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People [involved in the Platform] have been looking back as well as forward, not afraid to imagine new structures grounded in research around the past. The ideas of kin and care and voice and body all come from previous Platforms. There is a lineage being followed, as well as transformedI dont want to say its indirect, but its an evolution.
Robbins contributions and choreography in the original versions will forever be treasured, but De Keersmaeker has provided powerful, contemporary new dances that shine.
Its work not as product, or fait accompli, but as total body struggle (psychic, social, physical, political): to perform, to overcome fear, to move past the pain, to feel the rush of adrenalin and the flow of embodied time, for the sake of the team, all the while risking catastrophic injury.