Dotted throughout the year, RDF also hosts workshops led by international artists, theorists, and curators – as a means of feeding the domestic scene with new impulses and discursive contexts.




A globally widespread genre, solo dance typifies both truth games and body techniques that individuals practice in everyday life, and not only on the theater stage. The most abundant format in contemporary dance performance, a mandatory test of artistry in education as well as a fetish item in a choreographer’s oeuvre, solo dance is also perhaps the most inexpensive commodity traded in the art world nowadays. It is, moreover, the form in which many bodily systems and techniques are instructed and exercised in the everyday ranging from therapy, business management rhetoric to entertainment in reality TV and social media. The principles and techniques of solo dance (such as “being-in-the-present,” the cult of the personal, self-expression, auto-affection, virtuosity and creativity, projective self-ownership and entrepreneurship) are the technologies of the self which individualize the self by performance. 

“Technologies of the self” hark back to Michel Foucault’s archeology of the discourses on sexuality (in particular, the third volume of The History of Sexuality: Care of the Self). In a nutshell, technologies of the self designate a mode of action that an individual exercises upon herself and uses to produce her subjectivity. They encompass a system of techniques, from truth games to corporeal praxes of the care of the self. The aestheticizing attribute which distinguishes the contemporary processes of individuation points to “the idea of the bios as a material for an aesthetic piece of art” (Foucault 1991: 348). An intriguing ambivelence lies between, on the one hand, Foucault’s originary conviction about the aestheticized notion of self-transformation and resistance and, on the other hand, mechanisms of spectacular commodification and New-Age consumerism.

The workshop probes the above mentioned claims in the performative practices of individual dancers and performers. Participants are asked to collect in advance their materials, thoughts and experiences of solo dance/performance (e.g. videos of their previous work in the genre), as well as the training bodily techniques/systems they have encountered which are circulated beyond the art of dance. In the sessions, we will study these, and at the same time, we will work on developing scores of self-performances, rooted in practicing the care of oneself, which will later be transmitted via radio. One of the aims of the workshop is that each participant (or groups) devises a radio score which will be broadcast on a local radio station.

Bojana Cvejić holds PhD in philosophy (Centre for Research in Modern European Philosophy, London) and MA and BA in musicology (University of Arts, Belgrade). She is lecturer at contemporary dance schools (P.A.R.T.S. Brussels etc.) and works as theorist and performance maker in Europe. Author, dramaturg or performer in many works since 2000 with a.o. J. Ritsema, X. Le Roy, E. Salamon, M. Ingvartsen, C. De Smedt. Apart from publishing in performance and philosophy journals, author/editor of several books (recently, A Choreographer’s Score: Fase, Rosas Danst Rosas, Elena’s Aria, Bartók, co-authored with A. T. De Keersmaeker, Mercatorfonds, Brussels, 2012, Public Sphere by Performance, co-authored with A. Vujanović, Bbooks, Berlin 2012, Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš, TkH/CDU, Belgrade/Zagreb, 2013). Cvejić is member of the editorial collective TkH (Walking Theory) from Belgrade.



This month RDF hosts Simo Kellokumpu for a three day workshop. Over the three-days, the workshop will be stimulated by selected texts, which will be gone through as a reading-circle –principle.

Participants choose relevant points out of these texts, and make critical reflection on them, as well as think how these points refer to their practice. Sharing colloquian thinking, the group will map together the im/possibilities of contemporaneity, representation and politics in the practice of Choreography. The group will come together and try out certain exercises and proposals – but the workshop is open to be developed during these three days to the directions we come up with. 

How two-dimensional text reaches our thinking about Choreography ? 

What are the indispensable terms and conditions for Choreography to be perceived/recognised as such ? 

The aim is to discuss about what do we mean by Choreography and intensively to think in practice how does it function.


Simo Kelllokumpu graduated with MA in Choreography from the Theatre Academy Helsinki in 2003. Since then he has been working mainly as a choreographer and performer. In recent years his projects with his collaborator(s) have been context-specific. After being based six years in Berlin 2008 -2014 he is based again in Helsinki in order to work on his Artistic Research Doctorate in Theatre Academy. Icelandic art-scene is familiar to him through the Æringur – festival 2012 and Reykjavik Dance Festival 2013. 

Workshop realised in collaboration with Reykjavík Dance Atelier. 

Project realised with support from The City of Reykjavík, the Ministry of Culture and Education, The Future Body Project and Arts Promotion Centre Finland.