Sadler’s Wells Digital Stage presents Elixir on Digital Stage: Longevity in Dance, an eclectic mix of bold, playful and poignant films that challenge perceptions of dance and age.
In our new 2024 programme, alongside global premieres, you can enjoy dance film commissions by artists Louise Lecavalier, Aditi Mangaldas and Paco Peña, and documentary The Exchange. This film follows a collaboration between Company of Elders and ZYC (ZooNation Youth Company), creating a dance show together choreographed by Chaldon Williams.
Elixir on Digital Stage: Longevity in Dance is a celebration of life through dance, and the inherent desire to keep on dancing.
Inside the Outside is a collaborative work between the artists of Nomad Dance Academy Slovenia and the acclaimed American dancer and choreographer Deborah Hay.
Operating within the framework of defined tasks and determinants (the specific score of Inside the Outside), the artists build configurations of kinetic relations, exploring how their individual dance practices can engage in reciprocal interactions. Their principles are tested in more intense kinetic rhetorical territories, encompassing theatrical and choreographed passages. Throughout the performance, compositions of temporality confront one another, pointing to kinetic landscapes beyond the present moment, including those of the past, potentiality, and future actuality.
Choreographer Charlotta Öfverholm and her dance collective Jus de la Vie are thrilled to share their next stage of their journey when they approach their 30th anniversary. Join us as we say goodbye to dance performance, and a great big Swedish Hej! to the world of motivational seminars. Would you like to earn more money? Have a better sex life? Have thicker, glossier hair?
Come join Dick So-So, Scandinavia’s leading women’s empowerment specialist and be re-born as the YOU you were always meant to be. Learn how to finally take control of your life! The ONLY female empowerment conference led by a man is finally here!
Humor and sarcasm in a dance theater piece about gender identity, power structures, prejudices and about finding back to oneself.
By choreographer Charlotta Öfverholm and British director Sam Brown.
The starting point for the project was the question: ‘How can archiving dance become an artistic practice?’ Koruga’s explorations led to a transgenerational exchange with six former dancers and performers, who now primarily work as choreographers and directors in the local independent dance scene: Nela Antonović, Anđelija Todorović, Jelena Jović, Tanja Pajović, Boris Čakširan and Sanja Krsmanović Tasić. Together, these six artists create an “archive in motion”, embodying movements, experiences, memories and oral histories from the many artistic works they created during their long careers, which remain insufficiently documented and are in danger of being forgotten – especially at a time when there is no official institutional framework for archiving the local dance scene.
By questioning the physical, social, emotional, economic, ideological, and other (mostly invisible) vulnerabilities behind their cultural and artistic work, they also re-examine the tactics, principles, (re)positioning, and contradictions of their survival and resilience as a form of resistance, criticism, and solidarity amidst the turbulent socio-political circumstances of the past forty years.
What do their bodies reveal and conceal? How does the impermanence of the archive reflect the impermanence of the dance itself? How does independent dance endure as a relevant social, cultural, and political tool for reshaping the social body? The attempt to create a definitive history will undoubtedly fail. The only question is, for whom?
Daniel Linehan invites nine dancers of different generations to reflect on the role of dance in their lives. Why do you choose to dance? What motivates you to continue? When does dance start, and when does it end?
In 2019 Linehan created the solo performance Body of Work in which he reflects on his own history of dancing. Revisiting some of the same intimate questions that he asked himself, he gives the dancers of Kiss The One We Are with their own diverse histories the space to reflect on what it is to experience life and the surrounding world through the lens of dance. In what ways can dance connect us with one another and with the other dances that take place all around us: the play of animals, the movement of plants, the rhythm of an ocean, the dance of atomic particles continually vibrating and interacting. …? In asking these questions, together they reflect on the meaning of dance itself.
Javier Arozena, a member of the Dance On Ensemble, co-curated the exhibition “THIS MAY BE THE PLACE. Performing the Museum” at the Tenerife Espacio de las Artes, which brought ephemeral art forms such as dance and theatre to the space of the museum. What they have in common is that they use body and the performative gesture as raw materials, without producing objects or lasting artefacts. How then can dance have a presence in the museum? How can it be preserved and recognised?
The exhibition focuses on the frictions between the performing arts and museums, and the absence of the so-called living arts in traditional museum spaces. It features material and immaterial pieces, voices and gestures, remains of actions, but also stage and film pieces, as well as the bodies of the performers, which are memory archives in their own right. All these are activated by the movements of the visitors as they walk around the exhibition.
A production about the power that lies in being out of step, performed by a seventeen-strong, atypical corps de ballet made up of unique personalities.
The heterogeneous group of dancers between the ages of 18 and 71, with diverse backgrounds and track records, find and strengthen each other on stage. In any attempt (…) they seek their own voice within the dance and beyond, looking for an idiom that fits them like a glove. One by one they claim their place on stage, without cutting off the others for all that. A horizontal exercise in giving each other the necessary space, while being careful not to steal the limelight. In times of extreme polarization, this group sets social dogmas aside to recognize and embrace a range of distinct identities. Being uninhibitedly themselves – in both life and art – with the stage as their ideological testing ground.
A body that is outwardly still and inwardly vibrating – what processes does the energy undergo before it breaks through? How does it change when the body matures?
In his new production „MELLOWING“ Greek choreographer Christos Papadopoulos embarks on his inaugural collaboration with the dancers of the Dance On Ensemble. Incorporating their knowledge and experience into the creation, together they explore moments of perception and intensities of the moment that create a lively restlessness, a permanent vibration in which the spectator is inevitably involved.
Christos Papadopoulos’ works are fed by an intensely observant approach to movement and often unfold a lively and meditative power. His attention is focused on the minimal shifts of perception, the perpetual, often unnoticed and yet powerful movements that are ever-present in nature, in everyday life, within physical phenomena and political contexts. His debut “Elvedon” (2016) was inspired by Virginia Woolf’s novel “The Waves” and captures the continuous undulation of the sea. This was followed by “Opus” and his third choreography “ION”, an artistic exploration of the phenomenon of ionization and its underlying forces of attraction and repulsion. In his latest work, “Larsen C”, he turns his attention to the micro-phenomena of movement, this time inspired by the popularised iceberg of the same name, which lost a large part of its surface in 2017.
Production: DANCE ON / Bureau Ritter Coproduction: ONASSIS STEGI, Athens and Centre chorégraphique national de Rillieux-la-Pape / Direction Yuval PICK, as part of the accueil-studio programme.
Supported by the Hauptstadtkulturfonds.
CoFestival 2022 can be divided into three thematic strands. The first one deals with choreographic material through collective or subjective time (Moritz Ostruschnjak, Michiel Vandevelde, Mateja Rebolj and Magdalena Reiter, Alma Söderberg with Cullberg), the second one observes the body and life through the prism of virtual and digital landscapes (Yuske Taninaka, Aleksandar Georgiev with his team, Barbara Matijević and Giuseppe Chico), while the third transforms the contemporary moment into a poetic image that inevitably flows out into the wild (Věra Ondrašíková and her collective, Mala Kline).
This edition of CoFestival will be accompanied by a discursive programme with talks, book presentations, a film programme and the launch of a new publication marking the tenth anniversary of the festival.
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