In Exhibit A, Haddioui seeks to interweave her family history with History - from the intimate to the political, addressing questions of oppression through the prism of bodies on the margins. By putting the spotlight on invisibilised bodies, Haddioui invites us to question, in a furiously joyful performance, the mechanisms of oppression exerted on her body and that of her family members by capitalism, colonisation and patriarchy.
Can Western pedagogies work for non-Western structures? In the three-part lecture series Should Have Been My Mother Tongue, Ahilan Ratnamohan examines the impact of language on society. The third and last part is focused on the learning techniques.
In this three-part lecture series, Ahilan Ratnamohan explores the impact of language on society, drawing on his own experience of learning Tamil. Kaaitheater presents Part I, Parts II and III at the Passa Porta festival and Kunstenfestivaldesarts.
In Leçons de Ténèbres, four bodies, three adults and a child become the mouthpieces of stories that have been forgotten or that we have tried to make disappear. In turn, they bring forth visions and assist and challenge them. For this new creation, Betty Tchomanga continues her research on Voodoo cults and crosses them with questions of climatic and social emergency.
Accompanied by Elodie Mugrefya, caterina and guests will put into perspective the questions addressed in both the workshop and programme, such as: What are the conflicts embodied in our practices? And how do we deal with them?
Artist Chiara Bersani and curator and producer Giulia Traversi have been collaborating for nearly ten years — and care work based on interdependence has been a big part of their time spent together. Drawing upon more-than-human and intersectional feminist accounts of care, Chiara and Giulia will open up a discussion on the many questions their joint care work has raised.
In May 2021 Kaaitheater invited art theorist and curator Suzana Milevska for an online lecture on ecofeminist art practices. This October she will resume this talk in live Brussels and will be joined by researcher and ecofeminist activist Myriam Bahaffou. Join us for a fruitful ecofeminist dialogue between two researchers who value the place of the dirty, the mixture and the hybrid.
The 8th letter, H, is the letter that started Effi & Amir's research into the both ancient and contemporary practice of ‘Shibboleth’. Around a round table, this interactive performance draws lines, measures sounds and tells stories about how a voice becomes a border and a collection of sounds becomes a checkpoint.
Samen met Rachaila heten we je van harte welkom op deze 3 uur durende reis waarin we in de belichaming van vreugde duiken! Zorg voor een open geest, een dagboek en iets comfortabels om aan te trekken!
With poetry, tenderness, and comedy, Baan Cult, Muang Cult is an unexpected exploration of Thailand’s social structure as a cult.
Inspired by Kathy Acker and composer Jacques Ibert, Knight-Night balances the figure of Don Quixote between fiction and reality. With song, text, costumes and choreography, they play a game of gaze with the audience while evoking an imagined landscape with fantastic situations.
Lisaboa Houbrechts writes and stages a family epic that spans three generations, using Bach's St John Passion as a guideline. At the centre is a twelve-year-old girl who has come to the end of a long history and delves into the hidden traumas of the past.
Since 2020 and even before that, we have been grieving lost ones, experiences, sources of income, qualitative housing, ways of finding and being community, or other valuable and tangible things. It is this everyday social vulnerability of facing a world in a state of deterioration, that we want to talk about.
Culo shaking night... til tears get dry has ARRIVED! On Saturday 21.01 Kaaitheater X De Kriekelaar transforms into a Costa Rican queer cantina hosted by your aunties: El Santo Playo (Mario Barrantes Espinoza), La Terre (Luis Murillo Zúñiga) y La Chunche (Andrea Vezga).
For the fourth year in a row, we participate in Brussels Helpt, BRUZZ's annual solidarity action. From 12:00 to 14:00 you're welcome for a spaghetti – choose bolognaise, veggie or halal – at De Kriekelaar. You will also be supporting Kinumai vzw, working to make the city more accessible to people with mobile disabilities, often wheelchair users. Bon appétit !
In her solo and first theatre performance La Fracture, Yasmine Yahiatene shares the stage with video material. The performance is an investigation, a search for herself, for her past and above all for a decipherment of a complex and intimate relationship – the relationship with her father. It is the beginning of a work of recovery, of resilience.
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.
Modernity’s imagination is a personal account of the ways in which modernity can seduce us into trying to work according to its logic.
Artists and researchers Amanda Piña, Paz Rojo, and Victoria Pérez Royo find each other around practices of decentralizing the classical-western human condition. They boldly propose the less-than-human, instead of adding new and extra attributions.
Carte Noire Nommée Désir starts with a funny story about colour and colonialism. That marks the beginning of a poetic journey on stage by a group of eight performers. They appropriate their own history as black women, in a country that has yet to decolonise its own imagination.
Arkadi Zaides and his team are building an archive of dead people who were only admitted to Europe as bodies. The performance is an invitation to participate in the sensory discovery of a ghostly virtual territory, to question your sense of accountability and your role as a citizen.
Following the stage show 'SPARE TIME WORK' (2021), buren continues the examination of social roles and power relations in 'shoe/farm'. This time they start from the places where they grew up: a farm in Zeeuws-Vlaanderen and a shoe shop by the Belgian coast.
In a private time slot Barbara will look with you into the grief of the unborn, in the literal or more symbolic sense; non-parenting, an abortion, grief over your inner child or your childhood, etc.