- an international artwork, which within the headline more dance
– less fight is expressed in dancing silhouettes in city space.
The silhouettes are creating a network, which reaches around the
globe – a dancing worldwide community.
The project’s elements
The artist contacts, on physical journeys and by the internet,
persons throughout the wide world who wish to dance within the
headline more dance – less fight.
The artist photographs dancers in action. These
photos are collected in a database, from where they later are to
be drawn out and work as a presentation to future Gripdance
street art and co-operative art.
The project consists of a network of single wall
paintings [street art]. In the paintings as media the dancers
are brought together even though they in the real world are
thousand of kilometres apart. Wall paintings are painted with
dancing silhouettes who fling into each other and send
‘catch-treads’ / networks out for each other. Each dancing
silhouette represents a real person somewhere in the world –
thereby the dancer is co-creator of a global piece of art. There
is always to be painted by agreement with the local inhabitants
– as this is a project of friendship.
The project is documented at www.gripdance.org.
Photos of dancers and of the work by creating Gripdance street
art are collected on the web-site. From the web-side it also
appears where the single Gripdance wall painting are placed in
the world and which dancers are pictured on the wall.
Genre, Media and audience contact
The project is moving within the genre of social
art: social design, relational aesthetics and global networking.
Simultaneously the work is a ‘work in progress’ work.
The silhouettes are to be painted up in the city
space, on house fronts, city walls, garages, sidewalks and
similar places – outdoor and indoor.
The projects global character is incorporated in
many parts of the project. Partly the artist’s travels cross
borders to meet and photograph the dancers, who participate in
Partly dancers form all over the world and of many nationalities
participate. Ultimately the entire project is collected
and documented on the internet. The internet is busy used by the
artist as network media and interactive communications centre.
The project also has a group on Facebook where interested users
are connected to the project as members of the Gripdance Group
and where they can interact with the artist and each other.
The scattered and different placing of the
silhouettes secures an equal access to the work. Thus it will be
possible for all types of audiences, ‘high as low’ to meet the
work. This underlines the democratic and open character of the
The reason for the project
In our high technological age the world seems
smaller and smaller and there will be more and more peoples who
seek influence and a high living standard. At the same time the
world is filled with conflicts, some of them are latent while
others have developed into wars and terrorism.
It is easy to distance from people one does not
know and understand. If one on the other hand only once has
talked to and tried to understand another person from another
culture, then it is immediately clear that we against all
differences have tremendously much in common. Therefore many
misunderstandings and conflicts never would arise if we met and
got to know each other to a higher extent. We ought to meet
around something we all understand, know and appreciate.
Something which touches us and makes us happy.
Dance is a bodily and nonverbal expression, a
communications form which does not need a common language. In
the dance the soul can express itself and it can listen.
The dance is democratic. Everybody can dance,
children, adults, woopies, high & low, thick & thin, coloured &
Caucasian, professionals & amateurs.
In the dance human beings can meet cross culture,
language, religion and political opinions.
The dance is inclusive both in the physical and
in the social space.
can be difficult to meet across distances, borders and time to
dance. Here the picture media becomes relevant. The picture can
intercept the dance’s character and make it last. In this way
dancers who are physically apart can meet in the picture media
and the dance can be worldwide, border crossing and lasting.
Thus this project brings people beings together
across borders and culture –not physically – but in the visual
media. The project involves the participants actively in the
process by the creation of the work just as the artist meets the
participating dancers and enters into a dialog about
intercultural and border crossing friendship and understanding.
The project carries the story about these meetings and dances by
via street art, co-operative art and the internet.
Development of the project / work in progress
Gripdance is a ‘work in progress’ work which
began in the summer of 2007.
The project grows with as many Gripdance
silhouettes as possible each year. In 2007 and 2008 there were
painted 25 silhouettes all in all, spread over 6 outdoor walls,
one indoor wall, one auto camper and two large glass facades.
The project will spread around as many cities and
countries as possible.
The project will involve as many nationalities
and kinds of dances as possible.
The project is finances by sale of Gripdance
co-operative art and through fundraising.
Method of work
Travel to a random place in the world
Contact is made to local people who wish to dance
Dialogue about participation in the project
Photo of dancers in action
Sketch (digital or drawing by
hand – according to the conditions)
Projection to wall or canvas (digital projector,
overhead projector, use of shapes, or free-hand drawing –
according to the conditions)
Painterly adaption of wall or
canvas. The work is mainly done by
artist Rikke Rohde, but assistants are also affiliated to the
project. Other artists are also very welcome to paint together
with Rikke or perform other street art by this concept.
Photo of the working process
Documentation at www.gripdance.org
The Gripdance web works as documentation for the
Gripdance Project and at the same time it is manifesting the
work’s global character - by offering everybody throughout the
world who has access to the internet to follow the project’s
All meetings with the dancers and the work of
performing Gripdance street art, are documented in photos. These
photos are collected on the web.
The photo documentation is always followed by
information about the silhouette’s placing/address and the
dancer’s name and nationality.
The Gripdance web will be translated into as many
languages as possible. Continuously, translation to new
languages is done
Gripdance also has a Facebook group named
Co-operative art > >