{"id":16410,"date":"2026-06-08T14:16:48","date_gmt":"2026-06-08T06:16:48","guid":{"rendered":"https:\/\/asef.org\/aecfest\/?p=16410"},"modified":"2026-06-08T16:46:27","modified_gmt":"2026-06-08T08:46:27","slug":"choreographing-elusive","status":"publish","type":"post","link":"https:\/\/asef.org\/aecfest\/choreographing-elusive\/","title":{"rendered":"CHOREOGRAPHING ELUSIVE: A CONVERSATION WITH THE ARTISTS OF AECFest CLOSING CURTAIN 2026"},"content":{"rendered":"\t\t
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WE SPEAK WITH CHOREOGRAPHERS KIM BORA, GINEVRA PANZETTI AND ENRICO TICCONI ABOUT 'ELUSIVE' - A DOUBLE-BILL PERFORMANCE TAKING CENTRE STAGE IN SINGAPORE THIS JUNE, AS PART OF THE AECFEST CLOSING CURTAIN 2026<\/p>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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This interview brings together reflections on CARILLON by Panzetti\/Ticconi and O:ro by Art Project BORA, presented under the shared programme title Elusive. Both works were developed through multiple residency periods in Singapore in close collaboration with the dancers of T.H.E Dance Company, and were supported by the AECFest Residency Programme. The programme will be presented in Singapore in collaboration with T.H.E Dance Company and cont.act Dance Festival as part of the Asia-Europe Cultural Festival 2026 \u2013 Closing Curtain.<\/em><\/p>

1. In your career so far, you\u2019ve experienced working in international contexts through collaborations and performances in festivals across the globe. As an artist, what about intercultural collaborations appeals to you, and what is your approach forming and developing these creative partnerships into artistic works? <\/strong><\/em><\/p>

Kim Bora: <\/strong>What continues to attract me to intercultural collaborations is not the possibility of creating a single, unified language, but the opportunity to encounter different ways of sensing, remembering, and inhabiting the world. I am interested in what happens when distinct histories, temporalities, and bodily experiences meet without needing to become identical.<\/p>

For me, collaboration is not about transmitting a vision from one person to another. Rather, it is a process of remaining attentive and responsive to one another, allowing something unforeseen to emerge through the relationships we build together. A work does not arise from consensus or sameness, but from the dynamic space created by differences that continue to coexist.<\/p>

In that sense, international collaboration is less about overcoming distance and more about learning how to stay with it. It is through this ongoing process of listening, adapting, and responding that new choreographic forms and new ways of being together become possible.<\/p>

Panzetti\/Ticconi: <\/strong>As movement artists, our work does not only involve movement understood as the dance of bodies on stage, but also as an artistic and life practice fundamentally grounded in displacement and a certain form of nomadism, if not a truly transnational way of working and living. As a duo, although we are based in Europe, we live in two different countries, Italy and Germany. Since we are not a company permanently rooted and funded in a single location, we structure our creative processes through a geographically dispersed network of international partners. We could say that geographical movement, understood as the crossing of borders, is an essential condition of our artistic practice, as well as one of the main subjects of inquiry within our research.<\/p>

On a visual and choreographic level, we often immerse ourselves in themes related to power and its representation, as well as the relationship between power and space in terms of control and the negotiation of borders. We seek to address these themes through archetypal symbols that, precisely because of their transcultural nature, can hopefully speak to a broad audience beyond the specific places in which we grew up and that have shaped our aesthetic sensibility.<\/p>

To give a practical example, one of our most recognized research is based on the choreographic use of the flag. Although this object is deployed through a folkloric practice placed in dialogue with the iconography of historical Italian Fascism, it consistently generates a strong response from international audiences that goes beyond the specific historical and cultural references it carries within it. We have presented these works throughout South America, Europe, the Middle East, Asia, and even here in Singapore. Each time, the powerful symbolic charge of the flag prompts an emotional engagement through which audiences project their own histories and cultural references onto the work.<\/p>

It is precisely the encounter with the gaze and words of these audiences – with this multiplicity of projections and interpretations – that fuels our desire to continue affirming ourselves as fundamentally nomadic artists and to nurture relationships with international cultural institutions and companies capable of generating new encounters and projects. To do so requires spending time in places, returning to them, and deepening our knowledge of the artists and cultural practitioners who inhabit them. This demands great care, because in the accelerated rhythms of the present it is becoming increasingly difficult to remain, to linger, and to cultivate meaningful exchanges.<\/p>

This is precisely what we are trying to achieve here in Singapore with T.H.E. Dance Company, with whom we have been building a collaboration over several years, supported by ASEF, the Italian Cultural Institute, NPN (International Guest Performance Fund for Dance), and Crossing the Sea, a project funded by the Italian Ministry of Culture. For CARILLON, the new work we are creating for the company, we spent a period in residence in Singapore in order to develop a choreographic proposal grounded in the lived experience of the city itself, gathering impressions and stimuli that could later resonate throughout the creative process.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\tO:ro Rehearsal \u00a9 Crispian Chan\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
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\n\t\t\t\t\t\t\t\"CARILLON\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tCARILLON Rehearsal \n\u00a9 Crispian Chan\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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2. Both CARILLON and O:ro emerge from a close working process with the dancers of T.H.E. How did this shared process shape the development of the work in the studio? How do multiple bodies, with their different experiences and sensibilities, come to construct a single choreographic language?<\/em><\/strong><\/p>

Kim Bora: <\/strong>O:ro developed through a close and extended process with the dancers of T.H.E. Rather than beginning with a fixed choreographic language, the work emerged gradually through shared time, mutual attention, and the subtle ways our bodies responded to one another.<\/p>

What interested me was not the rapid definition of movement, but the ability to remain together within states that were still unresolved. Small hesitations before contact, overlapping breaths, and the minute changes that occur when one body affects another became the starting points of the choreography.<\/p>

The dancers brought their own experiences, memories, and sensitivities into the process. Instead of seeking uniformity, we tried to cultivate a shared field of attention in which differences could remain active. Over time, the choreography became less a system imposed from above and more a living network of relationships continuously shaped by our encounters with one another.<\/p>

What emerged was not a single body speaking through many, but many bodies learning how to move with and through each other.<\/p>

Panzetti\/Ticconi: <\/strong>In the case of the artistic process behind CARILLON, the first time we entered the studio, only the core of the work was very clear to us: the overall imagery we wanted to reach, as well as the desire and intention to give it form through kinetic proposals emerging from the dancers themselves.<\/p>

Before beginning our work in the studio, we spent a week in Singapore in June 2025 researching and refining what would become the conceptual core of Carillon. This period allowed us to clarify the work\u2019s intentions and the imagery we wished to pursue.<\/p>

For us, a new process begins with observation of phenomena that already exist, things that can be observed, recognized, and repeated. Building a precise imaginative landscape from these existing signs is a fundamental step in our process, preceding any exploration of movement itself.<\/p>

The first days were therefore dedicated to sharing what we had identified as urgencies and intentions, without presenting any movement material or formal proposals of our own, so that attitudes and imaginaries, new even to us, could emerge from the dancers themselves, allowing us to establish a connection with each other.<\/p>

Our role was to create the conditions for proposals to emerge within a clear direction of intent, while the dancers responded kinetically. In this way, the initial process became a shared field of dialogue, where themes such as the \u201ctraditional body\u201d or the \u201cplayful body\u201d became material for exchange, fostering communication both through and beyond words.<\/p>

In a second stage, once we had gathered their proposals, which we like to call \u201ccompositional cells\u201d, we began the compositional work itself, drawing from this material to create a score that is particularly dense and in close relationship with number and counting.<\/p>

What was clear to us from the outset was that Carillon would generate a rigorous structure with persuasively playful qualities. In the dancers of The Human Expression Company, we found exceptional performers, capable of sustaining the relationship between memory and number while maintaining a clear and lucid interpretation.<\/p>

This is, of course, also thanks to the work that Kuik Swee Boon, the company\u2019s Artistic Director, carries out with them. This represents another fundamental, seemingly invisible exchange that brings yet another sensibility into the process, that of Kuik Swee Boon himself. The generosity and openness with which the dancers embrace proposals that are often extremely different from one another are also the result of the research environment they inhabit.<\/p>

The question refers primarily to the bodies on stage, but we would also like to acknowledge another fundamental element that supports and shapes the dramaturgical rhythm of Carillon: the music, originally composed by our long-time collaborator Demetrio Castellucci. His sensibility and artistic personality were essential in creating a cohesive work born from a fruitful encounter between different personalities, sensibilities, and cultures.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\tO:ro Rehearsal \u00a9 Crispian Chan\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
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\n\t\t\t\t\t\t\t\"CARILLON\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tCARILLON Rehearsal \u00a9 Crispian Chan\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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3. [For Panzetti\/Ticconi] CARILLON takes the music box as a point of departure, with its logic of precision, repetition, and fragility. What interested you in this system as an artistic and conceptual starting point, and how does it structure your thinking about the work?<\/em><\/strong><\/p>

Panzetti\/Ticconi: <\/strong>This is the first time we have started from an object so specific in its historical and cultural connotations to develop a choreographic work. Yet it is always difficult to identify the exact starting point of a creation, and in truth we are not entirely sure that this is where it began.<\/p>

Certainly, the invitation from Kuik Swee Boon to create a work for the ensemble was the first seed that sparked in us the desire to spend time in Singapore before developing a proposal. Driven by our mutual curiosity, it felt important to allow ourselves the time to get to know this place more deeply. It was precisely from this act of dwelling that the idea emerged to use that object as the generative device for the entire choreographic composition and dramaturgical development.<\/p>

This sound object, which in Italian we call a carillon<\/em> (music box), originated in the eighteenth century from the encounter between mechanical engineering and music. Through its distinctive melodies, it evokes in our imagination a balance between delicacy and unease that we were interested in exploring. These melodies have often accompanied carousels and children’s fairground rides, making them easy to associate with landscapes of celebration, carefree joy, and positivity.<\/p>

Within the work, this landscape is evoked through the device of the party as an initial choreographic motif, only to make room for its gradual unraveling, transformation, deconstruction, and regeneration. We wanted to explore a festive atmosphere charged with impulses of excess, hyper-positivity, and excitement; tendencies toward the blind celebration of hyper-performance, the cult of efficiency, and faith in a future of continuous acceleration.<\/p>

These were conditions we became particularly interested in reflecting upon through our memories of walking through the streets of Singapore, our heads tilted upwards, overwhelmed by the height of the skyscrapers and the dazzling brilliance of Marina Bay. Its glossy, vibrant colours projected us into what felt like an immense carousel, capable of rocking us into an enchanting sensation of efficiency, order, and prosperity, while at times allowing us to glimpse, behind its ceaseless motion, the tensions and fragilities that inevitably accompany every promise of perfection.<\/p>

It is precisely here that the melody of the music box reveals its less carefree and more unsettling dimension. What remains of enchantment when the carousel never stops turning, and what once reassures begins to destabilise? Our walks in Singapore led us to these questions, and it was from them that we entered the rehearsal studio.<\/p>

4. [For Kim Bora] O:ro engages with mourning as something that is felt through the body\u2014 through sensation, rhythm, and presence. How did this perspective emerge in your research, and what does it open up choreographically?<\/strong><\/em><\/p>

Kim Bora: <\/strong>O:ro began from a bodily experience that I could not easily explain. What first appeared as something to overcome gradually revealed itself as a form of memory already residing within the body. This changed the way I thought about mourning.<\/p>

Rather than understanding mourning as a process of closure or recovery, I became interested in it as a practice of remaining with what does not simply disappear. Certain relationships, memories, and absences do not end. They continue to resonate within us, and perhaps mourning is not about severing those connections but about learning how to live with them differently.<\/p>

In O:ro, movement, breath, touch, and voice are not vehicles for expressing emotions. They are passages through which unfinished relationships continue to move. The work does not attempt to resolve loss or transform it into a narrative with a clear conclusion. Instead, it stays with the vibrations that persist within the body and asks how we might remain open to what continues to affect us.<\/p>

For me, mourning is not the completion of an ending, but an ongoing practice of living with relationships that remain unfinished.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\tKim Bora in O:ro Rehearsal \u00a9 Crispian Chan\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tPanzetti\/Ticconi at CARILLON Rehearsal \u00a9 Crispian Chan\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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5. The title Elusive points to something that cannot be fully captured. Within your artistic practice, is there something that remains fundamentally \u201celusive\u201d \u2014 something that continues to shift or resist definition, even in the process of making? <\/strong><\/em><\/p>

Kim Bora: <\/strong>Perhaps what remains fundamentally elusive in my practice is not an image or an idea, but relationships themselves.<\/p>

Movement, memory, and emotion do not belong entirely to any individual. They emerge between bodies, circulate through encounters, and continually exceed our attempts to define or possess them. Even absence is never entirely absent; it changes shape and continues to influence how we move and perceive.<\/p>

Because of this, I am less interested in fixing meaning than in creating spaces where things can remain open, where uncertainty and incompleteness are not problems to solve but conditions we can inhabit.<\/p>

Arts, for me, is not a way of mastering what is unknown. It is a way of staying close to what cannot be fully grasped. Perhaps what is elusive is not something outside the work, but the very force that keeps it alive.<\/p>

Panzetti\/Ticconi:<\/strong> We find the title Elusive<\/em> highly relevant to our work – not only to CARILLON<\/em>, but to our artistic research as a whole since the beginning of our collaboration. In fact, we could easily borrow it and use it as a subtitle for many of our works, where an interest in metamorphic and constantly shifting processes, both conceptually and choreographically, has always been central.<\/p>

At the core of our works, a dramaturgical structure and a kinetic device often emerge that generate, for both the viewer and the performer, an inability to settle on a single interpretation of what is taking place. This is something we pursue intentionally, often in relation to our long-standing interest in observing and representing dynamics of power. These dynamics move between overtly coercive and violent forms and more subtle, hidden apparatuses that operate through persuasion.<\/p>

We are particularly interested in using choreography as a means of reproducing and examining these mechanisms of power. For this reason, many of our choreographic interventions rely heavily on repetition and hypnotic structures as persuasive devices, where the most cruel or violent aspects often reside beneath the surface, not immediately perceptible at first glance.<\/p>

Much like the hybrid and the grotesque, the elusive quality of forms and movement is something we investigate in depth throughout our work. These explorations keep us close to the realm of dreams, of the unconscious, of the oneiric. It is there that we like to dig: in landscapes where boundaries begin to fade and opposites coexist.<\/p>

Thanks in part to those who have studied the unconscious, we know that when something contains both itself and its opposite, it produces a particular kind of disturbance. Perhaps because the line that usually defines, separates, and orders things can no longer be clearly perceived.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\tO:ro Rehearsal \u00a9 Crispian Chan\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\n\t\t\t\t
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\n\t\t\t\t\t\t\t\"CARILLON\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tCARILLON Rehearsal \u00a9 Crispian Chan\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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6. At the AECFest Closing Curtain in Singapore, your work will be seen by audiences and representatives from many ASEM countries, each bringing different cultural perspectives.\u00a0 How do you relate to the idea that such diversity can shape multiple, even contrasting, readings\u00a0 of your work?<\/em><\/strong><\/p>

Kim Bora: <\/strong><\/span>I do not expect audiences to arrive at the same interpretation of the work. Each person encounters it through their own memories, histories, and ways of sensing the world. These differences do not weaken the work; they are what allow it to remain alive.<\/p>

O:ro does not seek to communicate a single message. Instead, I hope it can become a space where multiple experiences and perspectives can coexist. Someone may encounter grief, another may recognize questions of belonging, memory, or relationships with the more-than-human world. None of these readings are mutually exclusive.<\/p>

Especially in a context such as AECFest, where audiences and artists come from many different cultural backgrounds, I find it meaningful that a work can continue to generate new connections rather than converge toward one universal understanding.<\/p>

I hope audiences do not feel the need to interpret the work in the same way, but rather to enter into a relationship with it from where they are. If the performance can become a place where different histories, bodies, and memories temporarily coexist and open new questions, that is enough.<\/p>

Ultimately, I hope the work functions less as an answer and more as a site where relationships continue to unfold.<\/p>

Panzetti\/Ticconi:<\/strong> <\/span>This is a question that is very close to us and touches on a subject we deeply care about.<\/p>

Far from the idea of stripping ourselves of a cultural background that certainly informs our thematic and aesthetic choices, we are nevertheless primarily driven by the exploration of human conditions that often retain similar or even identical archetypes across different places and cultures.There are existential elements that unite human expression and can generate clear relational imaginaries. From the very beginning, our research has focused on the different aesthetics that power can assume, oscillating between persuasive and coercive forms. A human body attempting to support another during a fall describes a relation of care that transcends geographical origin. In the same way, the intention to strike another body speaks of an act of violence. Then there is the smile, the cry, gestures that connect us across differences.<\/p>

We are interested in maintaining on stage a narrative body, capable of evoking shared and legible imaginaries and archetypes. The work of mimesis and engagement with documentary sources is therefore central and constitutes the starting point of movement generation. Rather than a search for a language based on purely sensory or physical exploration, which would instead produce a more abstract corporeality.<\/p>

In a previous research project already mentioned, that involved the creation of a choreographic diptych and a video work, the flag was the central thematic, scenic, and compositional object. By deliberately avoiding the use of clear symbols on the fabric that would link it to a specific political or national identity, the possibility is left for viewers to project their own cultural memories onto the object. A body vigorously waving a flag, just as a body lying inert, suffering, and covered by it, can evoke human conditions beyond geographical specificity.<\/p>

In a previous collaboration with The Human Expression Company, which resulted in the creation of MALEBRANCHE \u2013 Harleking Multitude (2024), we also worked through archetypes, both to deconstruct and at the same time to highlight the roots of highly specific figures from Italian culture. In that case, MALEBRANCHE \u2013 Harleking Multitude was an extension of an earlier work titled HARLEKING, in which the culturally and geographically specific figure of Arlecchino (a character from the Italian commedia dell\u2019arte tradition) was central. Working in Singapore with the dancers, the process consisted in approaching the material by observing archetypes that could be shared in interpretation, such as the smile, or expressions of sly and playfulness. Once these archetypes were defined, each dancer proposed references connected to their own cultural background. In this way, Arlecchino was transformed into an expanded and familiar archetype, no longer necessarily tied to those who recognize its origins.<\/p>

Lastly, working with the human body as the primary expressive element, avoiding the use of language, which already reveals a geographical identity, can further expand the possibilities of reading.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Kim Bora<\/strong> from Art Project BORA (South Korea)<\/a> is interested in discovering the concept of time in dance through the exploration of the body. Her main interests include various forms and experimental practices of choreography. She continues her work by focusing on the non-verbal aspects with the intertwining of dance and the physical body which possess unique characteristics that are neither question nor answer. She is particularly interested in post-humanism and feminism in dance, and is currently the Artistic Director of Art Project BORA.<\/p>

Panzetti\/Ticconi (Italy\/Germany)<\/strong><\/a> create choreographic works that interlace dance, performance and visual art, working between Berlin and Torino since 2008. Their practice examines the historical entanglement of communication, violence and power, often drawing on ancient symbols and collective imaginaries to construct striking stage images that oscillate between past and present.<\/p>

Cover photo: O:ro Rehearsal \u00a9 Crispian Chan<\/em><\/strong><\/p>

Get your tickets for Elusive here.<\/a><\/p>

Discover the full AECFest programme<\/a>.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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    WE SPEAK WITH CHOREOGRAPHERS KIM BORA, GINEVRA PANZETTI AND ENRICO TICCONI ABOUT ‘ELUSIVE’ – A DOUBLE-BILL PERFORMANCE TAKING CENTRE STAGE IN SINGAPORE THIS JUNE, AS PART OF THE AECFEST CLOSING CURTAIN 2026 This interview brings together reflections on CARILLON by Panzetti\/Ticconi and O:ro by Art Project BORA, presented under the shared programme title Elusive. Both […]<\/p>\n","protected":false},"author":259224162,"featured_media":16428,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","omw_enable_modal_window":"enable","ofc_enable_fullscreen":"disable","ofc_fullscreen_speed":0,"ofc_fullscreen_nav":"enable","ofc_fullscreen_nav_pos":"right","ofc_fullscreen_nav_color":"","ofc_fullscreen_nav_tooltip_color":"","ofc_fullscreen_responsive":0,"ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"on","ocean_gallery_id":[],"footnotes":""},"categories":[1527,1378,1401],"tags":[],"class_list":["post-16410","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-edition2026","category-sector-dance","category-stories-interview","entry","has-media"],"yoast_head":"\nCHOREOGRAPHING ELUSIVE: A CONVERSATION WITH THE ARTISTS OF AECFest CLOSING CURTAIN 2026 - 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