{"id":47965,"date":"2025-05-20T11:00:48","date_gmt":"2025-05-20T09:00:48","guid":{"rendered":"https:\/\/dansenshus.se\/?post_type=dh_event&#038;p=47965"},"modified":"2026-04-10T14:37:20","modified_gmt":"2026-04-10T12:37:20","slug":"mette-ingvartsen-dnk-bel-skatepark","status":"publish","type":"dh_event","link":"https:\/\/dansenshus.se\/en\/program\/mette-ingvartsen-dnk-bel-skatepark\/","title":{"rendered":"Mette Ingvartsen [DNK\/BEL] | SKATEPARK"},"content":{"rendered":"<p>In <em>Skatepark<\/em> the stage is transformed into a vibrant skate ramp, and skateboarding into a strange choreography. Suddenly we all become part of a frenetic universe where skaters, rollerbladers and dancers try out tricks, start a band, sing, play games and play basketball. A community emerges - not through words, but through movement.<\/p>\n<p>The stage space opens up to what happens every day in parks and streets: making something out of nothing. The ramp brings together different generations and groups. A community based on equal parts frivolity and hard work, teamwork and competition.<\/p>\n<p>Mette Ingvartsen has skaters and dancers share a room - not to emulate each other, but to meet in what they already have in common: the body, the rehearsal, the persistence. It is not a performance. It is an ongoing movement built on presence and respect.<\/p>\n<p>When the doors to the stage area open, you will initially meet local skaters demonstrating their tricks on the ramps on stage.<\/p>\n<p>The ramp itself was designed by French company Antidote Skateparks, which specialises in building skateparks in public spaces.<\/p>\n<hr \/>\n<h3>Mette Ingvartsen on SKATEPARK<\/h3>\n<p><em><span data-contrast=\"auto\">\"A couple of years ago I was sitting in a skatepark in the <\/span>centre of Brussels. As I watched the activity there, it began to strike me how incredibly performative this site was. I saw that it was both a space of virtuosic physical experimentation, and a shared, public place for cross-cultural encounters between communities. From my seat, I witnessed young people of different ages gliding through the park as they tried again and again to pull off spectacular tricks. I saw boys fly through the air on bikes or pedal quickly forwards with a single wheel touching the ground. I stared at a group of teenage girls rehearsing a dance they were recording on a mobile phone. I was blown away by their sense of rhythm, their total commitment, but also the fun they were having with each other as they perfected their dance before the camera.<\/em><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\"><em>It struck me how extreme the physical activity in this park really was. I was compelled by the persistence of these young people who were working so hard to succeed. It reminded me of practicing dance, and of how bodies can be driven by an insatiable desire to accomplish a specific movement. I was intrigued by their physical energy, but also by their capacity to coordinate themselves, and the respect they showed for the logic of movement needed to prevent accidents in their shared space.<\/em><\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\"><em>In the following weeks I returned to the park to confirm the feeling I'd had, and with it the idea that a skatepark would be an incredible space and context for choreography. What I had in mind was an expansive form of dance that would be both physically virtuosic and socially relevant. A determined attempt to understand a place where different cultures thrive alongside one another, even at a time when our society is struggling to overcome all kinds of inequality and discrimination.\"<\/em><\/span><\/p>\n<hr \/>\n<p><span class=\"TextRun SCXW72882905 BCX0\" lang=\"SV-SE\" xml:lang=\"SV-SE\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW72882905 BCX0\">In co-operation with the Swedish Skateboard Association<\/span><\/span><\/p>","protected":false},"excerpt":{"rendered":"<p>It starts as it always does. Someone rides, flies, falls. Tries again. Join us at the Skatepark. A place for skate culture, dance, community and freedom. <\/p>","protected":false},"featured_media":47969,"menu_order":0,"template":"","class_list":["post-47965","dh_event","type-dh_event","status-publish","has-post-thumbnail","hentry","dh_eventcategory-stora-scen","dh_eventcategory-forestallningar"],"meta_box":{"components":[{"component_type":"embed","embed_group":{"embed_type":"video","embed_video":"f4e3bfb6adaae09b0e9d02fc2f3b69fd"}},{"component_type":"artist","linkbox":{"linkbox_background":"#f4f4f4"},"component_artist":{"artist_image":"47977","artist_heading":"Om Mette Ingvartsen ","artist_text":"Den danska koreografen och dansaren Mette Ingvartsen har genom \u00e5ren varit banbrytande med sina verk som r\u00f6rt sig i olika kontexter kring kropp, teknologi och samh\u00e4llskritik. Hon har tidigare visat flera verk p\u00e5 Dansens Hus scener, bland annat \u201dTo come (extended)\u201d (2018) och \u201dMoving in concert\u201d (2020).  \r\n \r\nMette Ingvartsen har studerat i Amsterdam och Bryssel och tog 2004 examen fr\u00e5n skolan P.A.R.T.S. i Bryssel. Hennes tidigaste verk var \u201d50\/50\u201d (2004), \u201dWhy we love action\u201d (2006) och \u201dGiant City\u201d (2009).  \r\n\r\nMellan 2009 och 2012 utvecklade hon The Artificial Nature Series, en serie verk som omf\u00f6rhandlar relationen mellan m\u00e4nsklig och icke-m\u00e4nsklig n\u00e4rvaro p\u00e5 scen. H\u00e4r ing\u00e5r verk utan m\u00e4nniskor \u2013 som evaporated landscapes (2009) \u2013 samt f\u00f6rest\u00e4llningar d\u00e4r kroppen \u00e5terkommer, exempelvis Speculations (2011) och The Artificial Nature Project (2012). 2014 startade Mette en serie av verk under samlingsnamnets \u201dThe Red Pieces\u201d. F\u00f6rst ut var \u201d69 Positions\u201d som ifr\u00e5gasatte gr\u00e4nsen mellan privat och offentligt rum genom att bokstavligt talat s\u00e4tta en naken kropp mitt bland teaterpubliken. Det andra stycket i serien var \u201d7 Pleasures\u201d d\u00e4r en grupp av 12 dansare utforskade varianter av nakenhet och sexualitet och begrepp som njutning och lust; hur massan st\u00e4lls mot individen och objektet mot den egna kroppen. \r\n\r\nH\u00f6sten 2019 hade Mette Ingvartsen premi\u00e4r f\u00f6r \u201dMoving in Concert\u201d \u2013 ett verk d\u00e4r hon diskuterar m\u00e4nniskan och hennes roll i en ny digitaliserad v\u00e4rld. \u00c5r 2021 presenterade hon tv\u00e5 nya projekt: The Life Work, skapat i samarbete med \u00e4ldre i Ruhromr\u00e5det i Tyskland, samt solot The Dancing Public, inspirerat av historiska dansepidemier \u2013 som  visades p\u00e5 Dansens Hus Elverket 2022.  \r\n \r\nMellan \u00e5ren 2013 och 2016 arbetade Mette p\u00e5 Kaaitheater i Bryssel. Hon har ocks\u00e5 varit knuten till universitetsv\u00e4rlden och har en doktorsexamen i koreografi p\u00e5 UNIARTS. Under \u00e5ren har hon samarbetat med bland andra Xavier Le Roy, Bojana Cvejic och Boris Charmatz och var medgrundare till det konstn\u00e4rliga forskningskollektivet EVERYBODYS. 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"},{"credits_role":"Lokala skejtare","credits_name":"Fricis Strauss, Alvar Carl\u00e9n Wadsted, Jamilie Kroschel, Veronica Brohoff,  Elian Canales, Viktor Soudy Castro, Data Minadze, Jim Nunez"},{"credits_role":"Ljuddesign","credits_name":"Anne van de Star, Peter Lenaerts "},{"credits_role":"Ljusdesign","credits_name":"Minna Tiikkainen"},{"credits_role":"Musik","credits_name":"Felix Kubin, Mord Records, Why the eye, sonaBLAST! Records, Rrose, The Fanny Pads, Restive Plaggona "},{"credits_role":"Dramaturg","credits_name":"Bojana Cveji\u0107 "},{"credits_role":"Kostym","credits_name":"Jennifer Defays "},{"credits_role":"Scenografi","credits_name":"Pierre Jamb\u00e9\/Antidote "},{"credits_role":"Technical design set","credits_name":"St\u00e9phane Thonnard "},{"credits_role":"Konstruktion","credits_name":"Construction workshop of Th\u00e9\u00e2tre National Bruxelles: Joachim Pochet, Joachim Hesse, Pierre Jardon, Yves Philippaerts, Andrea Messana, Boyd Gates "},{"credits_role":"Teknisk chef","credits_name":"Hans Meijer "},{"credits_role":"Ljudtekniker","credits_name":"Milan Van Doren, Yrj\u00e4n\u00e4 Rankka, Filip Vilhelmsson "},{"credits_role":"Ljustekniker","credits_name":"Bennert Vancottem, Jan-Simon De Lille "},{"credits_role":"Koreografiassistent","credits_name":"Jacob Ingram-Dodd "},{"credits_role":"Samproduktion","credits_name":"La Danse en grande forme (Cndc - Angers, Malandain Ballet Biarritz, La Manufacture CDCN Nouvelle-Aquitaine Bordeaux \u00b7 La Rochelle, CCN de Caen en Normandie, L\u2019\u00e9changeur - CDCN Hauts-de-France, CCN2 \u2013 Grenoble, La Briqueterie \u2013 CDCN du Val de Marne, CCN - Ballet national de Marseille, CCN de Nantes, CCN d\u2019Orl\u00e9ans, Atelier de Paris \/ CDCN, Le Gymnase CDCN Roubaix - Hauts-de-France, La Place de La Danse - CDCN Toulouse \u2013 Occitanie, La MC2 - Grenoble), Ruhrtriennale, Wiener Festwochen & Tanzquartier Wien, La Villette & Th\u00e9\u00e2tre Chaillot, deSingel, Kaaitheater & Th\u00e9\u00e2tre National Wallonie-Bruxelles, Kunstencentrum VIERNULVIER, Next Festival, Charleroi danse centre chor\u00e9graphique de Wallonie \u2013 Bruxelles, Theater Rotterdam, Perpodium  "},{"credits_role":"Med st\u00f6d fr\u00e5n","credits_name":"Fondation d\u2019entreprise Herm\u00e8s, Wilhelm Hansen Fonden  Residens: Rosas, Charleroi danse centre chor\u00e9graphique de Wallonie \u2013 Bruxelles, deSingel  "},{"credits_role":"Great Investment f\u00e5r st\u00f6d av","credits_name":"The Flemish Authorities, The Flemish Community Commission (VGC), Tax Shelter of the Belgian Federal Government & The Danish Arts Council.  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