Choreographic Turn #10: Eco-choreography
Second Segment
Sep 2nd to 6th, 2025
Program | Introduction | Collective Practice | Credits
The previous edition/segment of Choreographic Turn #10: Eco-Choreography, which took place in June of this year across different locations throughout Ljubljana, opened a space for rethinking movement and ecology together, exploring how choreographic practice can shift our perceptions of environment, community, and more-than-human relations.
It invited us to sense, move, and imagine beyond the anthropocentric horizon, tracing temporary and shared choreographies with the places and beings around us.
It turned us less toward sensationality and more toward sensibility: a quality shared by people, nonhuman beings, materials, formats, objects, and programs alike.
The first segment of Choreographic Turn #10: Eco-Choreography unfolded as a constellation of performances, conversations, encounters, and collective gestures, each of them proposing a different way of attending — to bodies, to environments, to other beings and forces that move with us.
Audiences were invited not only to watch but to enter into temporary ecosystems of relation with human and nonhuman performers, with objects, and with formats that resisted fixation on the final product.
The works proposed a choreography of attention, where clarity, risk, and courage were co-constituted with tenderness and the unknown.
David Kummer’s residency and presentation of Ecological Gestures - Dancing PlanthropoScenes, developed together with local artists and Krater’s creative laboratory, explored how a post-anthropocenic dance practice might attune us to the more-than-human. Rather than staging virtuosity, it asked us to notice subtle shifts, fragile connections, and the shared agency of plants, people, and places.
With Trajna, the Krater collective, and the KO10 curatorial team, the speculative biodiversity corridor walk (Tune-in and Tune-out) turned walking itself into a choreography, weaving ecology and imagination into an embodied map of interdependence across the city.
The installation-conversation Economics of Eco-choreography reflected on production as an ecological process, questioning how artistic work might resist extractivist logics and instead cultivate forms of reciprocity and sustainability.
Keith Hennessy and Ida Hiršenfelder’s improvisation Untitled (under tyranny, most words are illegal) brought dance and sound into an unpredictable dialogue, embracing vulnerability, failure, and resistance as fertile grounds for sensibility.
The collaborative process Political Witchcraft for new era by Keith Hennessy, developed in collaboration with artists from Slovenia and beyond and presented at Park Kodeljevo during the Spider festival, instantiated ‘political witchcraft’ as a choreographic dispositif of collective transformation.
Together, these works sketched out an eco-choreography that was less about spectacle and more about attunement — rehearsing a sensibility that values both the visible and the invisible, both strength and softness.
---
Contact: principlay@upri.se, 040 226 981 (Gregor)