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Six Propositions
Concept & Choreography: Ivar Hagendoorn
Dancer: Saskia de Vries
Music: Gérard Pesson, Sunn O))), Kaija Saariaho, John Cage & J.S. Bach
Costume: Issey Miyake
Year: 2020

Proposition 1.21, Proposition 2.202, Proposition 3.1, Proposition 4.1212, Proposition 5.2

Performance Archive

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I've been invited to give a talk at the annual symposium of the Sainsbury Wellcome Centre on Friday 8 October. It's a distinguished line-up of speakers so be sure to check it out. The symposium will be hosted on Crowdcast.

The coronavirus outbreak also interfered with my plans. I'm currently planning some new projects. Check back soon for details.

The Oxford Handbook of Improvisation in Dance edited by Vida L. Midgelow is out in print! It includes a chapter by me. It is a groundbreaking publication that finally puts dance improvisation on the map as an area worthy of theoretical reflection and inquiry in its own right.

The special edition of French magazine Sport & Vie (No. 49, December 2018), "La Danse, comme on n'en parle jamais", includes an interview with me. The entire issue is well worth reading. So, if you speak French, get yourself a copy before it's out of stock. You can order it online.

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(Click to enlarge)

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Hagendoorn, I.G. (2019). An Agile Mind in an Agile Body. In: Midgelow, V.L. [ed.], The Oxford Handbook of Improvisation in Dance. Oxford: Oxford University Press, 749-761.

Hagendoorn, I.G. (2011). Dance, Aesthetics and the Brain. Tilburg: Tilburg University. "The Book". This is the academic version. I'm still half planning to revise it for a general audience. Please note that I have revised many of my earlier views.

Hagendoorn, I.G. (2010). Dance, Language and the Brain. International Journal of Art and Technology, 3 (2/3), 221-234.

Hagendoorn, I.G. (2010). Dance, Choreography and the Brain. In: Melcher, D. and Bacci, F. [eds.]. Art and the Senses. Oxford: Oxford University Press, 499-514.

More publications

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Recent Photo Galleries

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Recent Blog Posts

Ein Volksfeind

Ein Volksfeind is one of the showpieces of Thomas Ostermeier and the Schaubühne. It premiered in 2012 and has been part of the repertoire ever since. It is also frequently shown on tour. I was glad I finally had a chance to see it.

At more than five hours Thomas Ostermeier's stage adaptation of Vernon Subutex 1 by Virginie Despentes is quite long, but it doesn't feel like it.

Die Kunst der Gesellschaft 1900-1945 showcases highlights from the collection of the Neue Nationalgalerie. Like any good collection presentation it offers a new perspective on the collection.

I loved the installation Serene Velocity in Practice: MC510/CS183, part of the Michael Stevenson solo exhibition Disproof Does Not Equal Disbelief at Berlin's KW Institute for Contemporary Art.

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From the Archive