Jeroen Fabius

Jeroen Fabius is the coordinator of the Amsterdam MA of Choreography at the Theaterschool of the Amsterdam School for the Arts. Since 1991 he has taught dance history and anthropology at the School for New Dance Development. Jeroen studied anthropology and communication science at the University of Amsterdam, and choreography at the School for New Dance Development. After his graduation he worked for ten years as a choreographer, dancer and actor, and now works regularly as a dramaturge. His PhD dissertation is made possible with the support of the Lectoraat Kunsttheorie en Onderzoek of the Amsterdam School of the Arts.

PhD: Closely watching moving bodies, minimal dance as exercises of perceptual learning. Choreographies of Trisha Brown and Meg Stuart as micropolitical explorations of kinesthesia.

What is the political significance of minimalist approaches in dance? This is the central question of Jeroen’s PhD research. Minimalist dances work with reduced means and rather seem to avoid any possible explicit political connotation. They seem to offer the spectator no other choice than to closely observe every movement of the dancing bodies on stage. I argue that the political significance of minimalist dance lies precisely in how they make us look at moving bodies. This political significance is not a matter of what the bodies on stage represent, but how the works address the viewer and this address destabilizes conventional modes of looking at moving bodies. This has less to do with ‘what’ the bodies (re)present, and more with ‘how’ the bodies are shown to be moving.
Two minimalist works, Set and Reset (1983) by Trisha Brown (1935) and Disfigure Study (1991) by Meg Stuart (1965) are analysed in depth in relation to basic categories of attunement, time, shape and intensity as formulated by Daniel Stern. For each of these categories I will look at the techniques that are applied by the choreographers in the scores to stimulate the production of difference, from convention, but also the production of surprise, as ways to invite the spectator to experience the gap from the already known. On the other hand I analyse the way that the choreography points to the immanent specific bodily qualities that contribute to the construction of the movement material, like sensorial qualities, motor coordination, skeletal motion properties and others.

(2009) Talk – 30 years of movement research at the School for New Dance Development.Amsterdam: Amsterdamse Hogeschool voor de Kunsten.

(2015) All of the person. Kinaesthetic explorations of the dancer’s gaze. . In: Hanneke Koolen, Jochem Naafs, Ruth Naber en Liesbeth Wildschut. Danswetenschap in Nederland, deel 8. Amsterdam: Vereniging voor Dansonderzoek, 2015

(2012) The missing history of (not)conceptual dance. In: Merel Heering, Ruth Naber, Bianca Nieuwboer en Liesbeth Wildschut.Danswetenschap in Nederland, deel 7. Amsterdam: Vereniging voor Dansonderzoek, 2012

Zaginiona historia tańca (nie)konceptualnego Jeroen Fabius Tłumaczenie Michał Jankowski. In: Jadwiga Majewska (2013). Świadomość ruchu. Teksty o tańcu współczesnym. Krakow.

(2011)  with S.Doruff (ed). “Steve Paxton. Ave Nue”. RTRSRCH, ARTI, Artistic Research, Theory and Innovation. Amsterdam School for the Arts

(2010) “Seeing the body move: choreographic investigations of kinaesthetics at the end of the twentieth century. Aesthetics of Disappearance. William Forsythe”. In: Merel Heering, Ruth Naber, Bianca Nieuwboer en Liesbeth Wildschut.Danswetenschap in Nederland, deel 6. Amsterdam: Vereniging voor Dansonderzoek, 2010

(2009) “Seeing the body move. Changing ways of seeing the dance. Kinesthetics and choreography at the end of 20th century.” In: Joanne Butterworth and Liesbeth Wildschut (eds.) Routledge Reader in Contemporary Choreography. London: Routledge.

(2009) “Boris Charmatz – con forts fleuve. Politics of perception in the work of Boris Charmatz.” In: Anke Bangma, Deirdre Donoghue (eds). Rotterdam: Piet Zwart Institute.

(2008) “Dance and the political: 1960s New York and 1990s Western Europe.” In: Liesbeth Wildschut and Mirjam van der Linden (eds.), Danswetenschap in  Nederland 5. Amsterdam: Vereniging voor Dansonderzoek.

(2007) “Plouging the lot. Live video in works leading up to Discopolis by Pere Faura.  Explorations in live video in the theatre.” In: Volume 8. Amsterdam: Gasthuis, 32-37.

(2006) “That Stranger The Unmade Dance. Over 30 Years of Dance Education At The School For New Dance Development in Amsterdam.” In: Cornelia Albrecht und Franz Anton Cramer (eds.)  Tanz(Aus)Bildung, Reviewing Bodies of Knowledge. INTERVISIONEN – Texte zu Theater und anderen Künsten. EPodium Verlag, München, 147-174.
Also in: Liesbeth Wildschut and Mirjam van der Linden (eds.) Danswetenschap in Nederland 4. Amsterdam: Vereniging voor Dansonderzoek, 29-39.

(2006) “Looking Back.” In: Ingrid van Schijnel (ed.) Company in School. Amsterdam:  Amsterdamse Hogeschool voor de Kunsten / EmioGrecoPC, 5-7.

(2004) “Presentational modes in dance.” In: Liesbeth Wildschut and Mirjam van der Linden (eds.), Danswetenschap in Nederland 3. Amsterdam: Vereniging voor Dansonderzoek, 42-54.

(2000) “Dans in mondiaal perspectief. Over werelddans, wereldcultuur en de geschiedenis van theaterdans.” In: Laurien Saraber (ed.) Tussen rasa en redoble. Werelddans in de Nederlandse kunsteducatie. Utrecht: LOKV Nederlands Instituut voor Kunsteducatie, 15-28.