This research examines how choreomania - the historical phenomenon of uncontrollable, communal dancing "plagues" dating back to the Middle Ages - can inform and transform my artistic practice. Historically, these so-called "dance manias" were perceived as frenzied, unrestrained gatherings where participants danced to the point of exhaustion. Often pathologized by medical authorities and manipulated by those in power, choreomania has been a site of both control and resistance, particularly in its treatment of marginalized bodies. The central question driving this study is:
- How does choreomania influence my creative process and the way I shape my performance practice as a classically trained pianist?
To address this, the following sub-questions are explored:
- How can uncovering the genealogy of choreomania offer new insights into performance-making today?
- How does analysing other artists’ processes contribute to shaping my own work?
Having been immersed in a high-performance classical music environment from an early age, I have long felt a need to connect with audiences beyond traditional concert settings. My interest in interdisciplinary performance emerged during my undergraduate studies in classical piano at ESMUC, Barcelona, but it was in the past year that I began engaging more deeply with improvisation, collaborative processes, and socially engaged artistic practices. A turning point occurred when I broke my wrist, re-awakening unresolved questions from past injuries. This disruption forced me to reconsider my identity as a performer and, more specifically, what it meant to be a classical pianist. Seeking a broader intellectual framework, I enrolled in an online Humanities degree, where I studied philosophy, literature, and academic writing. Simultaneously, I began developing performances that integrated these diverse influences rather than centring solely on piano playing. In doing so, I found myself increasingly constrained by the expectations and rigid structures of the classical music tradition - as well as my own expectations within this discipline. I needed to explore new ways of shaping performances - ones that were not dictated by classical paradigms but instead emerged from inter or transdisciplinary experimentation.
The research question addresses the shape of my performances. I use this term (shape) to refer to the artistic and structural decisions that configure a piece. These decisions encompass aspects such as audience positioning, the presence or absence of a stage, lighting, set design, costuming, artistic elements, (multi, inter or trans) disciplinary integration, improvised versus pre-determined music, the sequence and interaction of these elements, and the collaborative relationships between performers, amongst others. The form of a performance, then, becomes a dynamic choreography of elements in constant transformation. I argue that my performances are not fixed artistic products but rather fluid processes - like water contained within a glass, the performance contains the idea. While the performance moment provides temporary structure, its essence remains malleable, taking on new forms with each iteration.
The methodology is detailed in Chapter 1. Chapter 2, divided into two parts, first establishes the theoretical framework of choreomania, exploring its historical context and contemporary relevance in artistic, social, and political scenes. The second part of this chapter discusses the intersection of choreomania with my artistic practice and interests. Chapter 3 presents a case study during the DOOR Foundation Residency Programme on Choreomania - Bodily Excess, Collective Unrest, where I closely follow the creative processes of five artists-in-residence. Chapter 4 serves as a foundation for my practical explorations, examining collaborative practices and the integration of movement, voice, and piano in my work. Chapter 5 constitutes the experimental playground, documenting the development of three performance try-outs, describing their evolution, and reflecting on the entire process. Finally, Chapter 6 offers the study’s concluding insights.
This research builds upon existing practice-based investigations into interdisciplinary performance frameworks, including those by Joel Gester (2021), Sanne Bakker (2024), and Karin Emilia Hellqvist (2025). Choreomania as a subject of practice-based research remains largely unexplored in academic writing. To address this gap, this study incorporates a case study of five artists-in-residence whose creative processes provide valuable insights into the development of my own work. Unlike studies that focus primarily on theoretical discussions of interdisciplinary performance-making, this research prioritizes lived artistic practice, with the experimental playground serving as its central focus. Ultimately, this exploration seeks to demonstrate how choreomania, as examined through its historical, artistic, and social dimensions, can generate dynamic, socially resonant performance spaces that challenge conventional artistic hierarchies.
The products of this research are the following thesis, the three performance try-outs, and insights on the process of shaping my performances, which can be helpful for other artists seeking to venture into similar processes.