Independent Performing Arts Platform


Chantal Mouffe about Agonistic politics and artistic practices


Archival Terrorism

(traducción en breve)

Daily Headaches of an Archival Dance Terrorist – Angela Vadori


I get up in the morning and turn on my notebook while I make coffee. I like to sip that coffee slowly and take time to wake up. So I check my mails in a very sleepy state, to see how stressful the day might get. Then I open a dance video, usually one I am working on and let it play while I look for socks, still the coffee cup in hand. When I am a little dressed I start wandering around the house with my notebook, sometimes sit outside on the balcony and start playing through all the mechanical quotidian actions. No, I do not pay much attention to the video, but it is there and the sleepiness and distraction sometimes make me notice something I didn’t see before. I sit at least twice more during the day to watch (usually the same) video again. If I have spare time I watch dance videos that have been lying around for a while and didn’t make it on the priority list yet, that would be late at night, just before I fall unconscious into bed. Choreographers give me copies of video recordings to work on and I am a crazy live audience, I make it to up to six performances a week, minimum three. But I like to know what is going on elsewhere, to keep the perspective on the international dance scene and let’s face it, that is not something you get to see much in Buenos Aires, you have to travel or watch videos. Of course my income is more Buenos Aires standard than New York standard, so I can download videos, I can get the choreographers to send me copies or I can make a grab into my network to get someone to send me a specific video. That is walking on illegal terrain. If I want to keep up to date and keep self-educating as a dance writer and theorist, the only way I have to do that is piracy. If I want to educate other people, I need to circulate a minimum amount of material. If I want to get to copy videos from someone, be it a university archive or a private person, I have to offer an exchange. A lot of external HD swapping. I travel light, leave the bigger part of my archive at home and take just 50 DVDs, my notebook with 200 GB videos and an external HD with 250 more. And yet I hardly give out any videos, many choreographers are friends and I respect their wish to not circulate their work. I cannot understand the logic though. The more people see them and like them the more likely for them to get invited to international festivals. Dance is the one art where you cannot replace theatre by video in any way. And the issue of copying… If someone is brilliant, he will transcend your work and make something excellent out of it, isn’t it great to see your work taking its own life? If someone is not creative enough, he will make a pathetic copy of it. and if someone manages to restage exactly your work, there will be someone in the audience who has seen the original since it is freely accessible. Reenactment/restaging when the choreographer is credited, are becoming common practices. So why not want to share your work?

There are discussions about virtual archives but no solutions yet, local intents that cannot capture the internationality of dance… in education the quality of theoretical education depends not only on the capability of the teacher but also on the dimensions of his private collection. The solution might be designing an international dance archive that has local people worldwide working on it and creating the local contexts, a virtual and freely accessible collection of videos, texts, audios…. A simple logical matter of visibility, of increasing knowledge, of propulsing and developing the whole dance community and its stand. For now there is no vision, an extremely complex legal situation and I, little theorist, am forced to keep circulating and gathering information and knowledge as a “dance terrorist”. The little impossibilities, illegalities and schizophrenias of the profession…

But seriously, there is a need to open the discussion on development strategies, the impact of the gathering and circulation of knowledge/information within and on the dance community and other related issues. And it is not just a need within the academic world, but within the artistic world as well. This discussion needs to be public, open, accessible like the accessibility to material we are promoting and do not know how to make happen in practice. There is a justly accused fashion of archival practice, that makes innumerable archives appear and cover tiny segments of material. What happens is a further splintering of information and knowledge by people who have no visions and just gather material that is again inaccessible and divided. The minimum size for these archives, that have to be virtually accessible to make sense, should be a national archive of dance. And to base themselves on these archives and create refreshing, future oriented perspectives, we need capable theorists who are in love with what they do at least as much as the artists themselves, who know how to walk the line between theory and practice. Here is where the circle closes, where education as a theme reappears and education is one of the basic purposes of those archives we speak about.

So I dream with being able to not be acting against the law when I teach my students and show them videos, with being able to see a piece in Korea when I am in Argentina and be able to invite the choreographer to an international festival, with walking into a dance class and referring to Les Ballet C de la B and my students will be able to follow my thought, with encouraging young artists to question themselves, to place themselves and to self-educate.


Estamos ententando crear una topografia de la danza en Buenos Aires. Lo que nos importa es que esté escrita a mano por los mismos artistas. No la vamos a comentar, ni analizar, sino simplemente vamos a hacer accesibles los cuestionarios online para que cada uno pueda hacer su analisis. Claramente un cuestionario es una forma restringida de expresarse y somos artistas, así que si su inquietud lo hace necesario, rompan la forma, agreguen al cuestionario preguntas o breves textos.

Aquí iría un agradecimiento a todos los artistas de la danza, pero creo que esto es para cada uno y si hay inquietudes en cuanto a como esto se podría instrumentalizar: publiquen su cuestionario en otro lugar y manden un link.

Bajar cuestionario como documento word aquí:



We are trying to create a topography of dance in Buenos Aires.  what we care about is that it be written by hand by the artists. We are not going to comment or analyze, but just to make the questionnaires accessible on the web for each and every one to make his/her own analysis. Clearly the questionnaire is a restricted form of expression and we are artists, so if your inquietudes make it necessary, break the form, add questions or short texts.

Here should be a thank you to all dance artists, but I think this is for everyone, if there are doubts regarding the instrumentalization of this: publish your questionnaire in some other place and send the link.


Download questionnaire here:


NOTAS #1 , the first edition of Notas is out. Like every beginning, there is a lot to improve and we are grateful for suggestions. We also appreciate any kind of participation: writing, editing, corrections, translations, contributions, coffee, webspace, ideas, reading and comments…. NOTAS #2 up and coming in April/May. The format of NOTAS is very simple, since we do it in our free time, the layout needs to take up little time and it is in black and white for you to print, copy and distribute if you wish so. Everything is in English and Spanish, just scroll down to the Spanish version.

NOTAS #1, la primera edición de NOTAS salió. Como todo principio, hay muchas cosas para mejorar y agradecemos sugerencias. Tambien apreciamos todo tipo de participación: escribir, editar, correcciones, traducciones, contribuciones, café, webspace, ideas, lecturas y comentarios… NOTAS #2 llega en Abril/Mayo. El formato de NOTAS es muy simple, como es un proyecto de tiempo libre, el layout no puede tardar mucho y es en balnco y negro para que lo puedan imprimir, copiar y distribuir si quieren. Todo está traducido, bajen por el documento para encontrar la versión en castellano.



MicrobiusDanceProject es una plataforma abierta para la difusión y valorización de la danza en Buenos Aires. Se trata de una iniciativa privada que no está ligada a ninguna institución y por lo tanto está abierta a todos. Como MiDaPro surge unicamente desde el esfuerzo de pocos que le dedican su tiempo sin ningún tipo de retribución, les pedimos una forma de comunicación saludable y constructiva para todos.

La idea de un proyecto “Micro” de lo pequeño y local pero a la vez multilingue e internacional nace de un entento de entender y desarrollar estrategias desde los margénes y las periferias que puedan funcionar en un contexto especifico o a veces ser intercambiadas con otros “actores” culturales y otros lugares.

  • NOTAS es una publicación independiente bajo CreativeCommons que convoca a creadores, investigadores y críticos de danza a publicar trabajos en diferentes formatos. Lo que busca NOTAS son trabajos que tengan de alguna manera que ver con el contexto local y en los cuales la teoría se acerque a la practica y la practica a la teoría. El contacto es el siguiente:
  • CALENDARIO es una publicación mensual en la pagina de MicrobiusDanceProject, se publican unicamente funciones de danza en la ciudad de Buenos Aires. Se tendrán en cuenta las publicaciones que lleguen antes del 20 del mes anterior (20 de febrero para el calendario de marzo…) al siguiente contacto:
  • PROYECTOS. MiDaPro apoya y organiza proyectos que estén relacionados al desarrollo y el fomento de la danza y la teoría de la danza en Buenos Aires o a nivel internacional, proyectos que involucren oportunidades y foros para jóvenes creadores y propuestas de dialogo y reflexión entre hacedores de danza o entre académicos y hacedores.

MicrobiusDanceProject is an open platform with the purpose to spread and valorize dance in Buenos Aires. It is a private initiative that is not connected to any institution and as such is open for anybody. As MiDaPro is hapening thanks to the effort of a few that are dedicating their time without any monetary reward, we ask you for a healthy and constructive form of communication.

The idea of a “Micro” project of the small and the local but at the same time multilingual and international is born from the intent of understanding and developing strategies that come from the margins and the peripheries and that function in a specific context or sometimes be exchanged with other cultural “agents” and places.

  • NOTAS is an independent publication under CreativeCommons that convokes creators, researchers and critics related to dance to publish texts in different formats. What NOTAS is looking for are works that have some local relation and that bring closer theory to practice and practice to theory. Contact at:
  • CALENDARIO is a monthly publication on the MiDaPro page. We publish exclusively dance performances in Buenos Aires. We will take into account any publications that arrive before the 20th of the previous month (20th of February for March CALENDARIO) at the following address:
  • PROJECTS. MiDaPro supports and organizes projects related to the development and promotion of dance and dance theory in Buenos Aires or on international level, projects that involve opportunities and forums for young creators and proposals of dialogue and reflection between dance makers or between academics and artists.