May 24th – 25th, 2025 Zorlu Performing Arts Center, Istanbul June 29th – July 5th, 2025 Gran Teatre del Liceu, Barcelona Approx. 2 h 15 min (including 40 min interval)
In Hammer, a harmonious community shares an altruistic lifestyle inspired by the hippie era. They run, play, sing and enjoy life together. But slowly, the community progresses towards the modern age with its ubiquitous surveillance. The group’s behaviour becomes increasingly egotistical and individualistic. When we return for the second act, we find ourselves in a different place. Now we meet a group of self-conscious people in lonely bubbles. Eventually, unable to cope with all the false pretences, they are forced to relinquish their image-conscious facades and return to an altruistic existence.
Multi-award-winning choreographer Alexander Ekman is bold, unpredictable and innovative, just like GöteborgsOperans Danskompani. His visually powerful work turns a spotlight on contemporary society’s self-image, often with a humorous twist. Ekman has created some 50 works, which have been performed by almost as many companies worldwide. Hammer, a full evening in two acts, is his third work for GöteborgsOperans Danskompani.
With My Fierce Ignorant Step (Working Title), Papadopoulos seeks to consciously process the influence that “Axion Esti”—the monumental work by Mikis Theodorakis founded on the poetry of Odysseas Elytis—exerted on him, exploring the extent to which sound and speech can dilate and reach a state of abstraction that alludes to that of a movement: a lifted arm, an oscillating body, a trembling leg.
For the choreographer, the first impulse for the creation of “My Fierce Ignorant Step (Working Title)” is grounded in aural memories of his childhood and younger age, memories that he shares with many other Greeks: collective memories that are connected with the fate of this country, even if this is not immediately apparent. Is it possible to work on a text with the same composition principles applied to the choreography of a body? How close to words can a body come, and vice versa? Can this turn into a shared, transparent, and simple experience?
April 24th – 25th, 2025 Yeulmaru, Yeosu April 30th – May 1st, 2025 GS Arts Center, Seoul July 10th – 20th, 2025 Teatro de la Zarzuela, Madrid 100 minutes
Afanador emerges from the tension between the fascination that emanates from Ruven Afanador’s photos, and my own fascination with all the mystery, so diurnal and yet so nocturnal, that once fascinated Ruven.
Marcos Morau
Ruven Afanador’s photography is not documentary or monumental—it doesn’t archive history or glorify its subjects. Instead, it is driven by desire, distorting and being distorted by its object. Desire, elusive by nature, shapes what it sees, revealing subjective and profound truths.
Afanador approaches Andalusian folklore through this lens, exposing flamenco’s raw subconscious—its passion, death, and untold stories. His work amplifies its essence into a surreal, evocative world of shadow and light, where he both observes and is observed.
Our work extends this vision, capturing Afanador’s gaze and the transformative power of photography. Like Goya’s Caprichos, these images blend familiar themes through association and metamorphosis, turning photography into both miracle and mystery. Each shot lingers just beyond reach, on the verge of vanishing into its own fire.
March 27th, 2025 Festival Especial Dansa, Tarragona March 29th, 2025 Teatre Buero Vallejo, Alcorcón April 24th, 2025 Teatre de l´Artesà, El Prat de Llobregat April 27th, 2025 Teatro Principal de Zamora, Zamora April 29th, 2025 Arte Ederren Museoa, Bilbao May 29th, 2025 Mudanzas, Cartagena 60 minutes
In a digital world that isolates and dehumanizes, we seek identity and connection. Youth is a prized commodity, while the vulnerable are cast aside, torn between rebellion and conformity.
Los Perros is a call to resistance—a journey of encounter, love, and commitment. Like wandering dogs, we share joy and pain, fall and rise, dance and rebel to overcome violence and decay.
From repetition to fascination, we merge times and images, the ancestral and the contemporary. A passionate dance, a cry for life: dancing to exhaustion, barking to weariness, existing to the limit.
Two men embraced. Two men dancing. The eternal cycle of life and rebirth.
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
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.
December 17th – 20th, 2024 Théâtre Silvia Monfort, Paris February 7th – 8th, 2025 Liège Festival, Liège February 9th, 2025 Salle Stotzem, Dison March 5th, 2025 Gugliemi Theater, Massa March 7th, 2025 Teatro Manzoni, Manzoni April 1st – 6th, 2025 Franco Parenti Theatre, Milan April 16th, 2025 Teatrodante Carlo Monni, Campi Bisenzio April 23rd – 24th, 2025 Nest Théâtre, Thionville May 15th – 24th, 2025 Théâtre National Populaire, Villeurbanne 60 minutes
An old lady rummages through a trunk. She takes out a bottle of pills, a wedding veil, a remote control, lots of colored balloons… From another trunk comes the music of a music box. An old man appears. He is wearing an old, worn-out formal suit. The man looks at the woman and smiles. He immediately reaches her. He hugs her. The woman rests her head on his shoulder. He caresses her. She holds him tight so as not to lose her balance. He supports her. They dance. He takes a pocket watch out of his pocket: minus five… minus four… minus three… minus two… minus one… and at the stroke of midnight he sets off a firecracker. They kiss. He throws a handful of confetti into the air. The party begins. Happy New Year, my love! He and she are now sixteen. In bathing suits they promise each other eternal love. To the tune of old songs they celebrate the arrival of the new year by dancing their love story backwards.
Il tango delle capinere is the deepening of a study, Ballarini, which belonged to la trilogia degli occhiali. It is the composition of a mosaic of memories that makes bearable the loneliness of those who unfortunately outlive the other.
November 8th – 10th, 2024 National Performing Arts Center, Taipei November 15th – 16th, 2024 Rohm Theatre Kyoto, Kyoto November 20th, 2024 The Museum of Art Kochi, Kochi December 10th, 2024 Theater im Pfalzbau, Ludwigshafen December 18th – 19th, 2024 Auditorio de Tenerife, Santa Cruz de Tenerife January 25th, 2025 Teatro Municipal da Covilhã, Covilhã February 1st – 2nd, 2025 Sadler’s Well, London February 7th – 9th, 2025 Perth Festival, Perth February 26th – 27th, 2025 Le Quartz, Brest March 4th, 2025 Les Quinconces et L’Espal, Le Mans March 6th – 7th, 2025 CCN de Caen, Caen March 10th – 11th, 2025 Théâtre de Cornouaille, Quimper March 14th, 2025 Cndc Angers, Angers March 28th – 29th, 2025 Tanzmainz Festival, Mainz April 2nd – 4th, 2025 La Comédie de Clermont, Clermont-Ferrand April 8th, 2025 Théâtre de Nîmes, Nîmes April 15th, 2025 Espaces Pluriels, Pau April 30th – May 3rd, 2025 Danse Danse, Montreal May 16th, 2025 Theatro Circo, Braga July 8th – 9th, 2025 Colours International Dance Festival, Stuttgart 75 minutes
Collective identities are sources of belonging and inclusion but when they become mainstream, they can turn the other way around. I can recognise this issue in dance.
In CARCAÇA, ten dancers including Marco da Silva Ferreira and two musicians form an unconventional and joyful corps de ballet. The dancers perform intricate footwork merging folk dances with contemporary urban dance styles from groups such as LGBTQIA+ and communities from ex-colonies. In this choreography, Marco da Silva Ferreira uses dance to investigate communities, the construction of collective identity, memory and cultural crystallization. In other words: what if folk dances had not crystallized, had continued to redefine themselves and had incorporated the present at every moment?
The cast explores their collective identity in a physical, intuitive and unpretentious flow of the body, dance and cultural construction. They start from familiar footwork: clubbing, balls, cypher battles and the studio; they use the physical vocabulary of the contemporary, social, urban context as a lexicon of identity (house, kuduro, Top Rock, hardStyle, etc.). Through a slow construction process they connect these styles with the heritage and memory of dances from the past. These folk dances have remained stagnant without integrating new definitions of bodies, groups and communities, which were considered inferior. For these groups it was necessary to break with the authoritarian, totalitarian and paternalistic past.
In CARCAÇA an exercise is proposed that integrates the past and the present. The performance makes you think: How do you decide what to forget and what to remember? What is the role of individual identities in the construction of a community? What is the driving force of an identity? What world does the individual and collective body traverse? Or, better put, what bodies traverse the world?
September 25th – 29th, 2024 Théâtre du Rond-Point, Paris October 3rd – 4th, 2024 HAU – Hebbel am Ufer, Berlin October 19th – 20th, 2024 Staatstheater Mainz, Mainz October 31st – November 2nd, 2024 VIDY, Lausanne November 5th, 2024 L’onde – Théâtre et Center d’Art, Vélizy November 12th, 2024 teatr polski (Festival Prapremier), Bydgoszcz November 21st, 2024 Temporada Alta, Girona March 19th – 23rd, 2025 dansa metropolitana, Barcelona March 26th – 29th, 2025 Les Célestins, Lyon May 16th – 17th, 2025 FITEI, Porto May 24th, 2025 Spring Performing Arts Festival, Utrecht May 29th, 2025 Mittenmang Festival, Bremen June 4th – 7th, 2025 Rising Festival, Melbourne 90 minutes
Bringing together Bach and Miley Cyrus, she creates with “Kill Me” a complete and radical work, sometimes unsettling, sometimes subversive, but always impactful.
Olivier Frégaville-Gratian d’Amore
Kill me (2024) is the continuation of Love me (2022) and Fuck me (2020), in turn it is part of the project “ Remember to live ”, in which I intend to present different versions of works until the day of my death.
Entering into the cliché of the midlife crisis, I began to film everything I did: with my heart open 24 hours a day, I recorded everything.
Until one day I collapsed, I was given a psychiatric diagnosis and I decided to make my next piece out of it. I called on four dancers with mental disorders and Nijinsky, to make a piece that talks about madness for love.
But let’s say that the topic is about mental health so that it enters the inclusive agenda of the art market.
Because that is my punishment, having to make works that sell and thus stay alive in the world (of theater).
September 20th – 22nd, 2024 HAU Hebbel am Ufer, Berlin October 4th – 6th, 2024 Esplanade, Singapore October 11th – 12th, 2024 Tanzquartier Wien, Vienna March 7th – 9th, 2025 Kampnagel, Hamburg March 14th – 16th, 2025 Arsenic, Lausanne March 20th – 21st, 2025 Maillon, Strasbourg March 25th – 26th, 2025 Points Communs, Cergy March 29th, 2025 La Briqueterie, Vitry-sur-Seine May 3rd – 4th, 2025 Festival DDD, Porto May 22nd – 23rd, 2025 Spring Performing Arts Festival, Utrecht 80 minutes
Interweaving ritual, pageantry, performance and possession, Magic Maids presents an encounter with two figures engaged in the ritual act of sweeping. The broom, a domestic tool for cleaning and the vehicle of the witch, becomes a symbol of both oppression and resistance. It is an extension of the body and a portal for metamorphosis. The art workers and their brooms exist in a continuous state of becoming.
Eisa Jocson and Venuri Perera are from the Philippines and Sri Lanka respectively, two countries known for their significant export of domestic workers. Their collaboration began in 2022 when they noticed the absence of women at Basel Museum of Pharmaceutical History in Switzerland. This observation sparked their investigation of the historical persecution of witches; in Europe and its implications for the exploitation of female labour in colonised regions. They discovered that the accusation of witchcraft continues to be a tool for persecuting migrant workers from the Global South.
Magic Maids is a bodily response to their grappling with these complex entanglements. They call upon practices of incantation and intention, using their bodies to traverse multiple territories: physical, conceptual, transnational, emotional, and gendered. The labour in performance enables an embodied inquiry into questions of representation, political subjecthood and histories of oppression. Having individually presented solo work across international festivals and platforms that follows this line of inquiry, Jocson and Perera come together for the first time to sweep out and unsettle oppressive power structures. Rewilding the domestic, they aim to release, reclaim, rejoice, and reconnect with the primal energies.
Magic Maids is an invitation to witness and reflect on the visibility of the working body, the power of female solidarity, and the enduring impact of historical injustices on modern labour practices.
