Posts about schrijven

Ik kijk, ik kijk weg*

maart 31st, 2020

Ik kijk
Ik kijk weg
Een hand
Een hand op een kuit
Zoekend naar contact
Schuchter schurend
Over huid

Ik kijk
Ik kijk weg
Om me heen zoekend
Onderwijl voelend hoe
Jouw hand
Jouw mond
Mij onderzoekt
Mij aftast

Wil ik dit?
Wil ik dit wel?
Wil ik jou voelen?
Wil ik jouw zoen?

Ik grijp je
Ik vergrijp me
Aan jou
Terwijl ik wegkijk
Terwijl ik wegdroom
En langzaam thuiskom
Bij jou

  • Door Jochem Naafs. Geïnspireerd door Scopophilia van Fanny Vandesande en Robin Vanden Bussche. Eindhoven, United Cowboys: Seasoning Spring/Lente 2017, 17 maart 2017.

The intimacy of bright blue bodies*

maart 3rd, 2020

Bright blue bodies on white wide canvas
Anonymous encounters
Close, very close, but never intimate
Full on, hard-core anonymity
Skinless sexuality
Posing for
Exposing for
Anyone to see

Touch, touch
Never really touch
But feel touched nonetheless
Moan, groan
Never really go
Into touch nonetheless

We enjoy
We enjoy the feeling
We enjoy the sensation of pleasure
We allow the flow of sex
Naked sex
Heard by you and me
And I see only faces
Faces that feel and peel off
The action of coming

Until only the imagination is left
For us to dance to
For us to jive too
To smile and live
To come
To come to be
To come to be alive
And see each other in the eye

Enjoy being
Enjoy being together
I dance because I want to dance
I dance because you want to dance
I dance because you want me to dance
And dance and dance
And smile and dance
And clap and dance
And jump and dance

I don’t see any chance
To escape
To leave
To leave the intimacy of bright blue bodies
On white wide canvas
To escape
The left over sex after coming

* Inspired by To Come (Extended) by Mette Ingvartsen. Utrecht: May 17 2018. Author: Jochem Naafs

The future is watching the present*

februari 25th, 2020

The future is reading these words
While she sits in front of me
And I’m not sure she knows English
But I am sure she understands me

The future stares friendly and smiles
The future talks with the past
The past may be her mother
And it is not sure if it lasts

While I am writing these thoughts
And try to be present and here
She’s distracted and gets off
And decides the future is near

And I fall, I roll, I run, I call, I enter the hall

When I enter, there is a disco ball
Creating the form of phi
A future fireplace to warm me
To take the panic away
White lit singing
To disturb the familiar feeling of home

I cry, I cry
I cry my pop music
And create glass structures
And ritualized burning
I cry little compromises
The smoke slowly rises
And nature revises
My gaze

A future that’s here to stay
And simultaneously walks away

Keep being curious
Or we all die
But don’t we all die anyway?
While we move towards the future
Well, at least we could postpone it
While we are sitting here

Postpone the future by moving
Postpone the future with care
And gently lie down on his body
Lie down
And get up
Dive slowly into the floor
Feel its presence, its body
You are not here alone

You may think it’s just the two of you
Pushing and pulling
Limps and heads
And curls and noses
Are you okay?
In preparing
Are you all right?
In a fall

Two hands, four feet and the floor
Four feet that are trying to crawl
How do we get ourselves where
Where a future is present
Where our bodies lay bare
Keep in touch, throw away
Come to me, make me stay
Where is our future?

Where is our future?
Is it a digital drawing?
Slowly appearing in front of our eyes
As a microsoft paint sketch
From the past

Clenched polished nails
Openly closed
Closely opened
Openly opened
And smiling

As a red dot on the tip of the nose
Searching for playful narratives
Of dancing and jumping
Of swimming
Of all the animals I remember
From my past experiences
And present memories

The expectation that will last
For six minutes
While I listen to past sounds
That predict the future
Of what I will see
While we think back of well-fitting
Trousers in various colours
And a not so well drawn
Dog or cat or whatever it was

There she is, blinded by eyelids
Doing what she rehearsed in the past
In the present
Exactly resembling a resemblance
Exactly resembling, reassembling a balloon
Into the not so well drawn
Dog or cat or whatever it was
Whatever it was to you in the past

Whenever I close my eyes
She is wearing a belt
And dances like a bird
Jolly hop to 5th!
But first she stands on her right leg
Holding her left with two hands, aligned
Pointing towards our common past
Pointing forwards to her you: me
Nice and easy
To the next
Objective affair
To the next
Disappearing photo
Slowly appearing in front of our eyes
Of a non-caring dog or cat
Or something grant, or something blank
Or a flamingo

When you sleep there is not future
No past
And when the lights tick away
You awake to a
Of past reality
And future streams
Into your current being
Alone, asleep
Together in a stream
Of unconsciousness

Your feet get up before you want to
As they realize your fear before you do
As they know your thoughts before you do
When you finally get up
You’re already caught
Caught in an act that is beyond you
As if your future controls your present state
You’re caught in between the light
In some kind of liminal gate

A quietness, a togetherness
Searching for a path in the raw
The response is blue and sculptured
The effect is a reconfigured law
Where someone could actually leave
The present of what we just saw

* This poem is inspired by the opening night of Moving Futures Rotterdam 2017 on Thursday February 23rd. While getting to Rotterdam I was sitting in front of a little girl wearing a pink woollen hat. She was looking at me while I was writing. This became the starting point for this poem on the relation between future, present and past. The performances that inspired the remainder of the poem were: Geisha’s Miracle by Jija Sohn, Nautural by Aida Guirro Salinas and Jefta Tanate, BLANKS by Ingrid Berger Myhre and Shango Trio by Guilherme Miotto. The poem was published on the website of Moving Futures:


februari 25th, 2020

On all fours, all aligned
He stands here and it’s all fine
A right leg rises, an effect on an arm
Whenever it moves there is an alarm
Another limb must move, another end moves up
Fast or slow, bottom or top
Fingers and toes, they all seem to know
Which way to go and when
When he sits down, I wonder why I am bipedal

*Inspired by Fine Line by Šuka Horn. Rotterdam: Dansateliers/ One Night’s Dance: December 7th 2019.

Slowly, very slowly*

februari 25th, 2020

Slowly, slowly you rise
White light, bright light
And while we wait
And the light flickers
You speak.

Ununderstandable words
Alienating appearance
Unknown to most
You practise, you practise
Wearing the other sex.

Vierter Tag:
Dressing up to appear for a generating god
– Of all species, of man and woman, of nothing in between –
That wanders the earth in circles to the beat of the bass.

And the white-shirted, beard-braided priest
And the red-skirted, high-heeled lady
Challenge the norms
Cross-dressing shoes
For now.

Circling goatees
Circling ponytails
Reconfiguring species
Reconfiguring spaces
In between

Aligning the binary into the chaos of trans
The non-orderly, the non-ordinary bodies
Organic materials
Tattooed and scarred
Projected and doubled
Uncontrollable voids
Of nothingness.

Black holes of ununderstandable fluid nudity
Recreated, regenerated from within
To be able to match
To be able to get rid of
This other body
This other sex
To be able to embrace
This other body
This other sex
To the fullest extent
And beyond.

Merging through
Merging through
Merging through
Through caressing
Through rocking
Through braiding.

And slowly, slowly you rise
And come at ease
With each other
With yourself
With all attachments
With all attached
And connected.

And slowly, very slowly
You leave
You leave us to rethink
The norm.

*Inspired by Körper Körper, NEON (Nanna Hanfgarn Jensen & Leon Emil Franzke). Arnhem: Theater aan de Rijn, May 10th 2017.

I want to believe

oktober 31st, 2012

I wrote a text for the new publication of It is available for online reading and as a download (.pdf).

I want to believe was a night of performances that took place on September 15, 2012, during the Incubate Festival in Tilburg (nl). The performing artists were selected by Their works are defined by gestures and tend to blend with daily life, at times appearing inconspicuous. They are carried on through stories – perhaps the most powerful proof of their existence.

Download I want to believe.

De mens als Minotaurus

mei 9th, 2011

Ik ben nu iets langer dan een jaar vegetariër en sinds een aantal jaar lid van GroenLinks. Deels weet ik waarom, maar soms is het lastig echte argumenten te verwoorden. Waarom eet ik geen vlees en vis? Waarom vind ik het milieu belangrijk? Ik weet dat je als individu en zelfs als de diersoort mens weinig hebt in te brengen in een wereld als de aarde en toch heb ik het idee dat we iets niet goed doen. Ik weet dat mensen al honderdduizenden jaren vlees eten en toch heb ik het gevoel dat het niet nodig is. Deze tekst is te beschouwen als de zoektocht naar mijn eigen overwegingen en keuzes.

Dieren en ethiek
In het eerste deel van Het Dierloze Gerecht van Dirk-Jan Verdonk, over de vegetarische geschiedenis van Nederland, gaat Verdonk in op de sociaal-anarchist én vegetariër Ferdinand Domela Nieuwenhuis.  Hygiënische en economische redenen lagen ook ter grondslag aan zijn vergetarisme, maar humanitaire, ofwel ethische redenen spelen de hoofdrol volgens Domela Nieuwenhuis zelf in zijn lezing uit 1913 (Verdonk 2010: 47). Hoewel Verdonk ook een kanttekening plaatst – het is de vraag of hij niet in eerste instantie hygiënische gronden had – lijkt Verdonk ervan overtuigd dat ethische gronden inderdaad de hoofdzaak waren.

Read more »

Nieuwe Grond: Stadsbeeldontbijt

november 21st, 2009

Vrijdagochtend 8.07. De zon komt op in Utrecht. In de kapel van de domtoren verzamelt een groep kunstenaars zich om nieuwe beelden te verzamelen van Utrecht. Tijdens het ontbijt worden de eerste schetsen voorgeschoteld door een divers gezelschap van Utrechters. Het ontbijt is verzorgd door (eet)ontwerper Karlijn Souren en verbeeldt de schetsen van de Utrechters: een stevige boterham met kaas voor een gedicht over de grachten, een ontbijtgeheim geprint op het servet, een zoete amuse om te schenken bij een gedicht over het Zandpad, een yoghurtdrank met shotjes Turkse, Marokkaanse of Indiase cultuur bij een schets over het transculturele Utrecht van 2013.

Het Walter Maas Huis organiseert i.s.m Vrede van Utrecht en de kunstenaars van Nieuwe Grond Lab het kunstenaarssymposium Nieuwe Grond van vrijdag 20 t/m zondag 22 november 2009. Samen met kunsthistoricus en kunstsocioloog Rogier Brom woon ik Nieuwe Grond bij. We zullen na afloop een schriftelijke dialoog aangaan met het symposium als uitgangspunt.

Ontbijten en beelden verzamelen in de kapel
Read more »

Binnenkort online en/of gedrukt

oktober 20th, 2009

Binnenkort verschijnen drie artikelen over dans van mijn hand. Naar aanleiding van Frame 3: Choreographic bodies: Approaches and Potentials schreef ik The Processing Body. Dit artikel gaat in op de manier waarop het lichaam in dans omgaat met informatie en op de manier waarop dans tot stand komt. “Processing dance is […] the act of processing the knowledge of movement with (through/via) the body [and] it is an infinite dance, perpetually changing; it is dance in process”.

In dit artikel ga ik in op de volgende vragen: “Is a choreographic body a processing body?” en “Is the role of the body in contemporary art process filled, or is the body merely a subject and thus a product?” Het zal in de volgende nieuwsbrief van Danslab verschijnen.

Voor de nieuw te ontwikkelen website van het tijdschrift Volume van theater Frascati heb ik een artikel geschreven naar aanleiding van vier solovoorstellingen die in april dit jaar in Frascati te zien waren. In Een solo voor twee handen en zijn schaduw ga ik in op de machtsverhoudingen tussen performer en publiek tijdens een solo. “Eerst moeten we samen zijn. Vervolgens kan één van ons uit de groep stappen en solist worden. Deze solist kan spelen met de macht die hij verkregen heeft, maar kan zich ook verloren voelen tegenover de groep”.

Springdance legt op dit moment de laatste hand aan een publicatie over Europe in Motion. “Een tweetalig boek met diverse verslagen, artikelen van journalisten Ingrid van Frankenhuyzen en Jochem Naafs, evaluaties en veel foto’s en reacties van deelnemers. In totaal 36 jonge choreografen namen in drie landen (Groot-Brittannië, Roemenië en Nederland) deel aan speciale Dialogue sessies; daarna presenteerden ze hun werk aan het publiek” ( In deze publicatie verschijnt mijn column The extra stranger.

A look back // Into the future

april 18th, 2009

Written for Springdance

Next year Bettina Masuch will do her speech in Dutch, she promises just before the world première of Jérôme Bel’s Lutz Förster. I’m not sure if that is the best choice if your want to get your message across in such an international festival, I’m writing in English for a reason, but it is a nice gesture.

Enter Lutz Förster. A personality, that’s for sure. The peaceful and gentle way of walking to a chair in the wings, and back with the chair, onto the stage, tells me that already. Bel gave Förster the opportunity to tell his professional life’s story on stage to an audience. And Förster likes to talk. He discovered that early in his professional life when he danced and talked in one of many performances by Pina Bausch. His talking in this biography is only now and then alternated with short dance scenes.

Förster doesn’t get too personal, he doesn’t do too much. He is just there, taking some of the viewers back in time and presenting others a short lesson in dance history. I must admit I belong in the second category. My knowledge of Förster’s work was close to nothing. And I had a good time, I wasn’t bored for a minute, I laughed, admired, enjoyed. But I do wonder, as did others, what Bel’s role was. In Pichet Klunchun and Myself the dialogue between Klunchun and Bel was brilliantly staged. They challenged each other, and the audience, to rethink the history and the aesthetics of dance. The performance <i>Lutz Förster</i> is only about and with Lutz Förster. Where is the other? Where is the mirror to reflect? Reflect both movements and words, both history and present? Let’s leave it at that question.

Springdance’s slogan is ‘A look back into the future’. Lutz Förster gave me ‘a look back’. If I want, I can now go ‘into the future’. This weekend is a weekend for new style; contemporary and modern dance, hip hop, flamenco, butoh and street dance.