Freie Universität Berlin

Traces of Cases

by Anneke v. Hohnhorst, Karoline Strys, Gabriele Kroos, Razan Naser Eddin, Mohamad Al Halabi


Traces of Cases, an examination into the notion of archive and an-archive. The very personal and individual way of looking at traces, memories and the vessels in which they might be contained.

Structure & Quotes

by Anneke v. Hohnhorst

Archive is a Time Travel Tool

The archive is a relationship between the past and present that could influence the future. It is a time travel tool that could take us to experience some of the moments and events that have happened.

From the perspective of archive and history, the present is the consequence (whether archived or not) of the past, and we live in the constant present, which means, we always live in the consequence of the past while we are going to the future. Considering dance and choreography as an archive, it is a consideration of time travel too, both of them are live performing art forms that can’t live in a museum, painting on a wall, or noted music. They live in the nowness of the present just before they become the past.

Methods such as the RSVP Cycles from Lawrence and Anna Halprin, as well as, Labanotation are supportive in terms of archiving material of dance and choreography, the question however is, to which extent these methods reduce the original material during the documenting/archiving process? And to what extent are these two methods efficient? From another perspective, recording videos and/or capturing photos of dance and choreography might reduce their essence and take their liveness away because they live only in the moment and will be saved in the archive of the body. Once transformed, they won’t be the same, their new existence will be something similar to the original creation. Wherever the body goes, it carries the archive of the past through the present to the future. It carries the traces of dance and choreography as a case of existence and fleetingness.

Through the journey of understanding the value and difficulty of the archive many questions started to appear making the journey more challenging. Questions such as how to archive dance and choreography without losing the essence? How to enter and exit an archive without constraints? Are we documenting/archiving dance and choreography or only the movements? Is an archived score enough to transmit the experience of the body? Or is the body always the medium/representative of its experience?

by Mohamad Al Halabi


Traces of An-archive

The Jar Concept

The Jar Concept by Karoline Strys
what if the body is an archive? what if we imagine that we are each a body of archive? what if everybody had their own archives small enough to carry around with us, as our own personal archives?

Unarchiving the An-archive

Unarchiving the Anarchive by Karoline Strys
In order to understand the notion of archive or anarchive, it might be necessary to take apart the archive into all its pieces, to unarchive it, to separate what was subjectively brought together. Embodying the traces, producing something without creating a product, yet there is something visible.


Memoriography


Anarchives

What is An-archive?

If the archive is a place for documentation of past activities, then what is the an-archive?

Where is it and what contains the an-archive?

Is the an-archive a cross-platform phenomenon? [1]

Could we call performance anarchives something like memoriography[2], a choreography of memory?

“The anarchive is made of the formative movements going into and coming out of the archive, for which the objects contained in the archives serve as springboards.”[3]

Walking in and out of memories, making a choreography of the traces of my memory brings me to my feet. The way they walk. The way they dance, the way they have danced. The daily event of being carried on my feet activate the traces of memory not only pertaining the feet, but my whole body, flashes of images, reinforced by olfactory senses. A combination, or indeed “cross-platform phenomenon” occurs on the subway platform. The feeling of the steps underneath the feet, the smell of the subway, the sound, the sight of graffiti on top of yellow Berlin BVG U-Bahn Subway car all create a vessel for the anarchival site of my memoriography.


[1]  Anarchive – Concise Definition | SenseLab – 3e: in: senselab, o. D., https://senselab.ca/wp2/immediations/anarchiving/anarchive-concise-definition/ (abgerufen am 27.06.2021).

[2] Vgl. Pyndiah, Gitanjali: Memoriography: the anarchival impulse, in: academia.edu, o. D., https://www.academia.edu/8929298/Memoriography_the_anarchival_impulse (abgerufen am 28.06.2021).

[3] Anarchive – Concise Definition | SenseLab – 3e, o. D.

by Gabriele Kroos


Public Service Announcement

Life is so intrusive

you cannot not consent

by Razan Naser Eddin