Hi Jack. Hijack!

The choreographic study “Love and Revolution”, which was started by Androniki Marathaki in 2016, culminates in the work “Hi Jack. Hijack!” The concept of “piracy” is investigated in this afterword/epilogue as a method of revising the composition, corroborating her perennial doubt about the watertight aspects of the choreographer’s role. So, she suggests her choreography as a turf of free association, a collective process, powered equally by all the participants. Marathaki consciously seeks to resist “the appeal of meaning”, suggesting another way of viewing and perceiving movement.

The choreographer focuses on the perennial mutability of an ever readjusted circuit, taking into consideration the place, the length of the action and the world containing the action. Indeed, it does not merely offer a “readymade” choreography, but rather a world in which the eye is sharpened by collecting kinetic detail or is released into a more spherical observation of the movement.

The duration, in any event, is specified by the audience – there are no rules of attendance or conventional ways of accessing the event. Every observation is actually a form of participation, the choreographer seems to claim, thus implying that it is the multitude of interpretations and views that encourages the renewal of the action, with the participation, naturally, of the 12 dancers who ceaselessly weave the web of movement in circular orbits. Nevertheless, minor discharges ruffle the apparent serenity on the surface of the system, breathing new life into the mechanics of the choreography or rather turn the choreography into a sort of dancejack, which captures the present character of the actions.