Trajal Harrell explores a moment in dance history when female artists presented performances on the boundary between entertainment, erotic dancing, and early experiments in modern dance. CAEN AMOUR is structured as a hoochie coochie show. With a seductive performance, scantily dressed ‘hoochies’ lure you around to the backstage area, to reveal the festivities on the ‘coochie’ side.
In this piece for three dancers, Ola Maciejewska draws her inspiration from Loïe Fuller, one of the pioneers of modern dance and performance art. She explores the relationship in the arts between human beings and physical matter by creating movement in large pieces of fabric. She plays with the confluence of bodies and objects and the battle that these wage.
How do we envision the art spaces of tomorrow? How can we reshape these meeting places and laboratories for coexistence? The artists of Damaged Goods set up camp in a former factory in Molenbeek – housing the Decoratelier of scenographer Jozef Wouters – to formulate some physical answers to these questions.
A sudden and uannounced event can change the colour of whatever went before. unannounced – a performance for four dancers – plays with the way your focus shifts when a sudden apparition suddenly changes your perspective. The creators zoom in on the deep dark shades of the black box to look beyond the surface of the here and now. The anticipation of what is to come echoes the afterglow of the past.
Flood is a choreography of entrances and exits. In the midst of our throwaway society and the flood of new technologies and ideas, Daniel Linehan questions the cultural domination of the new. At the same time, he considers what is disappearing, and what is becoming superfluous at an ever-faster pace.
When Vincent Dunoyer began to create performances himself it struck him that dance industry professionals would always ask him the same thing. ‘Can you send us a DVD of the performance?’ In DVD DVD he creates a montage of personal and professional memories, like a lecture interspersed with video and dance. Both intimate and universal!
Every era has its own wonders of the world: an impossible idea that then goes on to be actually built, and which is larger and more impressive than anything we have previously known. Mriziga weighs up two standards against one another: the built world, created to impress; and the ultimate wonder of the world: the human body itself.
In 1983, Anne Teresa De Keersmaeker firmly put her newly formed dance company Rosas on the international map with Rosas danst Rosas. Four dancers dance themselves, again and again. For this revival, an entirely new, young cast will dance Rosas danst Rosas.
Marc Vanrunxt creates a dance performance based on the work of the solitary Lucien Goethals, pioneer of Flemish electronic music. The result acts as a journey through time, towards what in the 1970s was still the music of the future, and which quite possibly still sounds like that now.
In 2005, Anne Teresa De Keersmaeker, along with Salva Sanchis, created a quartet set to John Coltrane’s jazz album A Love Supreme. Improvisation and composition interweave until they melt together. Join a new cast of young performers, in giving yourself over to Coltrane’s spiritual ode to divine love!
Zaoum is the second part of the Flemish-Swiss choreographer Cindy Van Acker’s new cycle, which was inspired by Quando Stanno Morendo by the composer Luigi Nono. Abstract dance to enjoy and/or decipher!
Boris Charmatz and Emmanuelle Huynh pay tribute to the French choreographer Odile Duboc. They dance two versions of her boléro 2 (1996), once in an extremely slow interpretation, and then in its original form. According to Duboc, “In the slow form, the pair sculpts a common substance.”
Dancer and choreographer Fumiyo Ikeda takes you on a journey to the heart of Morton Feldman’s Piano and String Quartet. This 80-minute composition for piano and strings exudes an aura of tranquillity, in which ‘each is just as much an echo of the other’. Ikeda shares the stage with the soloists of Ictus, as though she herself were the sixth musician.
Since its première at the Kaaistudios, Radouan Mriziga’s first creation has caused a furore. His very characteristic dance style provokes confrontations between physicality and strict concepts, between the sensual and the rational. Using his own body as a measure, he constructs an architectural form, subtly playing with your expectations.
What does being together mean in 2016? Vera Tussing investigates the issue in a cheerful but destabilizing performance that both questions and reinforces the concept of ‘community’. Time for a reassessment of physical contact in this digital age!
Saving and processing the daily tsunami of information is a time-consuming occupation. Based on this fact, Michiel Vandevelde analyses the role of thought. With an exuberant choreography full of re-appropriated dance, fragments of text and bizarre music, he articulates a critique of our time, carefully searching for new modes of thought.
Six performers and three musicians meet one another in a nightclub. Or is it an arena? In this unreliable, underground refuge, we hear thumping basses and playful jazz. UNTIL OUR HEARTS STOP was one of the absolute highlights of last season, and more than deserved its nomination for the Theaterfestival 2016.
What happens when Shakespeare’s rhythmic and poetic visual language becomes dance? Golden Hours (As you like it) – an encounter between Brian Eno and Shakespeare – draws you into a mildly ironic world, where the characters speak a language that doesn’t need deciphering to be grasped, yet isn’t pantomime.
Stef Kamil Carlens was inspired by folk art, rituals, beautiful creatures from European folklore traditions, and early twentiethcentury modern art. Enter into this wonderful world of dance, music, word, costumes, and masks!
In Radical Light, a creation for four dancers, choreographer Salva Sanchis combines experience-related and formal dance. ‘Experience-related’ stands for the dances that we create spontaneously at a party or at home: instinctive but also socially determined. Formal dance, however, is what you see in dance performances, the movements are completely ‘composed’.
THIS SHOW HAS BEEN CANCELLED. For sixty years, the artistic careers of Valda Setterfield and Gus Solomons Jr. were linked to the most prominent artists and artistic developments. Eszter Salamon convinced the now 82-year old Setterfield and the 76-year old Solomon to appear on stage.
During an improvised encounter, Meg Stuart and Tim Etchells negotiate, renegotiate and explore the themes and methodologies that characterize each other’s work: from presence and absence, need and loss, to fragmentary storylines.
Four dancers become musicians onstage. They deftly – and with a great sense of humour – strip traditional Alpine music, group dances and rituals of their conventions and conservatism. After SunBengSitting, Simon Mayer is continuing his exploration of the nature of tradition.
The transition to a sustainable society has been the central theme in Vera Mantero’s work for several years. In The Clean and the Dirty, this grande dame of Portuguese contemporary dance focuses on interior transition. On taking care of that precarious thing, the ‘self’.