A living archive of dance creations is not merely a collection of the past, but an organism that pulses in the present. Here, every preserved gesture is also a gesture waiting to be reactivated. It is memory that does not simply bear witness, but insists on continuing to dance.
Past Forward is the engine of this archive: not a nostalgic gaze backward, but a way of pushing the past forward, of propelling it ahead, transforming it into a creative force. It means archiving not to stop time, but to set it in motion. Every choreography, every note, every trace left by a moving body becomes living material for new visions, new interpretations, new dances. Every preserved choreography is a bodily thought that continues to generate meaning.
In this space, the archive is not a repository, but a passage—it holds presences. The bodies inhabiting it are not spectators but active heirs, called to question what has been in order to become once more. The archived gesture is suspended, ready to bloom again, to take on a new form, to find a new rhythm.
A living archive is made of gestures that offer themselves to transformation. It is founded on a deep trust in transmission, but this is a dynamic, unstable transmission—one that embraces error, deviation, and reinvention.
It is an invitation to interpret, to reinterpret, even to betray—as long as the dance continues. It is a fragile pact between fidelity and invention. The body itself becomes the document, the medium, the language.
Past Forward is therefore a practice, an attitude—not a closed space but a crossing of memories: time flowing forward, carrying with it, like sap, all that has come before. Not to preserve it unchanged, but to let it evolve, to surprise once more. That is why a living archive is not merely observed: it is inhabited and listened to.