Tag: Bruges

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DACH region France

Nina Laisné, François Chaignaud, Nadia Larcher – Último Helecho

  • July 19th – 21st, 2025 ImPulsTanz, Vienna
  • August 23rd – 25th, 2025  Ruhrtriennale, Essen
  • September 9th, 2025 La Bâtie Festival de Genève, Annemasse
  • September 12th, 2025 Oriente Occidente Festival, Rovereto
  • September 17th – 18th, 2025 Biennale Danse Lyon, Lyon
  • October 1st – 3rd, 2025 Musica Festival, Strasbourg
  • October 5th, 2025 La Filature, Mulhouse
  • October 14h – 15th, 2025  Les 2 scènes, Besançon
  • November 28th – 30th, 2025 Théâtre de la Ville, Paris
  • December 6ht, 2025 Concertgebouw, Bruges
  • January 24th – 25th, 2026 Berliner Festspiele, Berlin

70 minutes

A Celebration of
Fluid Identities

© Nina Laisné

As an international co-production, artists Nina Laisné and François Chaignaud and singer Nadia Larcher have developed Último helecho, a performance that is carried by music, singing and dance at once and where Baroque meets South American folklore and mythology.

Último helecho is the second cooperation between François Chaignaud and Nina Laisné following Romances inciertos, un autre Orlando, for which they invented a special, poetically artistic cosmos: Drag and dance, old Spanish songs and queer hero*ine narratives were interwoven into a celebration of fluid identities and forms of expression.

While François Chaignaud also sings on stage, Nadia Larcher, who is a celebrated singer in South America, will try out the folklore dances of her native lands together with him on stage for the first time. The multifaceted repertoire of traditional music and dances from Argentina – ranging from chacareras via the majestic zambas to the huaynos – will serve as the underpinnings of the performance. The duo will be accompanied live on stage by six musicians whose artistic roots lie partly in Baroque and partly in folklore.

Francois chaignaud
nina laisne

Categories
France

Amir Sabra & Ata Khatab – Badke(remix)

  • June 11th – 13th, 2025 KVS, Brussels
  • September 19th, 2025 De Brakke Grond, Amsterdam
  • September 24th – 25th, 2025 VIERNULVIER, Ghent
  • September 26th, 2025 De Spil, Roeselare
  • October 1st, 2025 Concertgebouw Brugge, Bruges
  • October 18th – 19th, 2025 Dream City Festival, Tunis
  • November 11th, 2025 EXPORT/IMPORT FESTIVAL, Brussels
  • November 15th, 2025 Toneelhuis, Antwerp
  • May 19th, 2026 Pole-Sud, Strasbourg
  • May 21st, 2026 Espace 1789, Saint-Ouen
  • May 22nd – 23rd, 2026 MC93, Bobigny

75 minutes

A Different Image of Palestine

© Kurt Van der Elst

Badke(remix) is a remake of the dance performance created by Koen Augustijnen, Rosalba Torres and Hildegard De Vuyst. With 10 Palestinian dancers, Badke toured worldwide between 2013 and 2016. The reissue of Badke is now artistically in Palestinian hands, namely Amir Sabra and Ata Khatab, and becomes Badke(remix).

The title is a conscious reversal of dabke, the name of the Palestinian folk dance and the starting point of the performance. With backgrounds in traditional dabke, contemporary dance, hip-hop, capoeira or circus, the Palestinian performers bring a contemporary version of this dance traditionally reserved for (wedding) parties. Badke(remix) displays a zest for life and passion for dancing as a form of resistance.

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Benelux DACH region

Ayelen Parolin / Marco da Silva Ferreira – Malón / a Folia

May 21st, 2025 Concertgebouw, Bruges
March 21st, 2026 Festspielhaus St. Pölten, St. Pölten
Duration: unknown

A Joyful Tornado

© Laurent Philippe

Ballet de Lorraine glitter in a double bill, featuring work by two contemporary choreographers. In these works, Ayelen Parolin and Marco da Silva Ferreira both explore the joy of shared dance, as expressed at raves and in nightclubs. Parolin’s title Malón is a reference to a state of disorder, when energy and movement are amplified to the point of excess in a dance rave. Da Silva Ferreira’s title is a reference to the folia, a festive 16th-century Portuguese shepherds’ dance. Bringing out its ecstasy, joy and entrancing effect, he mirrors this folk dance to nightclub dancing.

Ayelen parolin
Marco da Silva Ferreira
Categories
Mediterranea Eastern Europe Benelux France

Christos Papadopoulos – My Fierce Ignorant Step

  • May 8th – 18th, 2025 Onassis Stegi, Athens
  • May 30th, 2025 One Dance Festival, Plovdiv
  • June 27th – 28th, 2025 Festival de Marseille, Marseille
  • July 2nd – 3rd, 2025 Julidans, Amsterdam
  • November 14th – 16th, 2025 Romaeuropa Festival, Rome
  • November 19th, 2025 Aperto Festival, Reggio Emilia
  • December 3rd, 2025 Concertgebouw Brugge, Bruges
  • December 6th, 2025 Theater Rotterdam, Rotterdam
  • January 8th – 9th, 2026 PAWILON TAŃCA, Warsaw
  • January 24th – 25th, 2026 TMP, Porto
  • May 24th – 30th, 2026 Théâtre de la Ville, Paris

60 minutes

Christos Papadopoulos’ Most Personal Work

© Christos Papadopoulos

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?

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Eva Reiter / Michiel Vandevelde – The Rise

March 26th, 2025 Concertgebouw Brugge, Bruges
March 29th – 30th, 2025 Kaaitheater, Brussels
May 21st – 22nd, 2025 Elbphilharmonie, Hamburg
September 17th, 2025 Musiktheatertage, Vienna
90 minutes

An Experimental Opera

© Bea Borgers

In The Rise, composer Eva Reiter and choreographer Michiel Vandevelde focus on the coexistence and interchanges of various worlds as they unfold on stage successively. Thereby it is the process of translation that lead to the emergence of such new worlds. Throughout translating and re-contextualizing symbols, signs, gestures and sounds, new languages are created that eventually transform our perspective on a particular world.

The Rise is based on the poetry of Nobel prize winner Louise Glück. Specifically her publication Averno serves as the main material for the libretto.  Averno, a crater lake in Italy, was believed to be the entrance gate to the underworld. In her poetry Glück connects and interchanges the two worlds of the living and the dead, returning from one to another and evokes images of life and death, of eternity and the profane. Similarly to the surface of the lake which serves as a permeable membrane into that parallel world, we will create parallel and intermediate worlds throughout the way these poems are performed.

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Categories
France

Ballet Nacional de España / Marcos Morau – Afanador

April 24th – 25th, 2025 Yeulmaru, Yeosu
April 30th – May 1st, 2025 GS Arts Center, Seoul
July 10th – 20th, 2025 Teatro de la Zarzuela, Madrid
September 26th – 27th, 2025 Festspielhaus St. Pölten, St. Pölten
November 5th, 2025 Concertgebouw Brugge, Bruges
November 22nd – 23rd, 2025 Festival de Danse Cannes, Cannes
March 27th – April 2nd, 2026 Théâtre du Châtelet, Paris
100 minutes

The Power of Photography & Choreography

© MERCHE BURGOS

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.

Ballet Nacional de EspañA
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Archive

Marco da Silva Ferreira & João Pais Filipe – Terra Cobre

December 14th, 2024 Concertgebouw Bruges, Bruges
February 28th – March 1st, 2025 Le Quartz, Brest
50 minutes

Sound, Noise and Silence

© Bruno Simao

Cowbells were declared an Urgent Heritage Safeguard by UNESCO in 2015. In Terra Cobre, the artists challenge traditional Portuguese iconography and symbolism, placing it in an exploratory and sensory context.

The work consists of a sculptural and sonic installation and a 50-minute performance, performed by Marco and João at the beginning or end of the installation. The installation serves as a backdrop for the performance and contributes to the atmospheric and performative narrative.

Marco and João, collaborating for CARCAÇA , explore concepts of identity, culture and society; reinterpreting ancient cultural heritage and challenging established conventions. They use cowbells to create a sculptural, sonic and physical composition that depicts a landscape full of memories where shepherds and animals come together.

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Wim Vandekeybus – VOID

October 23rd – 31st, 2024 KVS, Brussels
November 8th – 9th, 2024 Pumpenhaus, Münster
December 18th, 2024 CCHA, Hasselt
January 16th, 2025 Teatro Bonci, Cesena
January 18th, 2025 Teatro Storchi, Modena
January 31st, 2025 Cultuurcentrum De Schakel, Waregem
Feburary 27th, 2025 Cultuurcentrum Brugge, Bruges
March 15th, 2025 Posthof, Linz
60 minutes

The Unstoppable Ultima Vez

© Danny Willems

In this new creation, Vandekeybus embraces the void – even more so – he seeks it out. He starts anew, goes back to square one, taking the simple emptiness as a starting point to arrive at a new form of awareness. He not only seeks to feel existence, life, in a different way, but also aims to add a new way of valuing the performance. By looking differently, within complete simplicity.

“Enlarging by emptying” sounds contradictory but works in a simple way: an empty room seems bigger than a full one. True essence demands throwing off all ballast. An emptiness filled with elusive dignity. Bodies attracting each other like minerals and magnets. Movement as expression of the deepest inner state… An emptiness that offers countless possibilities to be filled…

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Jan Martens – VOICE NOISE

September 24th – 28th, 2024 charleroi danse / la raffinerie, Brussels
October 12th – 13th, 2024 Teatro Argentina, Rome
October 17th – 19th, 2024 mercat de les flors, Barcelona
November 6th, 2024 Theater Rotterdam, Rotterdam
November 19th – 23th, 2024 Théâtre de la Ville, Paris
December 11th, 2024 Concertgebouw Brugge, Bruges
December 14th, 2024 Leietheater, Deinze
90 minutes

The Gender of Sound

© Phile Deprez

On a selection of thirteen tracks by women, his dance spares us the illustration. Instead, it acts as a filter to enhance our listening experience.

Léa Poiré

‘Redundant.’ Or more bluntly: ‘Irritating noise.’ This is how the voice of the woman has often been considered from ancient Greek times to today.

VOICE NOISE is inspired by Anne Carson’s essay ‘The Gender of Sound’ (1992), in which she exposes how patriarchal culture has sought to silence women by ideologically associating women’s sound with monstrosity, disorder and death.

In VOICE NOISE, some innovative, unknown and/or forgotten women’s voices from the past hundred years of music history are given a stage. By doing so, Jan Martens takes another step in his efforts to shape an alternative canon.

Six dancers respond to recordings in which the human voice can be heard in various guises: humming, soothing, shrieking, whispering, singing. Gradually, they discover their own voice.

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