Using the metaphor of a live match, including commentator and cheerleader, Miet Warlop invites us to form a community and transcend ourselves in an ecstatic celebration.
What comes before touch? Is it desire? Fear? Disgust? Comfort? Pleasure? Vera Tussing and collaborators take the audience on a multidisciplinary promenade performance to carefully consider and reconsider our own personal relation to touch.
Whose aids? interrogates who is speaking about aids, who is listening, and who is hosting. In other words, who is owning aids. We ask these questions in two acts.
For her latest creation, Khadija El Kharraz Alami looks for the world of her ancestors. With dance, song, music, customs, scarcity, sharing, rituals and traditions, she awakens parts of herself that she would otherwise not have met, parts that would have ended up lost.
A sheep stands up and decides it is no longer satisfied with itself. It feels that it has more to give, is destined for a life more glorious than those of its fellow sheep. The road to the ultimate transformation is long, but the sheep perseveres, determined to defy fate, the laws of physics and good taste. A story about identity, wanting to belong somewhere but ultimately failing to do so.
Khadija El Kharraz Alami adds the magic of a lila gnawa - a nighttime trance ceremony with traditional Moroccan music. Discover the enchanting gnawa universe of Driss Filali and of the talented Hanane Abdallah, who found her own unique style in gnawa and gave this predominantly male repertoire her own touch. A unique experience after the show!
A poetic and visual performance that consider itself as a composition about daring to look and imagine without right or wrong.
‘VOCABULARIUM’ is a solo for Rosas dancer Cynthia Loemij. The starting points for this production are David Van Reybrouck’s books ‘Revolusi: Indonesia and the Birth of the Modern World’ and ‘De kolonisatie van de toekomst (The Colonisation of the Future)’; as well as the writing of Jannetje Visser-Roosendaal (1899 1990), Cynthia Loemij’s great-grandmother.
In Our Solo, Claire Croizé dances solo for the first time in a long time accompanied by violinist Aisha Orazbayeva. They depart from Gustav Mahler's Das Lied von der Erde. What would a contemporary version of this piece sound like, now that our relationship with the earth is so filled with guilt and fear?
YES, yes, yes, this could be something! YES is soft, YES is dense, YES is tension and release, YES is too much and not enough. YES is everything you touch, you change.