#dansmakers

[the-groundbreakers-modern-dance]

Een gedetailleerde moderne dans voorstelling die samenkomt met klassieke Kunqu Opera fragmenten, een nieuwe interpretatie van de Chinees klassieke schoonheid. The Peony Pavilion met de scene A surprising dream een verhaal over liefde. Dit is de manier waarop Chinezen liefde verwachten en nastreven. De moderne dans zal dichter bij de esthetische eisen van de moderne mens komen, en de klassieke teksten van Kunqu Opera in een emotionele danstaal laten zien. Het gaat om een unieke samenwerking tussen Nederlandse en Chinese dansmakers en kunstenaars. 2019 Concept en regie: CunSong Xu, Fuhai Lu Choreografie: CunSong Xu Zakelijk leider: Roos Hendriks Cello en live muziek: Antonis Pratsinakis Opera zangers: Yu Liu, Jiulin Yu, Fanggun Shen Performance en dansers: Tamara Kšírová, Gijs Hanegraaf Techniek: Vincent Romijn Producent: ShaoHua Cai, Roos Hendriks Dank aan: Karin Post, Fonds Podium Kunsten, China Cultural Center Den Haag, Suzhou kunqu opera theatre, Suzhou ballet theatre

[peripato]

AURA: A Shamanistic Techno Ritual of Dance TICKETS LINK IN BIO 5, 6, 7, 15 September at @amsterdamfringe @brakkegrond With @silverevgenia_ Music by @immaterial.arc Costumes by @cliffordportier Camera by Peter Franken Photography by @alwinpoiana Production assistant @carlijnkoppelmans Dramaturgy by Edith Cassiers Supported by @afk020, Olland Buisman Stichting, @ickamsterdam, @dansmakers, United-C #aura #shamanistic #techno #ritual #dance #music #theatre #amsterdam #fringe #festival #brakkegrond #ick #dansmakers #afk #ollandbuisman #unitedc #nl #spiritualawakening #community #premiere #clubbing #meditation (at Vlaams Cultuurhuis de Brakke Grond) https://www.instagram.com/p/B18wDUfg5Sp/?igshid=11y6i8omp0zna

[body-in-revolt]

Het identiteitsloos lichaam #11: briefwisseling met Karel Tuytschaever

Dag Karel,

Bij het afsluiten van je laatste brief, liet je me achter om het bos in te gaan. Even op adem komen na een intensieve repetitieperiode, eerst in Tilburg, dan in Amsterdam. Het voelde inderdaad erg vertrouwd om met je te werken in de studio. Een naadloze verderzetting van deze correspondentie. Nu het gesprek zich verplaatst heeft van papier naar studio, schrijf ik je nog een laatste keer na de première van STRANGER afgelopen week.

STRANGER voelde als bladeren door een koffietafelboek. Een selectie beelden heel zorgvuldig uitgekozen en na elkaar geplaatst in een bepaalde esthetiek en over een bepaald thema. Een collectie aan lichamen, indrukken, beelden, associaties,…

Was dit dan het identiteitsloos lichaam? Het lichaam dat niet geïnterpreteerd kan worden in een bepaalde context maar enkel zichzelf uitdrukt? Vanuit de performer gezien, het perspectief dat jij altijd gebruikt om het hierover te hebben, wellicht wel. Er zit iets van zelfloosheid in het spel van danser Laurent Delom de Mézerac. Hij heeft zijn lichaam beschikbaar gemaakt om verschillende intenties en uitgangspunten van de maker op uit te proberen.

Vanuit het publiek gezien, stond er alles behalve een identiteitsloos lichaam. Het lichaam creëerde van binnenuit verschillende contexten en speelde met de frictie tussen ‘wat er is’ (een lichaam) en ‘wat we zien’ (een man). Dit wordt vanaf het allereerste moment heel helder ingezet. De man richt zich tot het publiek en zegt zachtjes: this is my own voice. Terwijl hij langzaam naar achteren loopt, wordt dit subtiel overgenomen door een stem op band, het duurt even voor het publiek dit merkt, waarna hij zelf zwijgt en we enkel nog de band horen: this is my own voice. Zo verschuift onze perceptie van de performer naar zijn omgeving. Wat hij is, wat hij zegt, his own voice, wordt mede bepaald door wat hem omringt. Ook dat geeft identiteit.

Op podium bewoog het lichaam in een kale ruimte, naakt, om elke input die de interpretatie van buitenaf zou kunnen sturen, te dempen.  De filmbeelden werkten daarentegen met (sociale) omkadering: zowel door de ruimtes waarin het lichaam geplaatst werd als door manipulaties op het lichaam zelf, tattoos, beharing, wonden,… Opvallend was ook de tegenstelling actief – passief tussen het lichaam op het podium en in de film. Op podium, in al zijn naaktheid, moest het lichaam aan de slag om betekenis te genereren. Springen, rennen, kijken, spelen, het op –en ontspannen van spieren, dansen,… het lichaam was druk in beweging. Op beeld deed hij juist niets. Een zittende man. De omkadering deed het werk. Ook hiermee duid je volgens mij de impact van beeldcultuur en sociale lagen die over het lichaam heen worden gelegd. We moeten zelf geen moeite meer doen om ons te presenteren. Nog voor we iets gezegd of gedaan hebben, is er al een interpretatie van wie we zijn, wat onze identiteit is, gewoon door de omgeving waarin we ons bevinden en de manier waarop we ons lichaam bedekken, of simpelweg ‘is’.

Ik blijf het dan ook een lastige term vinden, het identiteitsloze lichaam. Want hoewel het mij na een paar keer over en weer schrijven duidelijk is geworden welke invulling jij er aan geeft, vind ik het moeilijk om hier voorbij het talige te denken en interpreteren: identiteits – loos. Zonder identiteit… En dat is het namelijk nooit. We hadden het eerder ook over het transparante lichaam, het gevolg van een actieve houding om de ‘ego- belangen te transformeren naar iets groters dan jezelf. Het transparante lichaam vat zowel het lichaam dat zich openstelt voor intenties van de maker als dat het zich kan verhouden tot een publiek door middel van fysieke empathie. Het publiek kan hier ook zelf, vanuit eigen achtergrond en fantasie, associaties maken. Wellicht is dit een beter term? En over dat transparante lichaam zit onvermijdelijke een sociale laag. The social body.

Lieve Karel, ons schrijven is voor mij erg betekenisvol geweest. Nadenken, iemand laten meelezen, ruimte om dingen ook niet te begrijpen, open te breken, te bevragen, rond te dwalen in de mist,… laten we hier verder over hebben. In de studio, in de kroeg, in het leven.

Veel liefs,

Jesse

Jesse Vanhoeck is dramaturg en artistiek assistent bij ICK.

Karel Tuytschaever is performer, docent en bezielt daarnaast als maker het platform voor eigen werk BARRY.

Foto’s: Alwin Poiana, Joey Erna

[hibedestek]

“Be Mobile Create Together” Proje Çağrısı Açıldı

“Be Mobile Create Together” Proje Çağrısı Açıldı

Be Mobile-Create Together! projesi kapsamında, farklı ülkelerden sanatçıların katılabileceği misafir sanatçı programları şunlardır: Almanya’da HELLERAU – European Centre for the Arts (Dresden), Künstlerhaus Bethanien (Berlin) ve Akademie Schloss Solitude (Stuttgart); Fransa’da Camargo Foundation (Cassis), La Cité Internationale des Arts (Paris) ve Le Cube (Issy-les-Moulineaux); Hollanda’da…

[ilovetheater-nl]

Here we live and now 2021

Here we live and now 2021

Vier het danstalent van Den Haag! Dansstad Den Haag barst van het danstalent. Korzo en Nederlands Dans Theater laten je met het jaarlijkse dansevent Here we live and now kennismaken met drie Haagse dansmakers. Ook dit jaar bundelen NDT en Korzo de krachten en nodigen ze drie choreografen uit om nieuw werk te creëren. Ze duiken de studio’s van Korzo in om daar in alle vrijheid een korte…

[jetteloonahermanis]

“Torque Vulnerati”   2020

graduation work of SNDO School for New Dance Development, performed in Dansmakers Amsterdam

Jette Loona Hermanis

[maviveloso]

THE FOUNTAIN – THE NETHERLANDS Choreography: Fernando Belfiore in collaboration with creation and performance with Maciej Sado, Rita Vilhena, Rose Akras , Mavi Veloso, Rozemarijn de Neve, Johhan Rosenberg and Fernando Belfiore Light: Wijnand van der Horst with Katinka Marac Sound: Isadora Tomasi Set: Nikola Knežević Dramaturgical Advice: Renée Copraij and Cecile Brommer Production: DANSCO / Marieke van Bueren Co-production and Residencies: O Espaço do Tempo, Dansmakers Amsterdam, RedPlexus Marseille and HOBRA (Panorama/FPK). THE FOUNTAIN is supported by the AFK (Amsterdam Fund for the Arts), Prins Bernhard Cultuurfonds, Stimuleringsregeling Eigentijdse Dans and Stichting Imperium. With thanks to FLAM. Pictures Thiemi Higashi and Paul McGee.

[formfeeding-blog]

DEUS/XMACHINA

Belfiore has crafted a kind of consumerist phantasmagoria, a cross section of desire in the digital age. His dancers hold sincerity disdainfully at arm’s length, like some mythological beast who has outlasted her usefulness by Sebastian Kann, Writing Dance.

A magnificent performance full of laughter, tension and lightness, yet it sends me of into the world feeling saddened. They can do everything. Wonderful. Boundaries blur. They climb onto the tribune, squirming between the audience and kissing spectators. You can’t go nearer than this by cultureelpeersbureau.Maarten Baanders.

The title is inspired by a term of the Greek tragedy and refers to an unexpected power that intervenes and saves a seemingly hopeless situation. Belfiore uses this notion to explore a poetic that can induce an experience of unimaginable changes. D3US/xM4CHIN4 brings the notions of vulnerability, energy and motion to live through Gods and machines. The limits of theatricality stretch, plastic faces melt, different sources of sounds form a chorus and a supernatural battle becomes a starting point for a choreography that balances between the epic, science fiction and a ritual. As the machinery is set in motion, the stage becomes a place for the unknown and the reconfiguration of our imagination.

Choreography and Direction Fernando Belfiore _ Creation and Performance Luna Eggers Matz, Rozemarijn de Neve, Maria Metsalu and Jija Sohn _ Dramaturgy Mirijana Smolic _ Light Wijnand Van der Horst _ Set Nikola Knežević _Sound Sne Martin Snider _ Research Creation and past performances _ Goran Kusic _Research Process Eva Susova, Tomislav Feller, Jordan Iffenildo _ Outside Eye Riccardo Guratti, Renee Copraij and Vincent Riebeek _ Artistic Coach Suzy Blok _ Production | Dansmakers Amsterdam with co-production of Work Space Brussels and supported by ICK Amsterdam, Young ArtFund Amsterdam, Dansgroep Amsterdam and Amsterdams Fonds voor de Kunst Likes: 6 Viewed:

The post DEUS/XMACHINA appeared first on Good Info.

[antoniasteffens]

Impressions of our Research Presentation “Spinner”, April 2019 at Dansmakers Amsterdam.

Photocredits: Peter Franken

Antonia Steffens and Sigrid Stigsdatter in the context of “New Adventures residency” and with support of Jacuzzi Amsterdam

[shinjukuinnvideo]

Sonic Acts Academy 2018 - Fascia 171208180222 [excerpt] from Bozinovska Jones | MBJ Wetware on Vimeo.

SONIC ACTS ACADEMY Marija Bozinovska Jones - Fascia 171208180222 23 February 2018 - Dansmakers, Amsterdam, The Netherlands

Music and sound design: J.G. Biberkopf Virtual voice assistant: MBJ Wetware Technical Director: Jayson Haebich --- For the premiere of this particular instalment of Fascia 171208180222, artist Marija Bozinovska Jones – featured as a virtual voice assistant, MBJ Wetware – teams up with musician and artist J.G. Biberkopf to create a live audio-visual performance employing a range of spoken and programming languages. The performance positions the contemporary self as a relational matrix, enmeshed in surveillance economies. Data is an elusive currency, and attention-as-profit technologies enable its free brokerage. Algorithmic reason estimates subsequent behaviour and customises future choices. The datafied selfhood occupies a space between the signal and noise of imposed value systems and autonomous decision-making.

Marija Bozinovska Jones (Macedonia/UK) explores social, computational, and living architectures. Her work addresses the formation of identity in an era of techno-capitalist amplification and perpetual online presence, probing the self as a datafied and distributed identity through MBJ Wetware. She is interested in the cryptic ways in which subjectivity is forged, auto-regulation, and coping mechanisms – from trends in self-improvement to decentralised blockchain technologies. Her performances and presentations have taken place at CTM, Transmediale, MIRA festival in Berlin, and Somerset House in London, where she is currently undertaking a studio residency. sonicacts.com

[body-in-revolt]

Connections, catharsis, and dance as an inclusive ritual; Moreno Perna brings to the stage AURA: A Shamanistic Techno Ritual of Dance

Text by Greta Melli Published on 31MAG

Not just dance: Moreno's performance is the result of inner research, listening and (re)connection with the other

A return to the origins, spirituality, and primordial elements. AURA is dance, because it’s pure movement. But also a ritual, staged at the theater. Theatre is the only thing today that is truly magical, where the audience experiences sensations thanks to something that can be felt live. And any piece of theatre or dance is already a catharsis itself.

Moreno Perna is a dancer, choreographer and performer based in Amsterdam. He studied Humanities at the State University of Milan, before accomplishing a second degree at the Amsterdam University of Arts. After that, he studied with Jan Fabre, while today he collaborates with ICK Amsterdam and Dansmakers Amsterdam companies. This year, he created a new project, AURA: A Shamanistic Techno Ritual of Dance, which will be staged for the first time on Thursday, the 5th of September.

“I’ve been working on this performance for a year: it’s a research of movement that starts from a work of introspection on a very personal level. The connection between energy work and dance is what the show is based on. When I had the courage to move here and study dance, it was like starting from the bottom, because dance, much more than theatre in my opinion, is a form of art where the body/mind system changes completely. You learn again to connect with yourself, with others, with the world, through your senses and movement. That’s why I find it a shamanistic process, which includes magic and spirituality.

This for me is the most beautiful part of dance, the way you can connect with the audience on an energetic level. You don’t just come to the theatre to see a monologue with a message, but you go to see dance to connect emotionally.”

For Moreno, the relationship with the audience is fundamental; without its viewers, the performance would totally lose its meaning: “These days I’m working with Evgenia Rubanova, my dancer, and we could see that working alone is not the same as doing that with the audience.”

In the show, the public can choose their place. It’s not just a matter of comfort, it’s a symbolic choice, aimed at making them feel at ease: “I want viewers to have their own space in the theatre, and to choose where to sit based on what they feel at the moment. It’s their decision, completely intuitive. Based on this, they will have a different experience. We dance in a circle; around it there’s a first row where you can sit and stay very close to us. Alternatively, you can sit elsewhere, or stand and dance. It’s our audience decision. We dance on the floor, all together, without a stage.”

Connecting with the audience through improvisation, they go beyond a simple show to watch passively: “We work a lot on the energy level, so we listen to the energy of the audience. We are sensitive and influenced by it as we move, and we perceive a different aura depending on the person (hence the title AURA). There are people with whom we are better off and others who are not, they all have this sixth sense.

We use a technique, The Auratic Practice, and we’re still working on it. From this practice of listening and connecting with the others, we create a new energy all together, in total communion. Obviously we respect a basic choreography. But I prefer to work with body language rather than fixed steps”.

Theatre and pure movement are the key terms of Moreno’s debut performance. This new production comes mainly from an introspective work: “I wondered why I dance, why I am a dancer and choreographer. I’ve always had a lot of energy that I have to throw out, and if I don’t, I become depressed and also nervous. It’s liberating and increases my level of well-being. And it is also very poetic because dance doesn’t have a fixed and verbal language: my audience is not just listening, but they can relax and share feelings. They must have time to familiarize with us, step by step; we don’t want to be aggressive at all, in fact ours is a gradual approach”.

And gradual was also the confidence that Moreno has learned to have with his viewers over the years. It is not easy to control, on an emotional level, the energies of those in front of you, especially because they are difficult to predict. Also, the peculiarity of AURA and this openness to the others is the result of years of experience: “I have been practicing Kundalini for 7 years now, a practice of meditation that influenced the research on The Auratic Practice during my first residence. From there I started to practice. At that time I had more distance with the public. There’s always a chance that you’ll find someone who doesn’t have a good energy in front of you, and I wasn’t sure if I could handle everyone’s energy. Even just dancing on stage means exposing yourself, and you have to know how to do it. Now I’m completely comfortable. The relationship with the audience is actually a real relationship, but there must be balance, or else it is exploitation or abuse”.

We are not, however, dealing with a simple theatrical play, nor a ritual, but with dance, in the most genuine sense of the word. A dance made of pure movement, free of tinsels or masks, which relies on anything but body language and the primordial rhythm of techno. This is how Moreno allows you to identify with a cathartic experience, always in a protected space.

And not just that: “The spirituality of the individual comes up, each one of us has his own, which is connected to religion or created by combining several elements, like a puzzle. And, after all, why not?”

The choice of the musical genre is completely unexpected for a dance show: the techno that accompanies AURA is composed  by an Italian artist living in Amsterdam, Alessio Ciborio, which is part of the music label Immaterial Archives. However, it is perfect for a performance that wants to reconnect to the most primordial and genuine sensations: “After all, techno is just the simple evolution of drums, almost a ritual. You feel the music vibrate inside your body, and it’s the music that makes you move your body.”

Photos: Alwin Poiana

Moreno Perna is supported artist at ICK. Aura is part of the Amsterdam Fringe Festival and can be seen 15/9 at 19h30 at De Brakke Grond

+31mag is a multicultural project of partecipative journalism that produces and fosters quality information “from below”. The website is an online newspaper that covers news from the Netherlands. Follow them on Facebook

[medullaobligato]

The Loop.

This weekend I’ve been working on a project with The Loop in Nijmegen.

The Loop are a group of psychologists from the University of Groeningan who are interested in audiences responses to art experiences. As their pet artists I’ve been turning those responses back into art, to make, erm, The Loop.

This dance piece by Dansmakers, is called Have I been Here Before, choreographed by Marie Goeminne. It’s a beautiful piece exploring birth life and death as it relates to the female form. The Loop created cards printed with a boody shape, and asked audiences

“Take a moment to reflect.

Pick a scene of your choice or think about the performance in general.

How did you experience this performance? What is the physical impact of this work on/in your body?”

The audience were asked to colour the mannequin and/or make notes to express their feelings and thoughts.

Lisa and I then took those cards and made montages of them, and I made a jitter patch which overlays the audience responses onto the trailer for the dance piece. The timings of the cards changing, and the cross fades are determined by heart / pulse sensors on me as I watch the dance trailer. In this way the audiences responses and the dancers work are blended by my response to the work.

Loop.

[sha-nice]

Een uitvoerend danser.

Een co-creërende danser.

Een dansmaker.

Hokjes vervagen, zodat je begint vanuit één en ontdekt dat je meer kunt zijn.

Meer mág zijn.

In: P.A.R.T.S. - Documenting ten years of contemporary dance education (Steven de Belder, Theo van Rompay)

[aandreazavalaa]

[jetteloonahermanis]

“Torque Vulnerati”    2020

graduation performance in Dansmakers Amsterdam

Jette Loona Hermanis

[formfeeding-blog]

DEUS/XMACHINA

Belfiore has crafted a kind of consumerist phantasmagoria, a cross section of desire in the digital age. His dancers hold sincerity disdainfully at arm’s length, like some mythological beast who has outlasted her usefulness by Sebastian Kann, Writing Dance.

A magnificent performance full of laughter, tension and lightness, yet it sends me of into the world feeling saddened. They can do everything. Wonderful. Boundaries blur. They climb onto the tribune, squirming between the audience and kissing spectators. You can’t go nearer than this by cultureelpeersbureau.Maarten Baanders.

The title is inspired by a term of the Greek tragedy and refers to an unexpected power that intervenes and saves a seemingly hopeless situation. Belfiore uses this notion to explore a poetic that can induce an experience of unimaginable changes. D3US/xM4CHIN4 brings the notions of vulnerability, energy and motion to live through Gods and machines. The limits of theatricality stretch, plastic faces melt, different sources of sounds form a chorus and a supernatural battle becomes a starting point for a choreography that balances between the epic, science fiction and a ritual. As the machinery is set in motion, the stage becomes a place for the unknown and the reconfiguration of our imagination.

Choreography and Direction Fernando Belfiore _ Creation and Performance Luna Eggers Matz, Rozemarijn de Neve, Maria Metsalu and Jija Sohn _ Dramaturgy Mirijana Smolic _ Light Wijnand Van der Horst _ Set Nikola Knežević _Sound Sne Martin Snider _ Research Creation and past performances _ Goran Kusic _Research Process Eva Susova, Tomislav Feller, Jordan Iffenildo _ Outside Eye Riccardo Guratti, Renee Copraij and Vincent Riebeek _ Artistic Coach Suzy Blok _ Production | Dansmakers Amsterdam with co-production of Work Space Brussels and supported by ICK Amsterdam, Young ArtFund Amsterdam, Dansgroep Amsterdam and Amsterdams Fonds voor de Kunst Likes: 10 Viewed:

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