peers

here you will find a short video statement and my portfolio

video statement

portfolio Marije Nie:

As a tap dancer, I am a musician with my feet, a dancing percussion player. I am fascinated by the power and the poetry of steps, and their ability to navigate many different worlds. My dancing transforms traditional tap-dance into a contemporary form; building bridges between different artistic disciplines, traditions and cultures.

My first love however was music. In 2007 I received the Dutch Jur Naessens prize for innovation in music, which was an major milestone in my early ambition to work as a musician with tap dance. Since then, I have worked in many different kinds of musical environments, including classical orchestras, jazz, improvised music and contemporary ensembles, on concert stages around the world. I am also proud to be part of Splendor, a musician-led concert space in Amsterdam.

Because tap dancing is in itself interdisciplinary, and there are very few other tap dancers here in Europe, I usually work with artists from other disciplines, like film, theater, community art projects, interventions and workshops. In order to explore more deeply the particular creation processes between artists from different disciplines, I co-founded the artistic research lab Radio Kootwijk Live, which centered on classical music and operated from 2009 until 2015 in The Netherlands. This project introduced me to a rich array of different working methods from many disciplines, like light design, location theatre, ensemble music, theatre directing, contemporary dance. The goal was never to learn each others techniques, but to enrich our own understandings and ideas. Also this laid the ground for the work with dialogue forms, and sharing working methods with professionals from outside the arts.

An important moment was the creation of multi-award winning dance documentary One Million Steps together with director Eva Stotz in 2015. The short film places dance as a catalyst in the public space in the midst of the Gezi protests in Istanbul, 2013. The filming was quite raw and adventurous and showed me how close poetry and performance are to social and political issues like citizenship and democracy, and the often violent clash of state control and protest.

Another turning point came in 2017, when I was invited by director Eugenio Barba to become long-term artist in residence at Nordisk Teater Laboratorium in Holstebro, Denmark, to work as performer and project developer of performances, festivals and community projects.

Inspired by the work of Odin Teatret, I started to really work on developing an embodied practice of performance. This led to a deep exploration of artistic practice and its role in knowledge building and exchange between artists. As part of my residency at NTL I then co-founded Cross Pollination together with Adriana La Selva, an international and interdisciplinary network of performers and researchers which focusses on the dialogue in-between practices, new ways of knowledge building and understanding collaboration, connecting theater practice with artistic research. Speaking and writing from practice is central to the international artist platform ‘The Parliament of Practices’ (since 2020) and creating encounters in local communities guided by artistic practices ‘Wunderkammer’ (June and September 2021).

With Cross Pollination, I have published three collaborative articles in the second half of 2021.

Performance Research : Parliament of Practices, No-topian tactics for praxical dialogue https://www.tandfonline.com/doi/full/10.1080/13528165.2020.1930765 (August 2021)

Revista Brasileira de Estudos da Presença : Cross Pollination’s Nomadic Laboratory: a praxis in-between practiceshttps://www.scielo.br/j/rbep/a/mrTzXXYk9b5spFtQpGtnNvm/ (August 2021)

Global Performance Studies and the Journal of Dramatic Theory and Criticism : Echolocation and reverberation: ecologies of knowledge sharing in laboratory praxis’
(admitted for publication in the upcoming issues).

The following material shows three milestones in my development as tap dancer, performer and artist.

  1. One Million Steps (20′, 2015, DE, NL, TR) Choreography and dance:  Marije Nie (NL) | Director: Eva Stotz (DE) | Producer: Ronjafilm (Berlin). Multiple award winning dance documentary filmed during the Gezi Park protests in Istanbul in 2013, an encounter with the people and the streets of Istanbul. About the power of resistance, the human connection through rhythm and our need for personal freedom. LINK to the full documentary (20 minutes): https://vimeo.com/124422603

Shortly after the premiere of the film I was asked to do a TEDxTalk about the film. I connected the experience in Gezi park to insights from tap dance about how the movement that will lead to a beat starts in between the steps. This became ‘poetry in the pause’.

TED x Talk on the Poetry of the Pause

2. Dancin’ the Camera (9′, 2016, NL) Choreography and dance: Marije Nie | Director: Pieter-Rim de Kroon | Music: Christian Pabst | Producer: Windmill Film. The magic of tap dance and film in a down-the-Rabbit Hole adventure with a tap dancer, a pianist and  a hand cranked camera from 1922, which was also (partly) used to filmed with, and who also stars in the film. The film was awarded funding through Point Taken, a yearly competition for collaboration between a dance maker and film maker.

https://vimeo.com/194430468 Short film ‘Dancin’ the Camera’

3. Pandemic – Monster
During the pandemic i found new characters and ways of collaborating and presenting work. Online became for a while more possible than live performances. This led to several video works, in which the editing became an important dramaturgical tool. Here the Monster is part of an ongoing a collaboration with pianist and composer Albert van Veenendaal.