• Five people sit on the floor, looking up at a small screen with the image of a person with long hair, dressed in a red dress. The screen is hung to the wall, and there are several shelfs with books around it.

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    Students watch “Abhina Aher” video portrait from How We Behave by Grant Watson (2012-ongoing). If I Can’t Dance, Amsterdam, 2021. Photo: Megan Hoetger.

  • Several people, wearing face masks, sit in four rows of tribute sitting. Many seats are left empty. There is a floor lamp at the back. The only visible wall has a large black-and-white photograph as wallpaper.

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    Students watch a film installation at All About Theatre About Film by Ivo van Hove and Jan Versweyveld. EYE Filmmuseum, Amsterdam, 2021. Photo: Megan Hoetger.

  • Indoor space with large windows. There is a stage-like structure with two levels. There are several signs on poles, set on this structure. They have yellow backgrounds, an illustration and a word underneath. The words appear in different languages and in the illustrations several animals appear: a rat, fishes, a turtle, etc. There are six people sitting on the first level.

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    Students attend a lecture within the frame of Court for Intergenerational Climate Crimes (CICC) by Jonas Staal and Radha D’Souza. Framer Framed, Amsterdam, 2021. Photo: Megan Hoetger.

  • A group of people lay back on bean bags, looking at a large screen. The screen shows the image of a tree in a field. The tree leans to the left. The room is dark.

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    Students watch a film installation in the exhibition Mountains and Molehills by Fiona Tan. EYE Filmmuseum, Amsterdam, 2022. Photo: Megan Hoetger.

  • A person is sitting on a red bean bag next to a structure that is closed off with a purple textile. The person is leafing through a book. There are two other pillows, one of which says

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    Student sits in an installation in the exhibition For those who have no time to play by Gluklya. Framer Framed, Amsterdam, 2022. Photo: Megan Hoetger.

  • In an indoor space, three people sit on a bench, facing the same direction. Behind them, there is a large screen, seen from the back, and a sentence in green neon lights, which hangs on a wall.

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    Students sit inside the exhibition Feed me. Cheat me. Eat me. by Janis Rafa. EYE Filmmuseum, Amsterdam, 2023. Photo: Megan Hoetger.

  • In a lofty indoor space, a person sits in front of a screen, which hangs from the ceiling. There is a monitor in front of the screen, which they look towards. There is a black column in the space, visible at the front, and a mezzanine level, visible at the back.

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    Student sits inside the installation Performing Colonial Toxicity by Samia Henni. Framer Framed, Amsterdam, 2023. Photo: Megan Hoetger.

  • Four people sit or stand next to a table. One of the people is pointing at the screen of a grey laptop, which is open on the table. There is a cup, an open bag of crisps and a sheet of paper also on the table.

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    Students gather around the screen in a listening session with ekphrastic texts from Black Revelry: In Honor of ‘The Sugar Shack’ by Derrais Carter (2021). If I Can’t Dance, Amsterdam, 2023. Photo: Megan Hoetger.

  • A person is sitting in front of a large screen. On the screen, a text in white is being projected.

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    Student watches projection in the exhibition Bad Color Combos by Yto Barrada. Stedelijk Museum, Amsterdam, 2022. Photo: Megan Hoetger.

Unfolding annually across four days each year, the workshop Performative Writing as Documentation introduced choreography students to the many forms that documentation can take, as well as the functions it can serve, in a performance practice. In particular, it focused on the slippery status of “the document” itself and its many temporalities, highlighting non-visual forms of documentation, especially creative writing. Each morning, students were introduced to materials from the If I Can’t Dance archive, which were brought into dialogue with short readings, screenings, and the students’ own work. In the afternoons, the group then made visits to exhibitions and events around Amsterdam that connected with the morning’s materials; and, finally, a small writing exercise explored in practice the counter-techniques for documentation discussed throughout the day. 

This workshop was conceived and facilitated together with If I Can’t Dance Curator of Archive Anik Fournier for the second year curriculum at the School for New Dance Development, Amsterdam.