"Dominique McDougal and Carro Sharkey's three-part performance, 'Did4luv'-a tragicomic dance solo performed by each of the dancers, alternating every night-debuted this month at the dual 30th anniversary of Sophiensaele's inauguration as a theater and its renowned dance festival, Tanztage. This year's Tanztage invites its audience to consider the (im)material conditions of artistic production: the body and self as sources for capitalist exchange, the extractive nature of our systems of work and its resulting consequences for marginalized bodies."
"In Sophiensaele's publication accompanying this year's Tantztage, 'Sophiensaele Forever,' Lena Kollender and Mateusz Szymanówk discuss the attitudes and structural conditions perpetuating exploitation, describing "a (gendered, racialized, ableist, and ageist) fantasy of art as vocation and devotion, a moral economy in which enthusiasm is the currency and payment appears vulgar." Underpinning this fantasy is the idea of free, independent ownership over our bodies-their health, time and abilities-while, in actuality, our bodies and their (mis)uses are inseparable from class, race, gender, nationality and ethnicity."
"With this backdrop in mind, the performance opens with a somber voice emerging from the pitch dark, asking "if today were the day you had to stop dancing, how would you feel?" A dim light shines in the left corner of the stage, and the ballad 'What I Did For Love'-a melancholic and passionate closing piece from the 1975 Broadway musical 'A Chorus Line'-begins."
Dominique McDougal and Carro Sharkey perform a three-part tragicomic dance solo, Did4luv, alternating nights at Sophiensaele's 30th-anniversary Tanztage festival. Tanztage frames artistic production in terms of (im)material conditions, exposing the body and self as sources for capitalist exchange and the extractive nature of labor systems that harm marginalized bodies. Many practicing artists face precarious labor and prioritize survival over wellness, revealing wellness as a privilege. Sophiensaele's publication quotes a 'gendered, racialized, ableist, and ageist' fantasy of art as vocation that valorizes enthusiasm while discouraging payment. The performance opens with a somber prompt about having to stop dancing, underscoring bodily precarity.
Read at Berlin Art Link
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