All materials are owned by Ca’ Foscari University of Venice, project Mnemedance. Any use of the material different from consultation is not possible without the prior written consent of Mnemedance’s supervisor. Interviews may only be reproduced with permission by Mnemedance. MovingImage January 24, 2023 PHAIDRA University of Padua Interview with Salvo Lombardo by Susanne Franco video/quicktime (486623011 bytes PT58M27S) Lombardo, Salvo (Interviewee) Franco, Susanne (Interviewer) 24 gennaio 2023 ita SALVO LOMBARDO is an Italian artist established in the field of dance as a choreographer by taking a path that may be considered unconventional when compared to the dance canon and the traditional way of becoming a professional in the field. Instead of in-depth training for mastering a dance technique or a style, he opted for a horizontal way of learning that could offer him versatile and stratified education in the form of artistic “affiliations”, meaning here explorations and experiences, that could nurture his curiosity on a research subject and at a compositional level. In his work for the stage, a sort of mosaic of memories, archives of gestures, cultural objects, and imaginaries, the body is a point of departure and arrival for deconstructing the traces of the past and building a new “reality” mutated by the present. Aiming to de-canonise the representation of the bodies, he fearlessly immerses himself in the world of archives and evoking the philosopher Michel De Certeau, he considers the archive as a “practiced place” mediated through the body. DOMANDE: [00:00:19] Quali sono i primi ricordi che leghi alla danza? [00:05:38] Quando hai cominciato a definirti come danzatore e coreografo? [00:08:08] Attualmente dove posizioni il tuo lavoro? [00:10:58] Rispetto alla tua formazione poliedrica e stratificata, quali esperienze riconosci come fondative? [00:14:02] Che saperi del corpo consideri la tua eredità artistica e come li attivi? [00:17:26] Cosa pensi di avere dimenticato nell’ambito della tua formazione e cosa ti piacerebbe poter dimenticare? [00:20:02] Che strategie utilizzi nel tuo lavoro per attivare la memoria corporea? [00:23:27] In che modo il tuo lavoro interroga ma anche integra la storia della danza? [00:28:37] In che modo pensi che il tuo lavoro contribuisca a mettere in discussione il passato? [00:33:12] Hai organizzato un archivio dei tuoi lavori o sistematizzato un processo di archiviazione? [00:36:52] Nella tua ricerca consideri la partecipazione e la creazione di comunità come strategie di trasmissione? [00:41:05] Cosa pensi del concetto di "repertorio" in relazione al corpo, all'archivio e al processo coreografico? [00:44:35] Come intendi la questione del canone rispetto alla danza e in particolare alla tua trilogia? [00:54:12] In che modo la danza di oggi ti sembra che registri la nuova consapevolezza storica e politica rispetto alle questioni culturali e identitarie e alle dinamiche di potere? AMOЯ ; AMOR ; Casual Bystan ders ; Excelsior (Manzotti, Luigi) ; Excelsior (Lombardo, Salvo) ; Sport (Manzotti, Luigi) ; Sport (work-in-progress) ; Castellucci, Claudia (Societas Raffaello Sanzio) ; Manzotti, Luigi ; Rome ; Sardinia ; Villarosa (Sicily,Italy) ; archive ; archivio ; clubbing / club culture ; community art ; “creative writing” / dramaturgy ; scrittura creativa / scrittura scenica ; public space ; spazio pubblico ; street dance (hip hop) ; relational art ; arte relazionale ; re-mediation of repertory ; ri-mediazione del repertorio theatre ; teatro ; visual arts ; arti visive SALVO LOMBARDO is an Italian artist established in the field of dance as a choreographer by taking a path that may be considered unconventional when compared to the dance canon and the traditional way of becoming a professional in the field. Instead of in-depth training for mastering a dance technique or a style, he opted for a horizontal way of learning that could offer him versatile and stratified education in the form of artistic “affiliations”, meaning here explorations and experiences, that could nurture his curiosity on a research subject and at a compositional level. In his work for the stage, a sort of mosaic of memories, archives of gestures, cultural objects, and imaginaries, the body is a point of departure and arrival for deconstructing the traces of the past and building a new “reality” mutated by the present. Aiming to de-canonise the representation of the bodies, he fearlessly immerses himself in the world of archives and evoking the philosopher Michel De Certeau, he considers the archive as a “practiced place” mediated through the body. INTERVIEW QUESTIONS: [00:00:19] Which are the first memories that you associate with dance? [00:05:38] When did you begin to define yourself as a dancer and choreographer? [00:08:08] Where do you currently position your work? [00:10:58] Which experiences do you recognise as fundamental regarding your versatile and stratified training? [00:14:02] What body knowledge do you consider your artistic heritage and how do you activate it? [00:17:26] What do you think you have forgotten about your training and what would you like to be able to forget? [00:20:02] What strategies do you use in your work to activate your body memory? [00:23:27] How does your work interrogate but also integrate the history of dance? [00:28:37] In what way do you think your work contributes to questioning the past? [00:33:12] Have you organised an archive of your works or systematised an archiving process? [00:36:52] In your research, do you consider participation and community-making as transmission strategies? [00:41:05] What do you think of the notion of “repertoire” in relation to the body, the archive and the choreographic process? [00:44:35] How do you approach the notion of canon in dance and in particular in relation to your trilogy? [00:54:12] How do you think today's dance registers the new historical and political awareness of cultural and identity issues and of power dynamics? hdl:11168/11.497819 https://phaidra.cab.unipd.it/o:497819 http://phaidra.cab.unipd.it/o:449891 All rights reserved