Lucia Ruprecht works on subproject (SP) 4 in project B02, entitled Historiographies of Dance, Histories of Movement: Performing Decolonial and Ecological Techniques. SP 4 explores the transformative interventions of contemporary concert dance in two ways: on the one hand, it examines how dance engages with temporality and historicity through decolonizing and ecological techniques; on the other hand, it aims at developing its own conceptual vocabulary with and through these techniques. Much current work in contemporary dance engages performatively with the historiography of dance, whilst also exploring the deep time of a history of movement that goes beyond the scale of the human. This SP argues that in doing so, dance brings about a conceptual imaginary that affects the very concept of intervention itself. Choreographers Ligia Lewis, Amanda Piña, Agata Siniarska and Christos Papadopoulos work with decolonizing and eco-critical techniques that develop new concepts of intervention. Lewis engages with the scandal of a largely lost or not yet fully recovered Black Archive and its afterlife in the present, for which she develops genre-crossing Afropessimist fabulations (Still not Still, 2021; A Plot / A Scandal, 2022); in one of her most recent works, she reimagines the concept of belonging beyond the national (Some Thing Folk, 2025). Piña’s Exótica: On the Brown History of Modern Dance (2023) turns its attention to little-known queer modernist dancers of colour by staging a reenactment that oscillates between ritual and performance. Piña’s interest in ‘endangered human movements’, as her overarching project is titled, also extends to indigenous Amerindian epistemologies, which are based on an interdependence between the human and the more-than-human. Piña anchors dance history in the deep time of a history of movement that manifests for instance in performative sculptures of aquatic organisms (To Bloom/Florecimiento, 2024). In Siniarska, the timeline of such a history of movement stretches both into a geological past and a post-catastrophic future (null&void, 2023). Papadopoulos’s micro-choreographies for their part chart abstract eco-aesthetic movement structures, which are particularly evident in works such as Mycelium (2023), a piece that is inspired by fungal fibres. Overall, the SP’s rationale is to contribute to developing a previously non-existent theory of choreographic intervention by applying a praxeological method that incorporates choreographic knowledge.