De Argentijnse choreografe Jimena Pérez Salerno onderzoekt in Unproductive will of we een andere relatie tot tijd kunnen creëren dan degene die het westerse wereldbeeld ons voorhoudt.In Perle Noire meandert de jonge Brusselse slamdichter Mugeni doorheen persoonlijke herinneringen, reflecties en ervaringen.
A film-dance-performance that dives into the life, work and psychosis of legendary choreographer Vaslav Nijinski, who found great success in Paris with the Ballets Russes in the early 20th century. A decade later, Nijinski writes a diary, containing texts that testify to an incipient psychosis that will later turn into schizophrenia. In FLY true facts are merging with imaginary ones in a dreamful and experimental way.
With this new creation, Anne Teresa De Keersmaekers shifts her exploration of the relationship between music and dance back to pop music. EXIT ABOVE not only encourages dance, but also emphasises the need for stories and music that we can relate to and recognise.
Why are there always more people in the middle of trains than at the ends? How do you determine the middle of the ocean? In In the Middle of Nowhere, Kristien De Proost and Fred Araujo focus on the paradox of the middle: the more they try to map out where the middle lies, the more infinite everything around it seems to be.
To end our first cycle of TiNWwP, it is time to celebrate! Come, reclaim and celebrate your inner and outer JOY with us.
In how far does language influences your cultural taste? In the three-part lecture series Should Have Been My Mother Tongue. In part 2, during Passa Porta Festival, he concentrates on social customs, music, film and literature.
The four editions of ‘TiNWwP’ take us on a journey connecting bodies, minds and souls to collectivise the experience of our emotions; our anger, fear, sadness and joy. After collectively connecting to our anger in September 2022, the Winter Edition of TiNWwP will be FEAR infused. What makes us fearful? And how do we transform fear into a fuel of excitement, self-compassion, and wisdom?
Netflix series and popular songs but also the constant renewal of our social media feeds: created as they are by a crossover between frivolous enjoyment and banal seduction. What would an ambient theatre performance look like? What happens when you magnify and amplify these ambient qualities and let them rage across the stage?
She contextualises how the information about stolen dances from the Mapuche Nation, performed for an artsy Brussels audience, reached an actual Mapuche community, how they denounced this practice of epistemic pillage and how Flemish cultural institutions worked intensely to silence the appearance of this indigenous voice that came to interpellate multiculturalism and the apparent trend of decolonial art.
Ratnamohan explores the cultural and linguistic barrier between Wallonia and Flanders through the eyes of a migrant living in Antwerp. What does it mean to learn the globally dominant language in the context of a Flemish-dominated economy?
Enkidu Khaled and Joachim Robbrecht will close the evening at Ecopolis with the premiere of TANK TINK / ONE. They hijacked the format of the 'creative think tank' from its original military context. Along with artists, journalists and activists from different corners of the world, they examine the relationship between warfare and environmental crises in a hybrid and polyphonic lecture-performance.
Six black, African or Afro-descendant women dance, sing and proclaim the memory of mixed histories. This emancipation unites them in a world where they will never stop being sovereign, between anger and gentleness.
We are closing our first nomadic season with the dance piece Zeppelin Bend, by Katerina Andreou. This piece puts together dances, actions and sounds that demand hardcore discipline and psychedelic imagination. Katerina says: "In a world where staying ‘’grounded’’ or getting “high” seem to be often considered as survival methods, we try out both."
In Delfina: Almost there! two masked characters are inside a birthday party decor. The performance displays a strange mix of dance and clown inside a fragmented, gloomy and sometimes grotesque narrative.
The four editions of TiNWwP aim to connect bodies, minds, and souls and to collectivize the experience of our emotions; our anger, fear, grief, and joy. After collectively connecting to anger and fear previously, this Spring edition will be about GRIEF. What causes our grief? How could we be with our grief together?
For En Atendant, Anne Teresa De Keersmaeker took inspiration from the Ars Subtilior, a 14th century polyphonic musical form. Against the complexity and intangibility of life, she places the body. In 2011, the performance was selected for Het Theaterfestival. Now this gem returns to Brussels in the home of Rosas in Vorst/Forest.
During her presentation, Elien shares twenty stories, actions and happenings related to the warmth and difficulties within her friendships.
Artist talk about the development and the topicality of performance practice.
Every single edition of There’s Nothing Wrong with People ends with a PARTY infused by the best of Brussels DJ’s sharing their greatest tunes.
Two artists, one stage technician and one musician are waiting for their performance to start. Everything is in place, but where is the audience? It soon transpires that there are more questions. Whose coffee cup is that floating in the air? Which ghost is going to make off with the extension cord?
Tijdens de Open Studios rondt caterina daniela mora jara haar traject als huiskunstenaars af met een minifestival waarin ze vijf andere kunstenaars uitnodigt om het podium met haar te delen. In deze eerste double-bill presenteert ze haar eigen solo en een solo van Loucka Fiagan.
La Nuit tombe quand elle veut is an immersive and hallucinatory adventure, populated by flamboyant figures, spectral voices and enigmatic music. Latifa Laâbissi and Marcelo Evelin invite the audience to a journey through the night, during a timeless vigil.
Tg STAN once again delves into the oeuvre of Iranian filmmaker Asghar Farhadi. With a group of eleven actors which includes different generations of creators and actors as well as different nationalities, Tg STAN creates a performance about doubt, friendship, honour and responsibility. Which truth is true and for whom? Is the truth really that relevant? Or can a lie bring salvation?
'‘Toxic Positivity’? can be described as the pressure to only display positive emotions, suppressing difficult emotions in favour of a cheerful and often falsely-positive façade. For this JOY edition of TiNWwP, we’d like to invite you to this talk with activists and artists to respond to this injunction to "positivity" that we may all experience.
In Forest Silent Gathering verzamelt een kleine groep toeschouwers zich bij zonsondergang midden in een bos, en volgt een soundtrack via een koptelefoon. Er wordt een audio-sociale setting gecreëerd, die het mogelijk maakt om ‘samen alleen’ te zijn.
In December Marché Bildy Markt transforms itself into one big welcoming dinner table. Each dish served has a story starting from different corners in the world and coming together in a vibrant community performance.
In this third episode of ‘The wonders of multilingualism’, we discuss translation and translation politics. The languages in which something is produced, translated and communicated does not always have only artistic reasons. Often (cultural) political and economic motives also play a role. A discussion with the audience is accompanied by interventions by Rokus Hofstede (translator of a.o. Annie Ernaux), the editors of the performance magazine Etcetera, rapper-slammer-theatre-maker-actor Armin Mola.