On the 29th of March 2024 I attended an immersive, interdisciplinary performance in Amsterdam after which I subscribed to the newsletter of the DOOR Foundation. Here, in an open call for artists, I encountered the phenomenon of choreomania for the first time. I became very curious and started investigating further. Later, in July, I applied to the open call for an internship as Artist Liaison and Residency Coordination at the residency programme Choreomania - Bodily Excess, Collective Unrest1, for which I was selected. The residency took place from the 26th of August until the 26th of November 2024 at Hembrugterrein2, Amsterdam. This was the perfect opportunity to follow the artistic process of five artists working for two months on their research of choreomania. Furthermore, it allowed me to attend lectures and workshops from renown artists and researchers in the field. These mentors were: Ekin Bernay (performer), Kélina Gotman (PhD on choreomania), Bogomir Doringer (artistic researcher), Niké Danae (videographer) and Andreas Tegnander (sound designer).
Chapter index:
3.1.1 Introduction
3.1.2 The mentors
3.1.3 The artists
3.1.4 The performance
3.2 On working with artists and reflecting
3.2.1 Their proposals
3.2.2 Their artistic process: insights and reflections
3.1.1 Introduction
Throughout this two-month program, choreomania was framed as a collective response to social crises, expressed through and within the body. In doing so, it questioned the normative processes and power relations that seek to control dissent and disruption, often labelling them as uncivil, diseased, or mad—thereby positioning them as "other" (DOOR Foundation 2024). Five artists were selected and had the opportunity to live, research and create art at one of the buildings inside Hembrugterrein.
The location of the residency program is particularly compelling due to its history as a former military complex and derelict ammunition facility, which fosters an inherent tension between past and present. I argue that this unique context provided a rich foundation for artistic creation, driven by the transformation and recontextualization of the space. The performances that emerged were site-specific creations that weaved together personal and collective experiences centring notions of otherness, (dis)order, excessiveness, disciplinarity and resistance. By re-shifting the conceptual focus latent in the genealogy of choreomania, they sought not only to integrate it as a theme, but also as methodology (DOOResidency n.d.).
My role during the internship was mainly helping with the residency’s coordination and assisting the artists during the whole process, hand in hand with curator Aleksandra Wojt. The rest of the team involved included assistant curators Victoria Mazzone and Joy Bomer, as well as the photography intern Wang Mengyun. The whole process was documented in a journal, which collects valuable thoughts triggered by the residency’s insights. A selection from this journal can be found in Annex A.
The programme was structured into three main phases. The first, a research phase, provided artists with the time and resources to deepen their understanding of choreomania, supported by lectures from the residency’s mentors. The second phase focused on artistic production, guiding participants through the development of an open studio, and a dedicated filming period. The third phase consisted in the development of a final performance. This process was guided by curatorial meetings and individualised sessions in sound design and videography, fostering both conceptual exploration and technical refinement.
3.1.2 The mentors
The mentors of the residency were Kélina Gotman, Bogomir Doringer, Niké Danae, Andreas Tegnander and Ekin Bernay. Each of them offered a group lecture/session for artists and the team of the residency. In the following paragraphs I will briefly describe their practices and the impact they had on me.
Dr. Kélina Gotman is Professor of Performance and Humanities and a Senior Lecturer in Theatre and Performance at King’s College London. Her book, Choreomania: Dance and Disorder (2018), won the David Bradby Award for outstanding research in international theatre and performance studies (King’s College London n.d.). My understanding of choreomania has been enormously influenced by her book, but also the way of thinking about dance and movement. Coming from a relatively superficial knowledge about dance or movement performance studies, I had all sorts of misunderstandings and short-sighted views of what is understood by movement. Kélina Gotman was the first figure that confronted and challenged my views on this topic. During her lecture on the 17th of September 2024 at DOOR Open Space (Amsterdam), a few ideas struck me. She reflected on the way that choreomania can also be seen as a resistance towards the modern culture’s pace/speed and productivity demands. Going even further, she sketched a picture of collectivity against the “be your own entrepreneur” mantras. This strongly triggered my imagination and ideas about performance possibilities. But by far the most impressive or surprising aspect of her lecture was that, after sharing a part of her journey, she opened the floor for conversation. Instead of answering back to audience’s reflections, she stood back and listened. It was the first time that I felt such a shift in power in a lecture. I kept on waiting for her thoughts on what was being said and yet they wouldn’t come. This made me reflect on the power relation shift that she allowed. Some of the interventions throughout the discussion involved rawness, reflections around moving versus being moved, and most importantly and recurrently, daring to be vulnerable. These inputs were extremely resourceful and inspiring.
Bogomir Doringer studied Sociology in Belgrade, a Bachelor at Gerrit Rietveld Academy in Amsterdam, and later graduated cum laude from the Master of Film at the Netherlands Film Academy. He follows an Artistic Research PhD at the University of Applied Arts Vienna called “I Dance Alone”, where he explores collective and individual dynamics of the dance floor which reflect social and political changes (Bogomir Doringer n.d.). I remember very sharply his lecture the 11th of September 2024 for opening a perspective which I hadn’t yet dived into: dance as political action. He talked about how his artistic research PhD transitioned from “I Dance Alone” to “Dance of Urgency”, which is also very well documented in another of his conferences (Doringer 2022). In his words, “we usually look at foreign dances from the outside, but we never hardly speak about what happens in our clubs now” (Annex A). Some of the interesting sources he shared include Alan Lomax’s research Choreometrics, where traditional dances are tied with tools used in those countries (Lomax, 1974), the Rave-o-lution of March 2018 in front of the Georgian Parliament in Tbilisi (Doringer 2022, 50:00), the Dance Temple at BOOM Festival in Portugal (2018), the hippie movement as a response to socio-political and as a form of resistance (Doringer 2022, 58:54), Colectivo LasTesis’ feminist protest song in Chile (2019) and the echoes it had worldwide with its choreography3, or Chiara Baldini's The Politics of Ecstasy (2019)4. The most valuable takeaway from meeting him was the inspiration I drew from the power of movement within crowds, as well as the many examples of collective outbursts happening today. Furthermore, my dichotomic view on artistic versus non-artistic manifestations got completely challenged, and contributed, together with Gotman’s insights on movement, to a very different understanding of art.
Niké Danae is a multidisciplinary creative involving filmmaking and creative direction, with a background in Fashion & Branding and a specialisation in Fashion & Visual Culture from the Amsterdam Fashion Institute (Niké Danae n.d.; DOOResidency n.d.). From her introductory session on videography on the 18th of September 2024, I learnt many technical terms and techniques within the filming industry I didn’t know about. For instance, insights on experimental cinema, notions of angles, framing, or experimental techniques. This knowledge has helped me to understand how the process works when one of the outcomes is film. Furthermore, knowledge on the elaboration of a creative deck and its elements has helped me amplify my view about what is important to consider in a performance.
Andreas Tegnander is a composer and multimedia artist pursuing sensorial extensions and cross-sensory translations through sound art. In his practice he explores re-imagining technology to create spatial soundscapes that reveal the “invisible forces that shape our ‘hallucinations’ and behaviours” (Andreas Tegnander n.d.).
Ekin Bernay is a performance artist, dance and movement psychotherapist whose work focuses on the healing quality of performance art. She holds an MA in Dance Movement Psychotherapy from Roehampton University, and has experience in adult mental health, autism, primary schools and refugee children (performistanbul n.d.). Her group workshop, on September 26th, 2024, focused primarily on practical exercises. They explored the repetition of movements and modes of resistance with elastic bands. “Is the force limiting or enabling?”, Bernay said (Annex A, entry Ekin Bernay Group Session). It was very interesting to see how performer’s individual explorations affected each other, as if a collective “brain” was working.
3.1.3 The artists
The selected artists were Alexandra Cassirer, Nick Coutsier, Leman Sevda Darıcıoğlu, Aun Helden, and ELLE FIERCE. While the selection criteria did not solely focus on individual performance practices, each applicant effectively demonstrated the relevance of choreomania in their project proposal. Beyond artistic quality, the selection prioritised thematic alignment with choreomania and ensured that each artist contributed a distinct research perspective, fostering diversity in artistic practices and conceptual approaches (Annex A).
Alexandra Cassirer is a self-taught artist whose work includes performance, photography, video, and multimedia installations, tackling societal norms around nudity, eroticism, and the politics of the body. Through self-portraiture and nudity, she challenges the objectification of women while exploring violence, desire, and identity. Rejecting conventional techniques in favour of improvisation and the unknown, her performances are driven by raw emotion and a refusal to conform (DOOResidency n.d.).
Nick Coutsier is a multidisciplinary artist whose work delves into embodied perspectives, focusing on Black Fugitivity, vulnerability, and the dynamic relationship between identity, resistance, and liberation. Through movement, he explores how the body becomes both a site of personal struggle and a powerful tool for self-expression, particularly for marginalised communities. His practice connects individual experiences with broader cultural narratives, challenging social constraints and inviting audiences to engage with the complex intersections of race, queerness, and freedom (DOOResidency n.d.).
Leman Sevda Darıcıoğlu is a multidisciplinary artist exploring chronopolitics, necropolitics, and marginalised experiences. Their work challenges historical narratives of violence and privilege from a Southwest Asian perspective. Through performance and installation, they address trauma, resistance, and the legacies of oppressive systems (DOOResidency n.d.).
Aun Helden is a transdisciplinary artist who merges performance, photography, fashion, and cinema to explore identity. Her work creates a tension between reality and dream, questioning beauty and the body. Through self-portraits and live performances, her persona becomes elusive and rebellious, revealing deeper mysteries (DOOResidency n.d.).
ELLE FIERCE (she/they) is a Berlin and London-based performance and visual artist, and DJ, whose work explores the intersections of Transness, Queerness, and Blackness to amplify marginalised voices. Through a bold and immersive practice, FIERCE blends dance, spoken word, video, and DJing to create transformative experiences that engage audiences as active participants. Her performances challenge norms, confront oppression, and advocate for collective healing, pushing art to engage with urgent, lived realities (DOOResidency n.d.).
3.1.4 The performance
The final presentation took place on November 1st, 2024, from 18:00 till 23:30 at Hembrugterrein, Zaandam (Metropolitan Region Amsterdam), showcasing the diverse artistic practices of each participant. Despite their varied backgrounds and interests, the works remained cohesive as a whole. Some performances occurred simultaneously, ranging from long-durational pieces to shorter interventions. The audience received a map (Figure 1) outlining the schedule and zones but was given no further instructions, allowing them to navigate freely through the space - from historic buildings to public areas - encountering new performances along the way.
3.2 On working with artists and reflecting
This section offers a brief overview of their proposals and the key impact of working with them, followed by a reflection on the artistic processes of three selected artists: Alexandra Cassirer, Aun Helden, and ELLE FIERCE. Additionally, photos from my time throughout the entire residency can be found in Annex H.
3.2.1 Their proposals
Alexandra Cassirer explores the challenges of communication through Deafconstruction, a performance rooted in her experience growing up with deaf grandparents. Within a glass enclosure, she expresses the limitations of language by distorting bodily movements and sound. Her gestures, urgent yet futile, emphasise the isolation and ongoing struggle to connect with a hearing world that remains distant. One of the most valuable insights I gained from following Alexandra’s process was our conversations about performance and art - discussing her approach to working in darkness, the sensation of time suspension when creating at night, and other related themes. Furthermore, her bodily gestures during the performance and the way she pushed her body to its limits, left a strong impression on me. But above all, what truly inspired me was the way the apparent fragility - expressed through nudity in her work - coexisted with breathtaking bravery. How she dared to embrace vulnerability to its limits, yet paradoxically, that very openness revealed her strength.
Nick Coutsier presents VOLT, a performance centred on discord and erasure, where the body serves as a site of both catharsis and rebellion. Through non-linear movements driven by tensions of survival and authenticity, he explores the body's ability to transcend intellectual constraints and embrace fluidity. The performance juxtaposes expressions of vulnerability with empowered self-determination, creating a dynamic interplay between safety and risk. I still remember a phrase Nick said when reflecting on his process: “Sometimes we try to solidify liquid things” (Annex A, entry OPEN STUDIO). This idea has stayed with me ever since. Throughout the process, we had many conversations about the tension between survival and authenticity, making contemporary practices more accessible to audiences, and generating genuine connections with people. These discussions deeply resonated with my own artistic practice and interests, as connecting with people is my ultimate goal when performing. This desire has driven me to explore different ways of thinking about audiences, as demonstrated in the practical phase.
Leman Sevda Darıcıoğlu investigates themes of empowerment, violence, and colonial pharmaceutical history in The Body, Battlefield. Through personal and inherited memories, they explore the intersections of queer and disabled identities, questioning how marginalised bodies navigate systemic violence while seeking empowerment. What has stayed with me is their strong political perspective and their willingness to engage in conversations that, while potentially uncomfortable, were essential to address. I remember them during Kélina Gotman's post-lecture conversation confronting the tendency of artists to over-conceptualize and intellectualize everything, while the raw reality remains that people are dying in this very moment.
Aun Helden presents Réquiem N°3, an anti-choreography in which a ghostly figure inhabits an apartment-like space. The performance blurs the boundaries between presence and absence, as the ghost simultaneously occupies every surface, caught in a cycle of restless movement. Aun’s work intrigued me from the start. Her approach and practice were entirely new to me, and I was eager to learn more. A phrase from her text during the open studio pierced me: “Is everything a negotiation to stay alive in the border?” (Annex A, entry OPEN STUDIO). I recall our conversations about her interest in the final moments of life, which sparked deeper reflections on the subject. Since I was a child, thoughts about death have always been present in my life. The project I described in the previous section (chapter 2.2), Ode to life, is a proof of that. Reflecting with Aun on how she experiences this through her own life experiences stayed with me.
ELLE FIERCE stages A Humble Renegotiation in The KONTROL ROOM, a site-specific performance responding to the lived experience of Hembrugterrein. The piece invites participation in an exploration of control and power dynamics within the body, architecture, and environment. The performance culminates in a moment of excess, transforming the dance floor into a space of resistance where joy becomes a tool against oppression. Following ELLE’s process was equally enlightening, as our conversations often revolved around the idea of “in-betweens” and the experience of not being fully understood. A particularly fascinating aspect of her creative process was her dialogue with AI, where she extracted meaningful insights, printed them, and displayed them in her workspace, highlighting only what felt relevant or useful (Annex A, entry 3rd October). I found this approach deeply thought-provoking especially in a time when AI is reshaping and reimagining creative agency. As artificial intelligence becomes more integrated into artistic practices, the question of authorship and human intuition versus machine-generated content is more relevant than ever. ELLE’s way of integrating AI in her process was as natural as conversing with a friend - a reminder of how smoothly technology can merge with artistic instinct, yet also a prompt to stay critically aware of how these tools subtly shape, direct, and sometimes appropriate the creative process.
3.2.2 Their artistic process: insights and reflections
The artistic residency at the DOOR Foundation brought together five artists, each engaging with choreomania in their own way. However, I chose to focus on the processes of Alexandra Cassirer, Aun Helden, and ELLE FIERCE, as their approaches intrigued me the most, offering perspectives that challenged or expanded my understanding of artistic practice. While each of them arrived with distinct concepts, their engagement with choreomania evolved beyond a thematic reference, becoming an integral part of their creative process. Whether through a search for embracing the environment, an embodied methodological shift, or a reframed thematic lens, choreomania emerged as more than just an event or historical phenomenon - it became a way of thinking and making.
For Aun Helden, the residency reinforced the idea that certain questions cannot be answered in isolation. While her work is deeply personal, engaging with the body’s relationship to life, death, and transformation, the collective aspect of the residency altered her perspective. She found that some questions - such as "What is life?" and "What is surviving?" - were impossible to answer alone and instead required the voices and dances of others (Annex D). This realisation brought a strong sense of empathy and community into her practice, echoing the very nature of choreomania, where movement and energy spread beyond the individual. At the same time, she navigated the duality between feeling safe and unsafe, reflecting on the residency site itself - a place with a charged history, yet also a peaceful setting where children played (Annex D). This tension mirrored her ongoing research into the body’s continuous negotiation between vulnerability and resilience.
ELLE FIERCE approached choreomania not as a theme to depict but as a methodology to embody. Unlike a conventional linear process, her work developed through a fragmented, non-linear exploration, mirroring choreomania’s nature. “Not only in the performance, but in anything about the creative process was trying to embody choreomania” (Annex C). Her process began with a strong visual anchor - Venus - a recurring image that shaped her conceptual direction before integrating choreomania into the work (Annex C). However, external constraints, such as space and logistical limitations, forced her to adapt, making the process more conceptual than physical. This challenge ultimately reinforced her commitment to non-linearity, as she navigated a fluid and evolving creative structure.
Similarly, Alexandra Cassirer worked with an intuitive and fluid methodology, though her reliance on space as a guiding force was disrupted by the lack of a predetermined performance site from the beginning of the process. Typically, she allows locations to dictate movement, sound, and dramaturgy, but here she had to develop her work without that foundation. This uncertainty pushed her to rethink how she approached her themes and, more significantly, how choreomania reshaped her perspective. Initially exploring deafness, language, and isolation, she found herself reframing these concepts through choreomania’s lens with "urgency, madness, and illness" (Annex B). This shift deepened her engagement with her subject matter, leading her into unexpected thematic territory that may not have emerged otherwise.
While each artist arrived at the residency with a distinct vision, choreomania became more than just an external reference - it fundamentally altered their processes. Aun discovered the necessity of collective thought in confronting artistic and existential questions, ELLE embraced choreomania as a methodology that challenged traditional structures, and Alexandra found a new lens through which to engage with her original themes. In all cases, choreomania was no longer just an event, a historical phenomenon, or a curatorial framework; it became a force shaping their ways of thinking, creating, and experiencing art.
