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Category: Dance On

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Fäden by Ivana Müller & Dance On Ensemble
live premiere

 

How can time be measured? What accumulates over its duration? Can it be wrapped up and stacked, or scattered and distributed? What gets lost and forgotten? And how do we humans change with time; or against it?

“Fäden” emerges in a fragile, interrupted and postponed present, with the memory of before and an inkling of after. From this suspended moment, the choreographer and author Ivana Müller, together with the actors and dancers Javier Arozena, André Benndorff, Walter Hess, Jelena Kuljić, Anna Gesa-Raija Lappe, Emma Lewis, Jone San Martin and Omagbitse Omagbemi, develops a web of movements, thoughts and images that reflect the inevitable process of time passing.

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Hacer Historia(s) Vol. 4
Cycle of contemporary dance and performance

Drawing: Quim Bigas

Fer Història i fer-la nostra i també, fer-la avui, fent-la…

(Make history, make it ours, make it today, making it now…)

The fourth edition of the Hacer Historia(s) series, organized by La Poderosa and staged at the Mercat, the MACBA, the Antic Teatre and La Caldera in Barcelona. It highlights the memory of the body in the shows and the importance of remembering.

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The Power (of) the Fragile
Mohamed Toukrabi

Photo: Christian Tandberg

The Power (of) The Fragile is a meeting of two worlds, two bodies, two minds. Latifa always dreamt of being a dancer, Mohamed made it his profession. The borders of their bodies blur, making it hard to decipher where one ends and the other starts. Their lives and dreams start to merge, and only time claims its space between mother and son.

The Power (of) The Fragile is a collection of images, reflections on what the relation between mother and son can look like, on what it means to be home and to go away. It is a performance about movement, of bodies and people, about weight and what it means to carry weight, about being together and being apart. It is a tender portrait of a close relationship, and a pamphlet for our right to go wherever we want to go.

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Kondenz Festival
Horizontal Spreadings

 

Sanja Krsmanović Tasić: Daikon, an essay in movement about a dancer’s body

The essay in movement “Daikon” by Sanja Krsmanović Tasić deals with the body of a dancer as the basic means and instrument of expression. Through the self-ironic process of inventory and bodily archiving of layers of conscious and unconscious movements, from the stage and from private life, the author will tell the story of a body that moves motionless, of a body that is a dilapidated shell in which the spirit still plays passionately, of the delusions of the dancer’s body. A story about the constant search for true movement, and the path of dancers on the sidelines.

 

Jelena Jović: I am still walking

In the general attitude that everything should be calmed down in order for life to be saved, keeping walking has become a kind of resistance. Thus, it ceases to be only a physical action, but also a reflexive process in which we recall previous life experiences, memories, and meet various people and landscapes. From the foggy path this solo started from, two paths separated (almost imperceptibly), one of apparent carelessness and glamour and the other of poverty and exhaustion. These paths intersected, as if in a crossword. The question remains – can a third one be opened?

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Framing Time
Baryshnikov Productions GELABERT/MUZIJEVIC/BROWN

 

In this piece premiered in New York in 2018, Cesc Gelabert uses his body and enigmatic movements to explore the minimalist music of Morton Feldman, which is performed by Pedja Muzijevic on piano and which plays with the magic of the lighting designed by Burke Brown.

Choreography Cesc Gelabert / Music Morton Feldman Triadic Memories

Lighting and set design Burke Brown / Costume design Lydia Azzopardi

Performer Cesc Gelabert / Pianist Pedja Muzijevic

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Dance On Festival:
Making Dances – Dancing Replies

Photo: Jubal Battisti

9–10 July 2021, radialsystem Berlin (world premiere)

13–16 July 2021, Julidans Amsterdam

In “Making Dances – Dancing Replies”, the Dance On Ensemble invites contemporary artists – Tim Etchells, Mathilde Monnier and Ginevra Panzetti/Enrico Ticconi – to respond in their own artistic languages to iconic works of modern and postmodern dance by Martha Graham, Merce Cunningham and Lucinda Childs. In five performance works presented over two evenings, the artists reflect on classical but radical works that challenged the rules of their time.

Works In Silence (excerpts): Produced by Dance On/DIEHL+RITTER in co-production with STUK. House for Dance, Image and Sound /Münchner Kammerspiele. Funded by the Fonds Doppelpass of the Federal Cultural Foundation.

Deep Song: “Deep Song” is presented by arrangement with Martha Graham Resources, a division of the Martha Graham Center of Contemporary Dance, Inc. Everything/Nothing: “Everything/Nothing” was produced by Dance On / DIEHL+RITTER.

MARMO: Produced by Dance On / DIEHL+RITTER in co-production with Kampnagel (Hamburg). With the support of Lavanderia a Vapore, Centro di residenza per la danza. Supported by the NATIONAL PERFORMANCE NETWORK Coproduction Funding Dance, funded by the Federal Government Commissioner for Culture and the Media.

radialsystem

Julidans

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Telo do tada – Body until then

photos: Lidija Antonovic

“Telo do tada” (Body until then) explores the possibilities of the body in contemporary dance. It resists the repressive model of the youthful body as the typical reference body of dance.

The project affirms dance as our cultural heritage, promotes the dance practices of dancers and choreographers of a mature age (and thus their extensive dance experience on Serbian soil) and makes their work more accessible and visible to the artistic community and society as a whole.

It involves performances, lecture demonstrations, workshops, research and archival practices.

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CoFestival goes live:
second segment

The Amplifiers of Voices

In November 2020, due to the pandemic, we were forced to reduce our programme and put it online. While waiting for the moment when our programme could be implemented, our plans changed, our programmes were sporadically cancelled, but our will to implement it was not affected. Our voices have not been hushed.

Although it is usually associated with silent body movement, contemporary dance has never been a silenced subject in its outstanding examples. It always had its own specific voice. In a situation where, as a result of a pandemic, politics has turned into a choreographer, as it increased the distance between bodies, prevented touch and created social scores with unprecedented somatic scenarios, we decided to set the dance »on high volume« at CoFestival and also persist with it. To ear-splitting highs. Now that we all learned how to embody a piece of freedom in disciplined choreographies along the city streets, as if we would be realising pleasure in inventive dance scores, perhaps the conditions may be met to help us understand who or what are the true amplifiers of our voices.

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