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UK/Ireland Americas

Harald Beharie – Batty Bwoy

  • November 16th – 17th, 2024 Bari International Gender festival, Bari
  • November 21st – 23rd, 2024 Sophiensæle, Berlin
  • December 6th – 7th, 2024 Kampnagel, Hamburg
  • March 22nd, 2025 Théâtre de Vanves, Vanves
  • March 24th, 2025 Festival Le Grand Bain, Roubaix
  • March 27th, 2025 STUK, Leuven
  • April 1st – 3rd, 2025 Bora Bora, Aarhus
  • April 8th – 9th, 2025 Dansehallerne, Copenhagen
  • May 20th – 22nd, 2025 Tramway/Buzzcut Glasgow
  • May 28th – 31st, 2025 FTA, Montreal

75 minutes

A Captivating Solo

© Tale Hendnes

There are hints of dancehall dutty wine whirls, or sexy pelvis swaying. The movements are always ambivalent: they range between vulnerable, violent and ecstatic, yet become mechanical and ‘empty’ through numerous repetitions.

Jelena Mihelčić

Batty Bwoy is a solo performance in collaboration with Karoline Bakken Lund, Veronica Bruce, Jassem Hindi and Ring van Mobius.

Through a reappropriation of the Jamaican term “ Batty Bwoy” (litteraly, butt boy), slang for a queer person, the work twists and turns myths to invoke demonic sensitivities and charming cruelties, unfolding vulnerable possibilities in an interplay of consciousness and naivety. The horror and joy of Batty Bwoy, inherent to queer blackness, is unmasked. 

Scrutinizing the absurdity of a queer monstrosity, Batty Bwoy articulates the porosity of bodies and languages, their mouths swallowing and regurgitating the corporal fictions projected onto their skins.  

Batty Bwoy attacks and embraces sedimented narratives around the fear of the queer body as a perverse and deviant figure. The expression “Batty Bwoy” is used to evoke an ambivalent being that exists in the threshold of the precarious body, liberated power, joy and batty energy!

The work has found inspiration in mythologies, disgusting stereotypes, feelings and fantasies of the queer body and identities, homophobic dancehall lyrics, 70s Giallo films from Italy, resilient “gully queens” and queer voices in Norway and Jamaica that have visited and taken part of the process.

Categories
Mediterranea Americas DACH region

Marco da Silva Ferreira – C A R C A Ç A

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

A rising Portuguese Choreographer to Follow

© Jose Caldeira

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.

Marco da Silva Ferreira Interviewed by Springback Magazine

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?

Categories
Americas

Sidi Larbi Cherkaoui – Ihsane

November 13th – 19th, 2024 Grand Théâtre de Genève, Geneva
January 18th – 19th, 2025 Staatenhaus, Cologne
January 24th, 2025 Festspielhaus St. Pölten, St. Pölten
March 30th – April 6th, 2025 Théâtre du Châtelet, Paris
October 2nd – 4th, 2025 Danse Danse, Montreal
Duration: 90 minutes

Part II of Cherkaoui’s Diptych for His Parents

© GREGORY BATARDON

In Arabic, the word Ihsane represents an ideal of goodness, kindness and benevolence. In Islam, it refers to a form of communion with the universe. With Ihsane, Sidi Larbi Cherkaoui continues a diptych begun within his Eastman company with Vlaemsch (chez moi), in 2022. While Vlaemsch was dedicated to his mother and his Flemish roots, Ihsane explores his relationship with his father, who left Morocco for Flanders, emigrating but always retaining – despite leaving – an unconditional love for his home country. Sidi Larbi Cherkaoui was still a teenager when his father died. Thirty years later, he searched for him in vain in a Tangier cemetery too full of graves. He continues to search for him through this creation bringing together dancers from the Ballet du Grand Théâtre de Genève and Eastman. 

But in Belgium, Ihsane is also associated with a racist and homophobic crime that took place in Liège in 2012: a young homosexual man of 32, of Moroccan origin, beaten to death outside a nightclub. As someone who himself identifies as an artist, a queer and an Arab, Sidi Larbi Cherkaoui identifies with and pays tribute to him through this production which revisits his family story. Ihsane is a journey towards the quest for inner peace, and the attempt to transcend conflict, abandonment and forgetting. Sidi Larbi Cherkaoui dances the questions that obsess him: what do we have left when our place slips away and fades? How can multiple identities coexist in the same body?

As ever, the choreographer has assembled a unique artistic team, reflecting the effervescence and artistic vitality of this region of the world to which Sidi Larbi Cherkaoui is linked through his ancestors. Tunisian musician and viola d’amore virtuoso, Jasser Haj Youssef, will compose the music and perform it onstage with Moroccan singer Mohammed el Arabi Serghini and Lebanese singer Fadia Tomb El-Hage. Stage design will be from visual artist Amine Amharech, who creates sensory and sensitive spaces into which Moroccan influences are often melded, while costumes are by fashion designer Amine Bendriouich, who elevates traditional forms of Berber clothing beyond norms and gender.

With Ihsane, Sidi Larbi Cherkaoui watches the world change in a never-ending cycle of destruction and rebirth. He is wary of cultures when they imprison and separate individuals. He prefers geography in the making, ever-changing landscapes, and the shared space where we coexist. In this space, he reveals the invisible threads that connect us to each other.

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