Author: hahparis

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France

Israel & Mohamed

July 10th – 23rd, 2025 Festival d’Avignon, Avignon
October 7th, 2025 La Halle aux Grains, Blois
November 26th – 30th, 2025 Théâtre National, Brussels
December 10th – 20th, 2025 Festival d’Automne, Paris
January 8th – 9th, 2026 Scène Nationale de l’Essonne, Essonne
January 30th – 31st, 2026 Le Volcan, Le Havre
February 3rd – 4th, 2026 TANDEM, Douai
February 10th – 14th, 2026 TNB, Rennes
75 minutes

An Exciting Encounter

© Yohanne Lamoulère / Tendance Floue

One of them creates documentary-inspired theatre, films, and installations. The other is a virtuoso and iconoclastic flamenco dancer. By placing their first names side by side, Mohamed El Khatib and Israel Galván attempt to bridge the gap between their artistic worlds and practices as well as between their personal journeys, through a dialogue across the Mediterranean where differences prove as fruitful as affinities. Together, under the bewildered gaze of their fathers, they search for a common language rooted in the body, its wounds, and its scars. Taking their meeting and the sharing of their intimate, familial, and professional stories as a starting point, they explore – as a duo – the concepts of a living archive and a documentary dance.

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Collectif Foulles – Medieval Crack

July 5th – 6th, 2025 Festival de la Cité, Lausanne
60 minutes

The Medieval Happy Hours

© Julie Folly

In Medieval Crack, Collectif Foulles, accompanied by historian Clovis Maillet, goes in search of the queer cracks in medieval history — those hidden spaces that allow other narratives, identities, and dances to emerge. In a bid to reappropriate time and history, the collective gleans material for emancipation from the representations and relics of the Middle Ages. Yes, the medieval period also had its happy hours of enlightenment and freedom.

The collective questions the shifts in meaning inherent in the mapping of our bodies — both past and present. All of this is captured with great mischief in a living fresco full of relief and gaiety.

Collectif Foulles—made up of Collin Cabanis, Auguste de Boursetty, Délia Krayenbühl, Emma Saba, and Fabio Zoppelli—has existed since 2018. It all started with affinities, friendships, jokes, and a meeting.

A desire to dance together, to share music, images, and texts—to share a host of things with a host of people. In their work, their most diverse passions come together in a jumble, with no hierarchy. Their approach is precise and respectful, but also celebratory and generous. They weave threads of discussion and tension, maintaining complexity—crossing time with the joy of a battalion.

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France

Armin Hokmi – Shiraz

  • July 3rd – 4th, 2025 Festival de la Cité, Lausanne
  • August 21st – 22nd, 2025 Dansens Hus, Oslo
  • August 26th, 2025 Mladi Levi International Festival, Ljubljana
  • September 6th, 2025 Neimenster, Luxembourg
  • September 24th, 2025 SIDance International Dance Festival, Seoul
  • October 15th, 2025  Romaeuropa Festival, Rome
  • October 17th, 2025 IDFT, Tirana
  • October 24th – 25ht, 2025 Tanzhaus NRW, Düsseldorf
  • November 7th – 8th, 2025 Pavillon ADC, Geneva
  • November 14th – 15th, 2025 Sadler’s Wells, London
  • March 10th – 11th, 2026 POLE SUD CDCN, Strasbourg
  • March 13th, 2026 Le Carreau, Forbach
  • March 17th – 18th, 2026 Maison de la Danse, Lyon
  • March 21st, 2026 CNDC, Angers
  • March 25th – 28th, 2026 Théâtre de la Ville, Paris
  • March 31st – April 1st, 2026 Festival À Corps, Poitiers

60 minutes

A Revelation

© Armin Hokmi Kiasaraei

Shiraz is a choreography for six dancers, weaving together a fabric of movements and gestures. Their insistent energy, moments of convergence and passage through ephemeral constellations are what takes center stage in this performance. A pulsating dance imbued with a sense of enchantment and longing, coiling and uncoiling to the pulsating beat of a capturing music.

The starting point for this piece is the Shiraz Arts Festival. A festival for live arts that took place between 1967 and 1977 in south of Iran and radically rethought the relationship to the audience and modalities of framing art works. Armin Hokmi, together with the team, places it into our present day in the form of a revival, by giving it a new appearance through a dance performance. Shiraz is both a homage and a fictional setting. It seeks to reimagine the ambitions of the festival and its love for the live arts, their autonomy as art forms and their common roots across geographical borders.

Shiraz is created out of a devotion to a notion of dance and choreography that emphasizes their power to ignite joy, bring about experiences of delving into sensuous worlds, and their ability to transform perception and our modes of affective engagement with live performance.

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Ocean Stefan – Blood Show

June 27th – 28th, 2025 Festival Theaterformen, Hannover
70 minutes

An Endless Battle

© Kirsten McTernan

Three figures, 75 liters of fake blood, an endless battle – Blood Show is a call to put what’s inside on the outside and defend oneself against violent gazes. This cyclical feat of endurance and precision is a euphoric trans celebration of destruction – including our own – in order to create something new. Questions revolve around the concept of rebirth and the ghosts we carry with us. Blood Show is the second performance in Ocean Stefan’s “Extinction” trilogy – an experiment to reflect on the limits of the human body. Why do we want to know what people “really” look like? How dangerous is the idea of the “natural”?

Ocean Stefan makes work with runs across performance, installations, texts and film. Their artistic practice moves in the in-between and in superimposition – it celebrates the living and the blurred. Ocean Stefan is interested in the gray areas of life and questions the fixed.

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Benelux France

Alexander Vantournhout – FRAMES

  • June 25th – 28th, 2025 VIERNULVIER, Ghent
  • July 31st – August 5th, 2025 Theater Aan Zee, Ostend
  • August 19th – 21st, 2025 Noorderzon, Groningen
  • October 3rd – 5th, 2025 Les Halles de Schaerbeek, Schaerbeek
  • October 21st – 22nd, 2025 Circa Auch, Auch
  • April 8th – 12th, 2026 CENTQUATRE, Paris
  • April 18th – 19th, 2026 CC Maasmechelen, Maasmechelen
  • April 25th – 26th, 2026 Leietheater, Deinze
  • May 9th – 10th, 2026 CC Ter Dilft, Bornem
  • May 21st, 2026 ‘t Vondel, Halle
  • June 19th – 20th, 2026 De Spil, Roeselare
  • June 26th – 27th, 2026 Le Carreau, Forbach

Duration: unknown

Between Frame and Art

© Bart Grietens

How defining is a frame for a painting? What if you remove the frame? Or vice versa: what if you remove the artwork and just look at the frame? Frames explores this relationship between frame and art, placing Not Standing’s physical movement art in outdoor visual frames. 

Alexander Vantournhout and his three co-performers focus once again on movement art in its purest form. Meticulously, the four performers build ever-changing body sculptures in the viewing frames.  Bodies intertwine, hang from and climb on the frames, walk upside down, and defy both gravity and your imagination. Each movement is a continuous search for balance, focusing on cooperation and body control. 

The observer can view all this from all sides: from the front, side, and even from below. Perspectives tilt and physical logic seems to disappear. Frames invites you on a trail along choreographic installations that challenge and blend art and viewing perspectives into physical poetry in the public space.

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Archive

Tero Saarinen – Study for Life

June 24th – 25th, 2025 Holland Festival, Amsterdam
July 30th – 31st, 2025 Bregenzer Festspiele, Bregenz
80 minutes

A Sensory Experience

© Mikko Suutarinen

Tero Saarinen’s new creation delves into the music of Kaija Saariaho. In Study for Life, a group of six dancers, nine musicians of the Asko|Schönberg ensemble, soprano Raquel Camarinha, and innovative electronic sound design that interweaves Saariaho’s compositions, bring her nuanced and delicate world to life. This work confronts the contemporary human desire to be moved and envelops the spectator in a powerful sensory experience.

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Akram Khan & Manal AlDowoyan – Thikra: Night of Remembering

June 22nd – 24th, 2025 Montpellier Danse, Montpellier
July 29th – August 1st, 2025 ImPulsTanz, Vienna
August 17th, 2025 Santander International Festival, Santander
September 19th – 21st, 2025 Les Théâtres de la Ville de Luxembourg, Luxembourg
September 26th – 28th, 2025 Théâtre Sénart, Lieusaint
October 2nd – 18th, 2025 Théâtre de la Ville, Paris
October 28th – November 1st, 2025 Sadler’s Wells, London
November 5th – 6th, 2025 Romaeuropa Festival, Rome
November 11th – 12th, 2025 Berliner Festspiele, Berlin
November 19th – 20th, 2025 Tanz Köln, Cologne
65 minutes

No Future without a Past

© Camilla Greenwell

Thikra: Night of Remembering is Akram Khan Company’s latest production created in collaboration with award-winning visual artist Manal AlDowayan.

Thikra draws inspiration from AlUla’s ancient landscapes, mythology and cultural heritage to evoke the idea that “without a past, there is no future.”

Blending Bharatanatyam with contemporary, the piece is performed by a collective of all-female voices, accompanied by an original score from Aditya Prakash, sound design by Gareth Fry, lighting by Zeynep Kepekli and dramaturgy by Blue Pieta.

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Damien Jalet – Thrice

June 21st – 22nd, 2025 Den Norske Opera & Ballett, Oslo
July 26th, 2025 Kalamata International Dance Festival, Kalamata
July 28th & 30th, 2025 ImPulsTanz, Vienna
September 24th – 25th, 2025 Bærum Kulturhus, Sandvika
60 minutes

Damien Jalet’s Triptych

© JR

The triple bill Thrice consists of the three pieces Gusts, Médusés, and Brise-lames.

Gusts, the first section, is about air—breath and movement – and pays homage to the force that carries us. With live music by saxophonist Bendik Giske, Gusts becomes a dialogue between body and sound, highlighting the tension between gravity and centripetal force.

Médusés, the second chapter, takes its cue from the myth of Medusa and the idea of being petrified by a gaze. Here, bodies resist – between rigidity and fluidity, the individual and the collective.

Brise-lames, the final part, transports us underwater. Created in collaboration with artist JR and Japanese pianist Koki Nakano, this piece, which has only been available to the public as a film directed by Louise Narboni in close collaboration with Damien Jalet, will now be performed live for the first time. The movements here are slow – like a ship approaching shore, or waves reaching land.

Thrice is a work in constant motion – a story of bodies attempting not to solidify. This project has allowed Damien Jalet to return to the founding principles of his work, a minimalist exploration of movement. His more recent creations have operated on a very grand scale, with ambitious scenography and apparatus. In Thrice, complexity lies elsewhere: in the movements, lights and sound, and in the search of how combination, association and repetition might generate new emotions.

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Christos Papadopoulos / Georgios Kotsifakis – Landless

  • June 12th – 13th, 2025 Tanzhaus Basel, Basel
  • July 24th, 2025 OperaEstate Festival Veneto, Bassano del Grappa
  • September 23th – 24th, 2025 Torinodanza Festival, Turin
  • September 27th – 28th, 2025 Milanoltre Festival, Milan
  • October 30th, 2025 Kinneskbond, Mamer

50 minutes

Body as Space

© Luca Del Pia

A Greek artist of rare finesse and originality, Christos Papadopoulos brings bak Landless to the stage, performed by Georgios Kotsifakis. Over the years, the choreographer’s work has approached movement as a hidden secret, focusing on its elementary and everyday characteristics. Landless specifically explores the body’s ability to become its own architecture, transforming into an unfamiliar landscape, in order to sketch a new perspective on its basic functions and movement.

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Shahar Binyamini – NEW EARTH

June 12th – 13th, 2025 Suzanne Dellal Centre, Tel Aviv
July 9th, 2025 Festival dei Due Mondi, Spoleto
July 12th – 13th, 2025 Colours International Dance Festival, Stuttgart
July 29th – 30th, 2025 House of Dance, Be’er Sheva
55 minutes

A Rising Talent from Israel

© Ascaf

NEW EARTH explores our deep, innate connection to the Earth in every movement. Before becoming a choreographer, Binyamini studied biology, and his stage is always a laboratory where he examines the body and its make-up: How much of the animal is still ingrained within us, or are we souls trapped in a shell? How do emotions arise, and what do they change within our bodies?

A layer of earth on the stage and the seemingly naked skin of the dancers combine in the generation of images that are almost archaic. Walking upright, these beings search for dignity or twitch in sudden excitement. Yet, in between, they entwine with each other in intense duets to the ancient sounds of strings or drums from the Mediterranean, creating moments of profound closeness.

Like so many Israeli choreographers, Shahar Binyamini’s roots lie in the renowned Batsheva Company, and he is a recognized expert in Gaga. Developing on this tradition, he and his dancers seek insights their own bodies.

about Shahar Binyamini