Andreas Hannes is part of Moving Futures with the four-headed Tremble. We were curious about what moved him, so we took the time to ask this young choreographer some questions:
What inspires you when making choreography?
I am frequently moved by music and rhythm. I often find myself decoding images into rhythms or losing myself in the rhythms of everyday life. I combine this interest with my passion for film and my devotion to what makes a cinematic experience. This leads me to systems and architectures, as if rhythm and movement is that what makes the structure, makes the landscape, makes the rules, makes the framework through which we can see. So, music and rhythm inspires as if it were an invisible device from which dance emerges.
If you were to go back in time, where lays the very first seed of this performance?
It’s hard to say, because “Tremble” is an outcome of dreaming after “The City”, the first skipping piece. The two performances are interwoven so I would then have to talk about the previous piece. I felt the need to deepen what I had put down in the City, to give it more space and air. Another influence was that I read Erin Manning’s article “Wondering the world directly or How movement outruns the subject” and she was speaking how “Movement trembles with potential”. I was deeply touched.
Who are you working with for this performance?
I’m working with a very special group. The three performers I’m on stage with, are also choreographers, two of them were my classmates when I was studying at SNDO (School for New Dance Development) and all of them are very close friends, my Amsterdam family. Imagine the intensity of making this piece together! Hahahaha. For the light design, I worked together with my long-time collaborator and scenographer Paulina Prokop. I was also lucky and thrilled to be able to work with the amazing musician Rival Consoles, who I’m obsessed with and somehow agreed to work with me. For the costumes, I worked with Aziz Bekkaoui, who was an incredible supporter and had a clear vision of what we were doing. Last but not least, I worked closely with Renée Copraij and Bruno Listopad as dramaturges, both of whom I greatly admire and trust. The performance was catered by Dansmakers Amsterdam in its totality.
What can dance or what can this performance tell the audience?
This is a question the audience often wants to know. I hope that dance becomes a force that takes you without an explanation. It is there to move you so you can understand what it is for you to be in movement. And in this piece, the invitation is to allow yourself to feel the tremble of being in movement. My interest lies into creating a space that is familiar and yet open enough to find the space and time to reflect, to imagine. It’s amazing how our thoughts unblock and travel when we are in movement.
Do you see yourself as a child of your time? Where does this manifest itself and where is it reflected in your work?
I want to be in relation to our time, but I’ve always felt like I was a timeless child. I think that being “of your time”, means to be connected to all times simultaneously.
In the past, I studied music and film and worked in those fields, as well as in the social sector as a social worker and coach. I currently work as a programmer for dance films. Passing through and being exposed to many different techniques, disciplines, styles, aesthetics and voices in general, made me quite hesitant about what I find important to say and manifest. I guess the practice of continuous skipping, that I am busy with right now, comes as a direct response to my struggle of understanding what to say to the current time. For me, skipping has to do with history and the history of our bodies, and continuous because, for now, endless repetition seems like the only way for me how to blur and open up what is already there and how to create space for imagining. This gesture of opening up has to do with investing in hope, because hope is a first step towards the future.
Tell us about a drawing or photograph you cherish. Send a selfie where you hold and show the image.
I somehow always come back to this one photograph, when I think of dance. Ben F. Lapovsky created a series of photographs which he liked to call electrical compositions. The “Oscillons” displayed visuals of basic electronic wave forms. They are like music to me. It’s a still dance, with form that clearly speaks of its energy. I’m very fascinated by the whole series, but this one is my favourite.
Interview by Ruth Verraes and Lara van Lookeren
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