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Pere Seda / L’Esbord – Folk as Queer

March 27th, 2025 Festival Especial Dansa, Tarragona
March 30th, 2025 Festival dansa metropolitana, Barcelona
60 minutes

Reinvent with the Past

© L’Esbord

Folk as Queer is a piece that explores the relationship between collective and individual identity and the influence of cultural heritage through traditional practices such as dance, music and singing. The work seeks a meeting point between the traditional and the dissident body, where they exchange languages and create a new dance together. It is a vibrant reflection on how the past can interact with the present to reinvent itself.  

L’Esbord, created in 2022 in Barcelona, works with traditional Catalan dance and connects it with disciplines such as contemporary dance and folk music. Its performers combine training rooted in traditional dance with professional experience in fields such as jazz, singing and contemporary dance, creating artistic works that blend folklore and innovation.

Festival Especial Dansa
Festival dansa metropolitana
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A R I B E L Collective – A años luz

March 27th – 30th, 2025 Festival dansa metropolitana, Barcelona
45 minutes

Between a Human & a Humanoid Robot

© Josep Maria Augé

A años luz explores the relationship between a human and a humanoid robot, envisioning a world where artificial intelligence seamlessly integrates into our society. The piece, blending contemporary dance and performance art, reflects on the rapid pace of technological advancement and the need to balance its benefits with the preservation of our species, learning to manage our growing dependence.

This is the debut creation of A R I B E L Collective, a contemporary dance company founded by Ariadna Jordán and Abel Hernández in 2023. The founders, responsible for both direction and performance, focus on choreography, improvisation, and the exploration of new movements, aiming to enrich the cultural landscape with innovation and creativity.

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Steven Michel – Music Hole

March 26th – 27th, 2025 campo, Ghent
Duration: unknown

The Idea of the Ghost

© Shira Marek

Music Hole is a performance that explores our spectral relationship to memory, time and reality. Conceived with four physical, musical and/or vocal performers, the performance is inspired by the notion of hauntology (imagined by philosopher Jacques Derrida and later developed by music critic Mark Fisher), which describes, among other things, the accumulation of ghostly traces of the past as we move into the future. Stevens aim is to translate, choreographically and musically, the idea of survival and erasure, embodiment and disappearance, delay and anticipation.

To haunt is somehow to survive, and also to return. Hence Stevens desire to work with vocal recordings, sound samples, visual loops and iterations of movement. Questioning the idea of the ghost. Not in its figurative aspect, but in its metaphorical use. A ghost can be a trace, something perceived, a feeling of unease. Not necessarily visible, but a presence, an atmosphere. A memory that lingers, a mantra that resists.

What do these ghosts say about us? Our spirits? Our beliefs? Our fears? Our rituals? A hybrid form combining recording sessions, dance mania and vocal mantra, the performance Music Hole is a ghost in itself. It seeks to take shape in the bodies and voices of the performers, in the theatrical space and in the lived or unlived memory of the audience. It seeks hosts in order to express itself.

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Claudia Castellucci / Compagnia Mòra – Sahara

March 22nd – 23rd, 2025 FOG Performing Arts Festival, Milan
55 minutes

Dance in the Desert

© SOCIETAS

In Sahara, Claudia Castellucci’s choreographic and philosophical research grapples with the dimension of the desert, where the extreme lack of materials and relationships pushes dance to consider only what one has: oneself, as the only—first and last—instrument. The empty desert forces a radical visual relationship with one’s shadow, which, perpetually projected, cannot be ignored. Barely tolerated, it forces one to seek the company of the only things that can be found in total solitude: the products of the mind. These are the subjects of the dance, which asserts its very essence in Sahara.

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Leu Wijee & Mio Ishida – Ridden

March 13rd – 15th, 2025 BIPAM, Bangkok
60 minutes

Recovery and Discovery

Ridden presents moments of “recovery and discovery” in the face of natural disasters. In 2018, a massive tsunami struck Sulawesi, the home of Leu Wijee. When everything seemed to stand still, Leu found an intimate dialogue with himself amidst those fragile moments. He channeled these emotions into creating a collaborative piece with Mio Ishida, an artist from another country within the Pacific Ring of Fire.

The artists explored how people respond to loss after a disaster. Through a process they define as “Between Disaster and Dance,” they gathered traces from both the bodies and physical landscapes and developed simple yet relentless choreography. Five performers, who act as dancers and musicians, bring a sense of hypnotic and ritualistic-like moments—familiar, yet strange imagery.

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Oscar M. Damianaki – Ur Pupils R Nothing But Ur Pupils – Dedicated to Teresa Ves Liberta

March 13rd – 14th, 2025 Théâtre Sévelin 36, Lausanne
30 minutes

Question the Myth
of Medusa

The analysis of myths has always been approached from a patriarchal, xenophobic perspective, rife with slut-shaming, perpetuating the illusion of a single possible interpretation for each story–glorifying the ‘good’ and ostracizing the ‘bad.’ It is urgent for me to question the myth of Medusa and the prevailing injustice toward this mistreated figure, who was ultimately abandoned by society, strikes me profoundly today. As Abir Alsahlani said, “with the current political climate of blatant hypocrisy and humanity failing again and again, it seems necessary to retell the stories that have been swept under the rug of conservatism, neutrality, silence, and complicity.”

This dance was supposed to be a trio. After the death of my trans sister and best friend, Teresa Ves Liberta, this piece is conceived as a gift for her and for all the magic and strength she brought into being.” — Oscar M. Damianaki

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Gisèle Vienne – Etude 6 On Crowd

March 7th – 8th, 2025 FOG Performing Arts Festival, Milan
80 minutes

A Sort of Negative of Crowd

© WINTER VANDENBRINK

Crowd, one of the most explosive shows by Gisèle Vienne, is the representation of a ritual: that of the party, a collective practice pertaining to all eras and societies. In the hallucinatory simultaneity of the lights, shadows, sounds and moving bodies of a rave party, the artist outlines a series of fascinating and deeply human portraits, focusing on the emotional experience—rather than the actual experience—of time. Gisèle Vienne returns to FOG with Etude 6, a performance that acts as a sort of negative of Crowd, sharing the experience of two characters marked by a lack and a vital need for the crowd. All of Gisèle Vienne’s works are political, not only through their artistic and philosophical stakes but also through formal research, questioning culturally constructed perceptions and the possible shifts in those perceptions. This work offers a direct and visceral response to immediate and profound pain—the kind of pain experienced by bodies constrained and restricted by political systems of domination, in which something that deeply concerns us emerges.

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Peeping Tom – S 62° 58’, W 60° 39’

March 6th – 9th, 2025 Teatro Bellini, Naples
March 18th, 2025 Quai 9, Lanester
100 minutes

Between Fiction and Reality

© Olympe Tits

The wreck of a sailboat, a vast icy landscape on the background and a crew of hopeless survivors. S 62° 58’, W 60° 39’ starts with an impossible and frightening situation: to survive. To go back to the life they knew. It is unclear how they got stuck in this predicament. Their GPS coordinates – S 62° 58’, W 60° 39’ – indicate their precise location in the Arctic water of Deception Island. But before we get any answers, a performer adresses the director. The story falls apart to reveal something else, a delicate trauma that has fueled the director’s oeuvre. A trauma the performers do not want to play anymore.

In Franck Chartier’s newest creation, fragility takes center stage. A search for truth and authentic emotions takes everyone past their limits. The performers lay bare their emotions and lives, but also fight against the director’s push to go even deeper. After years of sacrifice, willing or forced, they start to wonder what would happen if they refused. Fiction and reality are ruptured in an attempt to escape the vicious cycles of violence. Performers try to stage a revolution, an end to everything, a new beginning. But that might just be another work of fiction.

In a constant rewinding and repeating process of rehearsing trauma, set against an unrelenting Arctic landscape, S 62° 58’, W 60° 39’ touches on new discussions about what we want to create on stage in this day and age. Is this the only way we can process our traumas? What poetry do we want to leave behind? What message? Or should we actually stop creating for once? Should the director let go of it all?

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Jin Xing Dance Theatre Shanghai – Trinity/Wild Flower

February 27th – March 2nd, 2025 Théâtre des Champs-Élysées, Paris

Double Program
Trinity (February 27th/28th)
Wild Flower (March 1st/2nd)

Between East and West

© Jin Xing Dance Theatre

The Jin Xing Dance Theatre was formed in the heart of communist China in 1999 by its founder Jin Xing. At Paris’s Théâtre des Champs-Elysées the company will present four choreographic creations by three choreographers of different origins.

Sacre by Emanuel Gat

Sacre is revisited version of Emanuel Gat’s 2004 creation. It takes apart the mechanics of Cuban salsa dancing and creates a complex and dramaturgically charged choreographic score. A free spirited reading of Stravinsky’s masterpiece, Sac offers no notions of sacrifice, but a multitude of options for action.

Echo by Moya Michael

Echo is Moya Michael’s 2013 creation for 7 female dancers with sound arrangement by Anyal Zhang. The focal point of this piece is a group of women, occupying space. Each woman has an individual story intertwining with the group, yet each woman has her own voice. This is not a form of isolation. Recognition is placed on the female gaze and specifically on how change can be experienced through each of their lives. This perspective gives them a greater sense of how they relate to other women and to society as a whole. Their stories echo and their lives reflect similar struggles. They can empower themselves by being true to who they are and by uniting with each other as group. This is a shortened version of the original work.

Cage Birds by Arthur Kuggeleyn

Cage Birds’ energetic and physically demanding choreography for 12 dancers to Christian Meyer’s hypnotic music. Kuggeleyn uses his trade mark TransDance technique gradually enfold the inner dynamic of the group of performers. Like caged birds the dancers move in their cramped confines. With his creation, Kuggeleyn provides an ironical metaphor of modern life as well as an impressive dance performance.

Wild Flower by Arthur Kuggeleyn

Everyone has a fierce and unique wild flower, which can break free from all kinds of shackles, stand out among the dull, and be graceful within constraints. Known for his emotionally charged psychedelic style, Dutch choreographer Arthur Kuggeleyn created Wild Flower for the company. In it, dancers interpret wild flowers through marathon-esque non-stop dancing and movement, triggering off an explosion of long held emotions.

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TS Crew – No Dragon No Lion

February 21st – March 2nd, 2025 Adelaide Fringe, Adelaide
60 minutes

The Soul of Hong Kong

© TS Crew

No Dragon No Lion redefining the martial arts and performing arts on stage by integrating Cantonese opera with kung fu, acrobatics, parkour, tricking, capoeira and dance. Furthermore, it transforms the Lion Dance to a new form of performance by replacing the traditional drum music with live beatboxing. Also, by fusing different comedic effects, No Dragon No Lion is an energetic and entertaining contemporary dance and circus show yet with rich cultural overtones.

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