in Berlin.
Her work evolves around questions concerning representation and perception, searching for a performance mode beyond the spectacular, striving towards different forms of camouflage. The formation of identity and visibility functions as context for her research into processes of determination and camouflage. Recent pieces include THE FRATERNITY (2020) FLUFF (2019) Water Cooler Chat (WT) (2018), CASCADE (2017) presented in different venues such as Uferstudios Berlin, Mousonturm FFM, Sophiensaele Berlin, Beurschouwburg Brussels, Frankfurter Kunstverein, Arsenic Lausanne and Palais de la Porte Dorée Paris. Emmilou works in different constellations with Antonia Baehr, Goshka Macuga, Lilach Livne, Rūta Junevičiūtė, Mette Edvardsen, Tom Engels, Xavier Le Roy and others. She studied dance and performance in London and Choreography in Gießen and Amsterdam. www.emmilouroessling.com
At DAS Choreography Emmilou continued her research into choreography as camouflage, considering within this the connections between dance and textile arts. What can we learn from textiles in terms of craft, technique, structure and composition and how can this knowledge be transferred to dance? Her research begins at the periphery of a discourse of identity, femininity and society and questions visibility in both the literal and metaphorical sense. It dives into different fabrics, materials, dances, phrases, felts and weaves and the philosophical implications of the single fibres relation to a larger structure. Within this, camouflage becomes a multidimensional tool to complexify- it is a loophole which offers the possibility to temporarily lose oneself in order to preserve a sense of individuality.