Together with the diagram of concepts there was other types of documentation produced during the research process.


BSIDES project is one of the dimensions of the research practice undertaken in the frame of the Amsterdam Master of Choreography (AMCh) since September 2010. The project was conceptualized and researched since the beginning of  2011 and had premiere in October at Hetveem theatre, with performances still on tour. The research practice of the AMCh continues developing into a technique related to the concept of the "refrain" (that influenced strongly BSIDES), which is the technique of PROCESSUAL WRITING. In any case, in this occasion I will only describe this one dimension of the research that took form as BSIDES.


BSIDES project took the form of a dance performance choreography that consisted of two different parts shown separately and successively. The first part was performed by Rob List, a performer with 40 years of experience and the second part was performed by a group of performers coming from school education. This second part divides as well into two more parts. It is perform sometimes by two dancers coming from a school in Holland and another times by a group of four dancers from an Austrian school.


Both First and second part had different forms of expression.


The first part was choreographed out of the impulse of an Edgar Allan Poe poem recitation and developed into an abstract dance and classic music composition.


The second part was made with the pop songs brought by the dance students and choreographed by the imagination of them representing the lyrics of the songs, following the codes of You Tube lip syncing. 


Before taking form in this clear structure what was invisibly diagramming the project  were some concepts that we, the group of work,  were interested. The concepts of  "relation" and "refrain",  and "emergence"  and "recognition". 


We were interested in the "relation" this is to say, in the moment "in between",  a bodily affective experience "emerged" and the moment in which the experience was "recognized" and directed (or not) towards a mean of communication. Moreover, most  interesting was the "movement of relation" between an emerging experience and its capture in conscious recognition,  and its recurrence towards a new emergence. The rhythmical refrain produced by the continuos passage between emergence and capture, deterritorialization and territorialization and coding and transcoding. 


The diagram of concepts of interests could be drawn as follows: 



  refrain: the rhytmical movement between 

  emergence and recognition, chaos and

  pattern, taking form and formation.




    emergence: the instance in which something

     takes form,  in this case, voice or movement    

     expression, and is still affecting the body

     in a suspensive unrecognizable manner  

     for the senses.



  recognition: the instance in which the impulse of

  emergence is consciously recognized in a 

  context of signification; whether it is

  crystallized in an understandable

  sensation or in words or gestures,

  referring to a grid of common indexable