Presentation
1. Planning and Organization
To do the Public Space assignment, it seemed both meaningful and practical to involve the dancers I am already working with on Equilibrium for the 'Final Project'. Meaningful, because it could contribute to the ongoing development of Equilibrium, and practical, as we wouldn’t have to start from scratch. We already had existing material that could be adapted for the public space performance. Additionally, it offered an opportunity to deepen the connections within the group and with the dance material itself.
On October 2, during rehearsal, I presented the plan to the dancers. I explained that I needed to conduct research in a public space for my studies and wanted to work on it with them. I outlined the plan verbally:
- Two studio rehearsals on the usual Wednesday evenings from 7 to 9 PM: October 9 and 16. The performance would take place on Saturday, October 19, at 12:15 PM, with a site-specific rehearsal from 10 to 11:45 AM on the same day.
- The performance would last a maximum of 30 minutes.
- The location: Maasvlakte 2, at the artwork De Zandwacht.
- Since the site is an open space near the sea in a dune area, it can be very windy. I chose to schedule it before the autumn break, as the weather tends to get colder week by week.
- I had costumes in storage from another project that would be provided. The dancers were asked to bring their own black tops. We would adjust and ensure the fit during the next rehearsal.
- The approach would involve learning each other’s duets and rehearsing group phrases to establish a shared dance vocabulary.
- The choreographic method would be based on structured group improvisation, with details to follow in the next rehearsal.
- Publicity was crucial, and I encouraged them to promote the performance on social media to attract an audience.
- As the audience would walk around De Zandwacht, we would need to perform in 360 degrees without adhering to a single front-facing orientation.
Unfortunately, two of the eight dancers couldn’t participate—one was on vacation, and the other had prior commitments—but the latter offered to assist with organizing the structure by documenting choices, allowing me to respond to what was happening on the floor. The rest of the group was enthusiastic and viewed this as a unique opportunity to deepen their engagement with the material.
First rehearsal (October 9)
I explained that the performance would be based on structured improvisation. The structure would build on the duets and two group phrases, so I first had the dancers teach each other the duets and recall the group material to ensure it was fresh in their physical memory. Next, I asked them to extract two gestures, including one movement of travelling across the space, and one characteristic dance action from their duet or group phrases related to trauma and inadequacy.
We then progressed step by step, introducing parameters for the group improvisation, which implicitly created structure:
- Playing with extracted gestures, actions, and locomotion, reacting intuitively to one another.
- Using the principles of Copy, Complement, Contrast (Autard, 1992). What was intuitive in Step 1 became intentional choices in Step 2.
- Adding Repetition and Duration to emphasize movements, making them noticeable and inviting reactions from the other dancers, such as joining, contrasting, or complementing.
- Making deliberate choices regarding spatial relationships—distance, proximity, direction, and formations.
- Varying existing material using dance elements like Time, Force, and Space.
- Enhancing meaning through the somatic exploration of opposing qualities—tension/relaxation, push/pull, hard/soft, extend/withdraw—embedded in the duets, supported by intentional breathing.
Steps 1 through 6 provided the foundation for collective awareness, enabling dancers to respond dynamically to each other within the improvisation. I then began to direct them with instructions, such as:
- "Move into a diagonal and use only gestures, playing with tempo."
- "Form a cluster at the back right, dancing in slow-motion unison by following the leader, while one dancer performs their duet as a solo at the front left."
Afterward, the dancers continued without my guidance, focusing on breathing, balance/imbalance, and resistance/surrender. We discussed the process afterward, noting what worked and what didn’t. Dancers reported feeling connected through a shared language, supported by the focus on breathing.
Second rehearsal (October 16)
This session was dedicated to establishing a performance structure. After each group improvisation, we made decisions about:
- Using Copy, Complement and Contrast intentionally.
- Timing, including building toward a climax in tempo for dynamic contrast.
- Emphasizing 360-degree performance without a fixed front.
- Repeating movements/actions with increasing intensity to build tension.
- Selecting impactful gestures/actions to consciously communicate meaning.
- Actively incorporating breathing to amplify expressive power.
We identified clusters of material from the improvisations and arranged them into a sequence, which I refined at home and then shared the score with the dancers.
Separately, I visited De Zandwacht with the videographer, scouting filming angles, studying light and space, and creating a teaser video to promote the performance on social media, including a promotion text.
Media 4: Teaser video of De Zandwacht performance
Performance day (October 19)
In the hour and a half before the audience arrived, we rehearsed the score and explored how best to use the space within De Zandwacht. The sandy ground presented challenges, making movement heavier, but the structure itself offered opportunities for leaning, pushing, pulling, and climbing. With no fixed front, dancing in 360 degrees felt natural.
Media 5: Video of De Zandwacht in one take
2. Intention and Objectives
My intention with this presentation at De Zandwacht was to investigate how personal and collective traumas manifest in the interaction between the individual (the dancer) and a public space. I aimed to explore how feelings of inadequacy could be translated into a physical dialogue with the environment and the audience.
The process began with somatic research focused on trauma and the conviction of "not being good enough." Dancers traced physical sensations of tension, relaxation, balance, and imbalance across different body parts, as well as the supportive role of breathing and principles such as pushing and pulling. Through three rehearsals, we worked toward a structured group improvisation that convincingly expressed these intentions. The dancers’ ability to engage physically with the structure of De Zandwacht added depth to the concept—they could literally push against, pull on, and crawl through its openings.
The choice of De Zandwacht as the performance site was integral to realizing my intention. This sculpture, designed by Observatorium, symbolizes the process of dune formation, where sand is lifted by the wind and resettles into new shapes. This mirrors the human experience of being shaped by external forces, carrying old patterns, and constantly seeking balance. Just as the wind continually reshapes the sand, the performance reflected how personal and collective histories reform themselves in response to shifting perspectives and contexts.
This symbolism was further amplified by allowing the audience to walk around De Zandwacht during the performance. This created a dynamic interaction where the performance could be viewed from multiple angles, symbolizing the layered perspectives on internal struggles—both from within and from the outside. The dancers’ movements, performed in 360 degrees, utilized the circular space to its fullest potential, inviting the audience to engage with the ever-shifting perspectives of trauma and transformation.
Through this, the presentation demonstrated the core intention: to embody the imprints of trauma and inadequacy in the interaction between the dancers, the site, and the audience. The performance became a physical and symbolic exploration of how human experiences settle and resurface, finding new forms of equilibrium.
3. Choreographic Concepts, Strategies, and Devices
The strategy of structured improvisation was central to the creation and performance of the Zandwacht project. It allowed the dancers to remain responsive to the unique qualities of the site while maintaining a clear framework for the choreography. This approach embraced the unpredictable forces of the environment—such as the wind and the uneven terrain—while giving the dancers space to interact authentically with both the location and each other.
During rehearsals, the dancers explored contrasts such as stillness versus motion and tension versus release, using somatic research as a key starting point. Their connection to breath and weight, for example, was first explored in the studio through somatic practices. On-site, these principles gained even greater resonance as the sound of the sea and the wind naturally amplified the dancers’ exaggerated breathing techniques. The absence of music further heightened the impact of the breath, transforming it into an audible layer that blended seamlessly with the environment and enriched the emotional depth of the performance.
The sandy terrain of the Zandwacht added another significant layer to the movement exploration. Dancing on the sand demanded greater physical effort, as the unstable ground required the dancers to let their weight sink deeper into their bones and fully release into the earth. This grounded physicality intensified the visual and emotional impact of their struggle. The resistance of the sand mirrored the internal resistance of carrying unresolved histories, while the effort to move through it symbolized the process of confronting and working through these patterns.
The choreography also drew on several choreographic tools to craft an authentic and layered performance. Repetition and variation were used to illustrate cycles of persistence and adaptation, with movements such as repeated leaning or tensed gestures capturing the push-and-pull dynamics of holding on versus letting go. Dynamic contrasts added depth: sharp, fast movements—embodying internal struggles—were juxtaposed with moments of stillness or soft fluidity, representing surrender and acceptance. The performers’ breathing, amplified by the location’s acoustics, further emphasized these contrasts, creating a powerful interplay between tension and release.
Another essential device was space and proximity, which emphasized the dynamics between the dancers and their relationship to the Zandwacht and each other. At times, dancers moved close to the structure, leaning into its concrete curves in an attempt to push it away, symbolizing the struggle to resist and break free from deeply ingrained patterns. In contrast, moments of intimacy emerged when the dancers came together in the heart of the Zandwacht, finding brief yet profound connections with one another. This spatial interplay highlighted the tension between isolation and connection, reflecting the resilience found in moments of togetherness. Within this shared space, the potential for healing became tangible, as the dancers embodied the possibility of transformation through mutual understanding and support.
To balance structure and freedom, the dancers followed a pre-determined score during the performance. This score outlined a sequence of movement clusters, providing coherence while allowing the performers to respond organically to the environment and each other. Within this framework, they navigated the Zandwacht’s architecture—leaning against its concrete surfaces, weaving through its openings, and pushing and pulling against its immovable forms. These physical interactions externalized the inner tensions of trauma, as the dancers translated emotional struggles into tangible, embodied actions. This approach emphasized the resilience required to confront and transform life’s challenges.
By grounding the choreography in structured improvisation, somatic research, and a thoughtful use of choreographic tools, such as repetition, contrasts, and spatial dynamics, the Zandwacht project became a deeply moving experience. Through the dancers’ engagement with the physical and auditory environment, the performance captured the complexities of human resilience and vulnerability, resonating deeply with the symbolic and tangible qualities of its surroundings.
4. Content, Style, and Form in Relation to the Presentation
The presentation of the Zandwacht project demonstrated a cohesive integration of content, style, and form, resulting in a performance that was conceptually grounded and physically engaging. The content was deeply rooted in the themes of vulnerability, resilience, and transformation, which were explored through the dancers’ physical and symbolic interaction with the environment. By addressing the unpredictable forces of the site—such as wind, sand, and the architectural curves of the Zandwacht—the performance externalized internal emotional tensions, giving these abstract struggles a tangible and relatable form.
The style of the performance reflected a strong connection to somatic and improvisational practices, enabling the dancers to move authentically in response to the environment and to one another. Their movements honored their own physical possibilities and natural ways of dancing, allowing them to bring their unique signatures into the collective whole. The absence of external music emphasized the dancers’ breathing and the natural sounds of the location, creating a direct sensory connection between the performers, the environment, and the audience. This approach amplified the emotional depth of the performance while maintaining an unpretentious and grounded quality.
The form of the performance was carefully structured yet adaptable, balancing pre-determined scores with improvisational freedom. This balance not only ensured coherence but also provided space for the dancers to respond to the site-specific conditions and to each other, as well as to the thematic material they so beautifully embodied. Choreographic tools such as repetition, contrast, and spatial dynamics were combined with push-and-pull principles, as well as copying, complementing, and contrasting actions. These principles created a rich interplay between the dancers, emphasizing dynamics of resistance, support, and transformation. Moments of sharp, fast movements contrasted with softer, fluid releases, highlighting the tension between holding on and letting go—a central theme within the performance.
In its presentation, the performance seamlessly wove together content, style, and form, resulting in a piece that was honest and multilayered. The dancers’ embodied engagement with the environment and the thematic material resonated deeply, offering an experience that was both meaningful and accessible. By rooting the choreography in the dancers’ authentic movement and responses, the work avoided unnecessary complexity while inviting reflection and connection from its audience.
5. Performers and Audience Engagement
Performers
The engagement of the dancers was rooted in the creative process, which emphasized somatic exploration, improvisation, and collaborative reflection. The dancers were encouraged to connect deeply with their own physical sensations, the environment, and each other. Somatic research played a significant role, guiding the dancers to embody themes of tension, release, and transformation. For example, exercises focusing on breath, weight, and the physical resistance of the sandy terrain created a direct, embodied connection to the environment.
Improvisation tasks were used to cultivate a sense of presence and responsiveness. The dancers explored relational dynamics through "push and pull" principles and collaborative methods such as copying, contrasting, and complementing each other’s movements. These approaches not only strengthened their interpersonal connection but also empowered them to bring their unique physical qualities and movement signatures into the performance. The shared process of exploration, combined with moments of guided reflection, fostered a strong sense of ownership and authenticity among the performers.
Audience
Audience engagement began even before the performance. A teaser video shared on social media offered a glimpse into the thematic and visual world of the project, sparking curiosity. Additionally, one of the dancers promoted the event on a local Facebook page, attracting visitors who were intrigued by the performance and the location. Some attendees mentioned that, although they were familiar with the Zandwacht, they had never visited the site and were inspired to attend by the event. Others included friends, family, and acquaintances of the performers, creating a rich mix of viewers.
The Zandwacht itself, an imposing structure set against the backdrop of dunes, sea, and industry, served as a compelling and immersive setting. The choice to allow the audience to move freely around the structure added a unique layer of engagement. Each vantage point offered a fresh perspective on the performance, echoing the thematic idea that transformation begins with seeing old patterns in new ways.
Before the performance, the audience was welcomed and given an introduction to the event, including guidance on how they could interact with the space. Afterward, those who wished to share their thoughts were invited to provide feedback. Many attendees described the emotions and associations evoked by the performance, including words such as:
- Emotions: "A joyful and unburdened opening," "sadness," "helplessness," "resistance," "release," "anger," "struggle."
- Imagery and associations: "Pushing," "escape possible through the openings of the structure," "elusive like sand," "sigh = struggle," "emotional," "moving," "radiating strength," "brain as inner world."
These responses highlighted the performance's capacity to resonate deeply with its audience, evoking both emotional and intellectual engagement.
Despite being a pop-up event organized within a short time frame, the performance drew over 40 attendees, a testament to the interest generated by the combination of social media outreach, personal connections, and the allure of the Zandwacht. The open, reflective atmosphere allowed the audience to connect not only with the dancers and the environment but also with the themes of resilience, transformation, and the human experience, creating an experience that was both intimate and thought-provoking.
6. Interweaving Space, Body, and Landscape
The Zandwacht, with its striking architecture and symbolic resonance, was both the setting and a dynamic participant in the performance. The dancers moved in and around the structure, weaving their movements through its openings and responding to its towering forms. This interplay transformed the Zandwacht into an active scenographic element, shaping not only the choreography but also the experience of the audience. The decision to allow the public to walk freely around the performance space added a sense of discovery, with every step offering a new perspective on both the dancers and the structure. This interaction invited the audience to engage with the environment in the same way the performers did, fostering a shared sense of exploration.
The scenography extended far beyond the Zandwacht itself, seamlessly incorporating the surrounding dunes, the expanse of the sea, and the industrial skyline in the distance. These elements created a layered aesthetic where natural and man-made worlds intersected, emphasizing themes of imperceptible traces and transformation. The wind and ambient sounds became an organic soundscape, enriching the sensory experience and anchoring the performance in its unique site-specific context.
The dancers’ movements were deeply informed by somatic research conducted throughout the creative process. By focusing on breath, weight, and points of tension in their bodies, they connected not only with the thematic content but also with the physical demands of the environment. The uneven, sandy terrain demanded physical strength, grounding the dancers and enhancing their sense of presence. This groundedness amplified their expressive power, as they connected deeply with the earth beneath them. The wind, with its unpredictable force, became a partner in the performance, urging the dancers to either resist its pull or surrender to its flow. As their hair whipped in all directions and their clothes fluttered in the breeze, the dancers responded instinctively—sometimes moving against the wind, at other times letting it guide their movement. At moments when they stood still, the wind played with their bodies, adding a raw, untamed layer to the performance, heightening the contrast between fragility and strength. This dynamic interaction between body, environment, and breath allowed the dancers to fully embody the themes of fragility and resilience, blending the internal with the external in a meaningful expression of both vulnerability and strength.
By intertwining the architectural presence of the Zandwacht, the vastness of the surrounding landscape, and the embodied responses of the dancers, the performance became a multidimensional exploration of movement, space, and time. The elements worked in harmony to create an experience that was grounded in the present moment while evoking a sense of timelessness—a reminder of the transformative power of seeing familiar patterns anew.
