??????? Full text here <<—– click ?????????

One thing that has kept on bothering me is the upsetting fact that capitalism is feeding on and misusing the fact that I work. It takes my labor, my art and my life and makes it nasty. When our labor is overwork and self-destructive, the life of every try for changing anything or making anything of importance is simply sucked out by capitalism-the-vampire. In this situation we are left with either accepting capitalism (trying to make ourselves comfortable in its slimy rough couch, passive, except for the active ignoring of all the people we are suffocating), or actively working for its good, for its peak, for its continuous existence, while existing in the more and more blind belief that we are working to destroy it. This can be exemplified by looking at the mis-use of the demonstrations taking place across Europe and North America during the 1960’s – both by romanticizing them (creating value through commercial and normative, sellable ideals), and through the political usage of the activists’ demands. Corporate Social Responsibility was created as an answer to the activists’ demand that the big companies should take responsibility. CSR has since then been used as an empty promise which, in practice, does more to prevent workers from demonstrating again than actually taking responsibility for their employees (Boss, 2017).

I need to know which body can work against our neoliberalist society. Even before I start to answer the question, I catch myself performing post-fordist over-laboring: Assuming that I, as an individual, is responsible for everything, a thought that quickly falls into the ugly pit of the positive-psychology-like logics where every thought and action is reflected in reality, where I manifest the future world in every instant. With this dark view, it seem evident that the vampire’s skill for swallowing any act of resistance, or just any act in general, makes capitalism simply a unifying name for (all) things as they are. And then my golden thread, the only reassuring notion I can find, is the speculation; what else did it swallow?

Silvia Federici writes in her book, Caliban and the Witch (2004), about the bodies needed to be killed in the early stages of capitalism in order to produce labor-power; the witch being one of these resistant bodies. Federici writes that today, witchcraft is again practiced actively, something that could be referred back to the will and need to fight and re-claim woman-hood and pre-capitalist knowledge, but which Federici explains as being possible merely because witchcraft is no longer a threat to the system: “The mechanizations of the body is so constitutive of the individual that, at least in industrialized countries, giving space to the belief in occult forces does not jeopardize the regulation of social behavior” (p.143). Having this view on the world – that even seemingly radical ways of living are simply existing because they are not a threat – becomes both evident and extremely upsetting.

This is when flipping the image becomes useful. For if the witch, and in that case, the outsider, the revolutionary, the anti-capitalist ideologies and the bigger and bigger demonstrations (and more evidently, the innovator, the collaborators and the over-working artist) are all part of the capitalist body, then what can these parts accomplish? If the vampire’s tool is to swallow, could we then start to question the potential of the contents of its body? It seems logical that the only thing that’s big and strong enough to kill capitalism is capitalism itself.



Apropos Appropriation: Why stealing images today feels different

LINK #2 >>>
by Jan Verwoert

Some thoughts on a new kind of appropriation within art. ???? This one has featured in P0$$€ twice… cphgn & sthlm… its good…

”All of these thoughts revolve around an experience of death, the certain death of modernity and the sense of history it implied, an experience of death that is framed and fixed by the object of appropriation through the accumulation of the dead matter of hollowed out signs in the form of allegory, the ruin of language.”

TEXT HERE <—– Click it.

as always… read it. love it. share it.

<3 PO$$€

~ ”The Wikipedia Dancer” – profiles ~ archive from P0$$€ feat. Gry Tingskog

In addition to text and scores from ”Cheating Discipline and Other Artistic Affairs” by Gry Tingskog, that was posted yesterday, we would like to share some archive material from the POSSE Gry hosted in September 2017. The text bits are from the first score ”Pt. 1 The Wikipedia Dancer” during the session. These are imagined, felt and written by Shiraz Amar, Gry Tingskog, Lisen Pousette and Klara Utke Acs – how far we managed in the session, that is. We hope the playfulness of this session shines through. Apart from being presented as a remain of work, we also hope it can work as an inspo to explore the dancers inside yall. If you don’t know how to put yourself into waterproof wear and get to the swimmingpool for the €L€M€NT$-episode on Feb 17th, you could write yourself a dancer and show up as this person instead.


Title: The dancer, Anna Lidström

Introduction: Anna Lidström is a 22 year old woman from Örebro, who moved to Stockholm when she was 18 to dance jazz and streetstyles at Balletakademien. Her favorite dance style is hip-hop/feminine vibe but she can master styles such as ballet and contemporary as well, and improvising is one of the skills she often impress others with. Lidström dresses in experimental streetsmart, a somewhat sexy and funky style, and has colored her hair bright red with black tip dye. Apart from getting accepted to the professional programme at Balettakademien, performing behind Sam White in melodifestivalen 2017 was the biggest moment in her dancing career – the intensity of performing live together with colleagues and friends in front of the massive audience in Friends arena.

Character description: Lidström is hard working but also allows herself to be lazy. She is social, talkative and also loves to sing. Still, she does not have any interest in becoming a musical artist since she considers the profession not artistic enough (i.e too cheerful and dorky). Rather, her artistic taste tends to embrace darker, more twisted or quirky elements. She is a big fan of Nicki Minaj and Rihanna and has created several choreographies to songs of them. Her choreographic style, similar to her improvisations, often include smooth and sensual qualities, with short and sudden interruptions (or pops) and move in between standing and floorwork. 

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Title: The dancer, Yaniv Mizrahi

Introduction: Yaniv Mizrahi, born 1981 (age 36), is an Israeli dancer and performance artist. She is well known for her subtle performance style that makes it hard very hard for perceivers to tell if she is being highly occupied dealing with abstractions or if she is actually high (hashis, opiades). She especially gained public recognition from her interpretations and studies of dances written by choreographer, Noa Eshkol.

Character description: Mizrahi does not have very talkative nature. She spends most of her time zoning out or performing – or both. She is 167 cm tall and has a robust complexion. She often deals with pains in her lower back.

Training history: Yaniv Mizrahi is trained in the Eshkol-Wachman Movement notation system and also did her fair share of Gaga classes (People and Dance) but never managed to complete her teaching course in the technique/trademark.

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Title: The dancer, Elisabeth Point C’est Tout

Description: Elisabeth Point C’est Tout, 25 years old. 1.80 cm tall and skinny, blond hair perfect and 180 degrees turn out. The ideal Ballerina.

Early life and education: Studied in the conservatory of Paris since she was diagnosed in early embryological stage by the best doctors to become the new Sylvie Guillem of the 2000’s (until age 27 when she’ll tragically injure both of her knees, lower back, hip joint and Skelton due to over use).

Work and projects: graduated with excellence in the conservatory and started to star as “L’Etoile” in the Royal Ballet of Paris. Starred in a variety of ballet including the original reproductions of “Les Sylphides”, “La belle au bois dormment”, “Aladine” (starring as Yasmin) and more..

Body text: Elisabeth Point C’est Tout is a very skilled dancer but unfortunately is an apathetic performer who forgot why she even still doing this shit. Surprisingly she is a hard-working Ballerina, still trying to break the records of the most Pirouettes ever made. There is no logical explanation to this contradictory behavior but believing to the Fans Conspiracies which tells she is suffering from bipolar disorder from a young age.

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Title: The dancer, Saga

Description: Saga is a five year old dancer. She has very little hair, parts of her head bold. She is most famous for her outstanding performance in The return of the darkness, a dystopian musical piece which premiered in 2013. As she can’t sing, she lost her love for the spot light and has since been very interested in word puzzles and drinking coffee.

Saga used to be the youngest in her collaborations, and was thereby the one who brought the coffee. This coffee was usually sipped and then forgotten. In the intermission, Saga usually took a nap, finding comfort in the noise of a chatting theatre.

Saga grew up in a theatre. Her parents were performers, and usually performed expressive, passionate roles with impressive costumes. This made Saga unable to recognize them. Therefore, Saga considered the entire crew of the theatre her parents, giving the job to whichever character she found most suited at the moment.

Living at the theatre, Saga participated in a variety of training. She has usually participated in the corner of the studio, not wanting her learning process to get too much attention. Having watched a lot of performances she never liked or felt like doing herself, the different expressions are somewhat etched into her memory and now she is unable to dance without them appearing.

~  ~  ~

Cheating Discipline G R Y T I N G S K O G


Cheating Discipline and Other Artistic Affairs is a project aiming to be adulterous to discipline through having artistic affairs. It challenges the historical heritage of discipline, through exercise and corrective training shaping the body into an obedient, docile, efficient and optimized anatomy. In this project, discipline is exercised as means to cheat on it.

If the dancer is considered as a body of work – a body constructed through labour and as a collection of art works – the dancer has multiple bodies collected from different practices, techniques and dancing. These bodies are in this project separated and distinguished trough using the dancer as a title; to title the different bodies as different dancers.

I have a closet full of dancers that I can put on, do, bring out the closet. I – performed – have different affairs with different dancers. My identities cheat and sleep with each other. Together, as a collection, they interact with each other in a polygamous way, cross-polluting, feeding, informing and contrasting each other. The play of understanding “myself” as different identities that I do, perform, indicates an identity affair, adulterous to the idea of essence, self-expressiveness and consistency. This notion of subjectivity, based on performativity and multiplicity, supposes a collectivity where the singular becomes multiple. This project unfolds and decentralises the singular, autonomous subject into open source choreography, moving it between bodies and materials. It is a notion of collectivity moving in-between subject and object, doing and being, a material and a body.

Cheating, in this project, connotes both a cheating on disciplines as well as on sexual partners. It plays with disciplinary labour as something the dancer could enter and do, rather than embody and be. The premises for the cheating will be constructed as affairs – an adulterous contract, a consented way of spending time together that exists next to discipline. These affairs are proposed and documented within the format of a score. Through scoring this choreography, and further, alter and change this score, this piece plays with performing fictive dancers as means to activate a specific kind of dancing.

Score About The Dancer and The Dance

This score plays with the idea of the dancer as a construct, a score, which one does rather than is. Trained through a workshop format, the dancer is constituted through diverse practices and techniques – and through the bodies proposed by these different practices and techniques. Thereby, the dancer becomes multiple, constituted by many different dancers though the practices the dancer embodies. My body becomes my bodies, as the body shifts with the work I do. A choreographer, institution, dance nor myself own my bodies; rather, I am a shape shifter. No, I am a principle shifter. I shift with the different principles, or different information, that I access and enter. Hence, the dancer is an identity I do, a score for accessing different dancing through entering a specific body and dispersing authorship. The dancer is not singular, not authentic, nor essential. The following series of scores called Score about the dancer and the dance is a game for emphasizing the fiction that the dancer could be considered. One can thereby pick a dancer to activate, in order to access a specific kind of dancing.

Both you and the dancer referred to in the score are performative identities, not true, essential or hierarchical. You are not more central or essential than the dancer. Rather, the score plays with a multitude of identities – professional, domestic et cetera – that work together in collaboration to construct a fictive sense of self. These identities are through this score deconstructed, fictionalised, as a method for separating them and exhibit a specific play with the dancer.


Pt. 1 The Wikipedia Dancer

Make a Wikipedia page about the dancer:

Title: The dancer

Introduction: Start giving a short intriguing and selling introduction to the dancer: name, age, appearance, important works, turns in life. (Note that these are not facts about you, but fictions about the dancer)

Character description: is the dancer lazy, disciplinary, a hard worker, a good girl, sucking up, talkative, muted, etc.?

Background: the dancer’s upbringing, birth, early conditions and circumstances

Training history: what techniques and training shaped and formed the dancer? What skills does the dancer have? What dance teachers, collaborators and practices constitute the dancer?

Preferences and tendencies: what preferences does the dancer have in terms of ways of working? Collaboratively, choreographing or not, alone? In what parts of the studio does the dancer feel the most comfortable? What role does the dancer tend to take when working together with others?

Current: what is the dancer busy with, and interested in, now? What kind of training, practices, projects, works does the dancer do?

Slogan/quote: Does the dancer have a frequently referenced quote? Make a slogan for the dancer



Pt. 2: Enter the dancer

Lie on the floor

Rest into the dancer:

Sense your body on the floor, let your attention and presence travel and spread through your body

Enter a dancer identity, maybe the identity that you are working together with in your practice

Visualize the dancer moving in front of you

Visualize the dancer’s distribution of weight, bodily structure, alignment and way of moving

Embody the dancer’s training that is immanent to her body:

What is specifically apparent about the dancer?

What movement principles, practices or techniques are activated or     frequently used?

What movements and acts/activity stylized and shaped the dancer?

What reality is the dancer moving in and inhabiting?

Feel the dancer in your body; let the dancer imprint and enter your body.

Feel where the dancer is present in your body, what she does to your alignment, structure, weight distribution, attention, sensation, awareness, presence

Stand up and walk the dancer in space


Pt. 3: Doing the Dancer

Enter the stage

Enter the dancer

Walk the dancer centre stage

Let the dancer be seen, don’t hide in the doing of the dancer

Trust that the dancer is being accompanied by the practices inherent to her bodily structure, the practices constituting the dancer

Perform a momentarily executable task that does not require any preparation outside the preparation immanent to the dancer: if this is a task such as jumping, try to jump the dancer, rather than to jump as the dancer

Acknowledge how the performance of skill is also preaching a body for the dancer, signifying that any set of skills is connected to the body performing them

Trust the dancer’s intuition in composing the dance

Recognize when the dancer is shifting or drifting, maybe referencing another dancer: if this happens however, let the different identities accompany each other in a quick dance, before the second dancer is being incorporated into the memory of the dancer you were initially doing

Fill the silence of the score with the dancer’s interpretation of your imagination

Exit the dancer, then exit the stage


Pt. 4: The Domestic Dancer

Enter the dancer: spend some time together with the dancer you are working together with in your practice outside work, like an after work beer

Walk the dancer off-stage: take the dancer out of the disciplinary spaces such as the studio or the stage

Take the dancer for a walk; note your perception of the dancer’s body, weight and movement

Take the dancer home; note, as you’re doing domestic labour with the dancer, how your tasks are performed in relation to (together with) your dance practice

Give credit to the labour surrounding, informing and affecting your professional work

Consider everything you’re doing together a dance; name, in a speech act way, everything you’re doing a dance. Pay attention to composition, time, space and choreography, as well as how the performing of the tasks as the dancer affects the doing of the task

Spoil the dancer: plan a date for the dancer (flowers, dinner etc.)

Perform the date

Try to get the dancer to walk you home (with consent even to spend the night)

Entertain the dancer and your relationship; what practices entertains and sustains the dancer? Maybe give the dancer a massage?

Exit the dancer

Pt. 5: The Open Source Dancer

Exchange Wikipedia dancer with someone else, or make several

Wikipedia pages about either fictive dancers or a dance teacher you never got along with

Enter this dancer

Perform score Pt 2: Enter the dancer and Pt 3: Doing the dancer together with this colleague

Exit this dancer and repeat with different dancer


In the P0$$€blog take over we will be sharing texts and links, things we like to be surrounded by and think with… and we think you might like them too.

First up… the only…

<< GERTRUDE STEIN>>  Composition as explanation.

”Composition is not there, it is going to be there and we are here. This is some time ago for us naturally. The only thing that is different from one time to another is what is seen and what is seen depends upon how everybody is doing everything. This makes the thing we are looking at very different and this makes what those who describe it make of it, it makes a composition, it confuses, it shows, it is, it looks, it likes it as it is, and this makes what is seen as it is seen.”

 TEXT HERE <—-click it

as always… read it. love it. share it.


P 0 $ $ €  B L 0 G  T 4 K €  0 V € R  f o r  E N D  F E S T

For the next six weeks we, Lisen Pousette, Chloe Chignell and Klara Utke Acs of POSSE dance and reading group, will take over the END FEST-blog. This takes place in relation to the upcoming P0$$€ €PIS0D€ “ELEMENTS” on 17th February.

Together with Tamara Alegre, and our supportive coach Ellen Söderhult, we initiated POSSE in February 2017 (anniversary soon!) at DOCH.

POSSE is a weekly gathering in Stockholm for reading and dancing. Each time is hosted by a practitioner from the field of dance, performance and choreography that proposes materials for reading and dancing and ways of dealing with them together.

END FEST invited Tamara to bring a fest to life and she decided to do an offspring of the POSSE format: P0$$€ €PIS0D€ “ELEMENTS”. If END FEST and POSSE would have a love child, this would be it.

We like to think of the knowledge of POSSE as a network: as soon as you part-take in a POSSE you will hold a part of this knowledge web. But not one person, nor any of us, has a full understanding of all that has been shared in POSSE. “Nothing is connected to everything; everything is connected to something” as stated by Donna Haraway.

In the spirit of POSSE we will be propose texts and other materials that are close to our hearts, by artists and writers that we know in person and some that we don’t. The blog will work as an extension of the discourse that is continuously generated through POSSE. It will be done with devotion to what we do and most importantly with curiosity.

Video of P0$$E #3 on February 14th 2017.
Featuring dancing by Lisen Pousette, Chloe Chignell and Klara Utke Acs
Phrase by: Chloe Chignell
Music: Oskar Key Sung- All that I could do