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.
Charlotta Öfverholm and Anders Larsson have been producing films together since 2013. Anders has created three documentaries following the work of Charlotta’s project Age on Stage. Checking Out, a detective story, was their first dance film released in 2021.
“There is an entire universe that exists outside the walls of the theatre that has been denied access to dance and theatre,” says Seppe Baeyens. With Birds he ventures outside the theatre walls to organise the public space as a dramatic space. How do participants, onlookers and passers-by relate in this generous, social choreography?
Following the success of Tornar (2015) and INVITED (2018), dancer and choreographer Seppe Baeyens builds upon his exploration of shaping a temporary community in Birds. For this new creation, he steps outside the theatre walls and ventures into the public space with a group of performers and musicians. There the normal course of events is interrupted – sometimes invisibly and sometimes plainly. Time and time again, unexpected compositions arise from playful interactions between onlookers, participants and coincidental passers-by, in which everyone appears to influence the outcome. Birds is a generous, social choreography that seeks out connection and imagination.
In Birds Seppe Baeyens also wanted to broaden and diversify the creation process itself. He invited Martha Balthazar and Yassin Mrabtifi to create and accompany the performance with him.
Sadler’s Wells Digital Stage presents Longevity in Dance, an eclectic mix of bold, playful and poignant films that challenge perceptions of dance and age.
The programme features commissions by internationally acclaimed artists, Charlotta Öfverholm, Nahid Siddiqui, José Losada Santiago and showcases new films by award-winning choreographer and director Eleesha Drennan, Sadler’s Wells Company of Elders and a fly on the wall documentary about iconic dancers Malou Airaudo and Germaine Acogny.
This beautiful collection looks at what makes us spark, the passing of time, our connection with nature, and the legacy we pass on. It’s a celebration of life through dance, and the inherent desire to keep on dancing.