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Oona Doherty – Specky Clark

February 6th – 7th, 2025 VIERNULVIER, Ghent
March 7th, 2025 Festspielhaus St. Pölten, St. Pölten
April 24th – 25th, 2025 Lieu Unique, Nantes
May 9th – 10th, 2025 Sadler’s Wells, London
May 14th – 17th, 2025 Dublin Dance Festival, Dublin
June 24th – 27th, 2025 Théâtre de la Ville, Paris
August 13th – 16th, 2025 Kampnagel, Hamburg
60 minutes

Meat, Sorrow and Irish Sounds

© Luca Truffarelli

Part fiction, part biographical, all elements are overlapping, and it will become difficult to determine what’s myth and what’s reality. 

It goes back to a time when families worked in the abattoirs of Belfast. Pigs in the garden of New lodge.

There’s something in the meat of me, bloodline, there is a pink fleshy vulnerability to me, to dancing, there is a violence in me.

This new show will follow the story of Oona’s Great Great Grandfather Specky Clark and his arrival in Belfast.

For this piece which will be unfolding in a series of theatrical images, Oona Doherty will collaborate with many faithful and new partners. The production features music from Irish band Lankum, Gavino Murgia and David Holmes & Raven Violet. Maxime Jerry Fraisse is sound designer, Irish playwright Enda Walsh is dramaturg, Sabine Dargent is set designer, Darius Dolatyari-Dolatdoust is costume designer and long-time collaborator John Gunning is lighting designer. The piece will be performed by an international cast of 9 dancers.

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Malandain Ballet Biarritz – The Seasons

February 5th – 15th, 2025 Le 13eme Art, Paris
February 25th, 2025 Quai 9, Lanester
February 27th – 28th, 2025 Théâtre Impérial, Compiègne
March 11th – 12th, 2025 Les Théâtres, Aix-en-Provence
April 26th – 27th, 2025 Detroit Opera, Detroit
April 29th, 2025 Wharton Center for Performing Arts, East Lansing
May 2nd – 3rd, 2025 Zellerbach Theater, Philadelphia
May 7th, 2025 Byham Theater, Pittsburgh
May 20th – 23rd, 2025 Gare du Midi, Biarritz
60 minutes

When Vivaldi Meets Guido

© Stephane Bellocq

The dance carries everything, from the joy of spring to the passions of summer…just a splendid invitation to meditate on the beauty of life and the passage of time.

Ariane Bavelier (Le Figaro)

Malandain Ballet Biarritz has become one of the most important companies of the French choreographic landscape. This original production combines Antonio Vivaldi’s Four Seasons and the little-known works of his contemporary and compatriot Giovanni Antonio Guido. Guido’s Seasons awakens memories of belle danse (baroque dance) in the 17th century, which emerged from the ideal of governing one’s body and mind, and moving with grace, accuracy, and lightness. With Vivaldi’s Four Seasons, dancers are moved by a more natural, more human form of dance.

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Joaquín Collado – Yo florencio.

February 2nd, 2025 Zwinger 3, Heidelberg
duration: unknown

A Queer Body-Archive

© Edu Perez

Spanish dancer and choreographer Joaquín Collado has much to anticipate with his new solo piece: he wants to examine dance not only physically, but also historically and theoretically. His research draws on iconic dance works, such as Mary Wigman’s Hexentanz (1929), Solo (1997) by William Forsythe or the ballet piece L’après-midi d’un faune (1912) by Vaslav Nijinsky. Joaquín Collado’s male and queer perspective as well as the written documentation of his research make this haunting solo a contemporary and dance-choreographic body-archive. Joaquín wants to know how to generate a corporeal presence that twists any conjecture about what it is, constantly evades categorization, and makes its dance a continuous blooming.

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DACH region

Christos Papadopoulos / DANCE ON ENSEMBLE – Mellowing

February 1st, 2025 Tanzbiennale Heidelberg, Heidelberg
March 17th, 2025 dFERIA, San Sebastián
March 20th – 22nd, 2025 Le CENTQUATRE, Paris
April 12th, 2025 Osterfestival Tirol, Innsbruck
July 1st – 2nd, 2025 COLOURS International Dance Festival, Stuttgart
July 18th – 19th, 2025 Kalamata International Dance Festival, Kalamata
March 21st, 2026 Festspielhaus St. Pölten, St. Pölten
55 minutes

Harmony, Precision, Cohesion

© Jubal Battisti

A body that is outwardly still and inwardly vibrating – what processes does the energy undergo before it breaks through? How does it change when the body matures?

In his new production Mellowing, Christos Papadopoulos embarks on his inaugural collaboration with the dancers of the Dance On Ensemble. Together they create a lively restlessness, a permanent vibration in which the spectator is inevitably involved.

Christos Papadopoulos’ works are fed by an intensely observant approach to movement and often unfold a lively and meditative power. His attention is focused on the minimal shifts of perception, the perpetual, often unnoticed and yet powerful movements that are ever-present in nature, in everyday life, within physical phenomena and political contexts.

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Omar Rajeh – Beytna

January 30th, 2025 The Arts Center, Abu Dhabi
February 20th – 21st, 2025 Manège Fonck, Liège
March 7th – 8th, 2025 Balkan Cinema, Belgrade
April 17th, 2025 Congress Innsbruck, Innsbruck
November 28th – 29th, 2025 Teatro della Tosse, Genoa
80 minutes

Dance, Eat and Unite!

© Paul Bourdrel

Beytna is a unique dance performance around the concept of sharing, where four choreographers and four musicians from Lebanon, Korea, Palestine, Belgium, and Togo come together over a banquet of food. Despite their diverse cultural backgrounds and artistic experiences, they reshape a communal and traditional family reunion into an artistic meeting of dance, music, and cooking.

Witness as they talk, drink, laugh, dance, and eat, transforming this simple gathering into an intricate, captivating performance. Beytna invites you into a world of compassion, and friendship. It is a simple invitation into the home of the other. An invitation to the artist’s profession and choreographic statement, as much as it is to the forms and situations of the past.

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Andrew Graham – O amor natural

January 24th – 25th, 2025 VIERNULVIER, Ghent
Duration: unknown

Care, Romance, Fluid Identity and Fantasy

© Andrew Graham / laGeste

O amor natural goes beyond the binary codes of yes and no and explores consent in all its non-verbal richness: whispers, body temperature, breathing, gaze and speed of movement weave a web of intimacy. The concept of consent raises many questions about care practices, but also about sexual and artistic practices. How do we know and how do we communicate what we do and do not want? On what basis can we consent to a practice that is still foreign to us?

For people with disabilities, touch is often associated with a medical act, as if their bodies are objects to be manipulated and moved without regard to their physical and emotional needs, in a relationship that is necessarily devoid of any sensuality. O amor natural is about giving ourselves the chance to express the complexity of touch in our relationships, where we often only allow ourselves to conceive of touch in a medical or sexualised relationship.

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Kevin Malfait & Charles Pietri – Ce qui n’est pas né

January 28th, 2025 Trente Trente Festival, Bordeaux
30 minutes

Triple bill with Marc Oosterhoff & Romain Dubois

Melodic & Poetic Memory

© Kevin Malfait

In 2023, while researching medieval music, Kevin Malfait discovered an Occitan song, La marca de la pièra, whose poetic text diverged from typical medieval themes. The damaged manuscript’s melody was reconstructed using a similar 18th-century piece by Guillon. Inspired, Malfait collaborated with dancer Charles Pietri, who recognized the story from Corsican family traditions. Together, they created a performance exploring the connections between Occitan and Corsican cultural memory.

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The Farm – THE EXPERIMENT

January 23rd – February 1st, 2025 Poedwil, Berlin
Duration: unknown

An Australian Company to Discover

© René Löffler/KI

There is a world of children and a world of adults – and then there is the world in between: the world of puberty. It is an exciting, irritating, and ever-changing place where the laws of reason, gravity, and motivation no longer apply. This is where THE EXPERIMENT will take place.

Three scientists will test the force of gravity, the consequences of risks, and the social dynamics of clones to answer the ultimate question: Is reality truly real?

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Samaa Wakim & Samar Haddad King – Losing It

January 23rd – 24th, 2025 Théâtre Orléans, Orléans
January 31st, 2025 Scène Nationale Aubusson, Aubusson
February 4th, 2025 L’empreinte, Tulle
February 7th – 12th, 2025 Théâtre de la Bastille, Paris
March 28th – 29th, 2025 Points communs, Cergy
April 1st – 2nd, 2025 La Coursive, La Rochelle
April 8th, 2025 Scène nationale du Sud-Aquitain, Saint-Jean-de-Luz
April 11th – 12th, 2025 TNC, Barcelona
April 15th – 16th, 2025 Théâtre Auditorium de Poitiers, Poitiers
April 18th, 2025 Le Moulin du Roc, Niort
40 minutes

Between Fear and Hope

© Mohab Mohamed

What if you grew up in a war zone? How does that impact your identity?

“Can you still hear the bombs? I can hear them.”

What if you grew up in a war zone? How do you cope as a child when you are exposed to political conflict on a daily basis?

The choreographer and performer Samaa Wakim grew up in the occupied Palestinian territories. During this solo dance performance, she asks herself how these experiences impact her identity. Through movement and sound, she remembers her youth and the imaginary world she created in order to survive. Driven by her own sounds and live music by Samar Haddad King, she goes back and forth between fear and hope, between sounds that used to scare her and sounds that used to bring her comfort.

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RAYNE&CEREMONY – For All Intents and Purposes… I’m Somebody, SOMEBODY!

January 22nd – 24th, 2025 Sophiensaele, Berlin
60 minutes

The Intersection of Neurodivergence, Body Dysmorphia and Societal Pressures

© RAYNE&CEREMONY

A physical and metaphorical race against time: Three performers navigate a world that values productivity above all else. The tyranny of time becomes a force of constraint and urgency, amplifying the stakes of the performers’ pursuit of autonomy in a system that demands efficiency without acknowledging diverse experiences. This piece delves into the complexities of marginalized bodies in a society that prioritizes output over well-being, questioning the cost of constant productivity and the possibility of reclaiming one’s self within its relentless march. As a compelling exploration of power, play and the merciless passage of time, the work confronts the intersection of neurodivergence, body dysmorphia and societal pressures.

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