February 6th – 7th, 2025 Kunstencentrum VIERNULVIER, Ghent March 7th, 2025 Festspielhaus St. Pölten, St. Pölten April 24th – 25th, 2025 Lieu Unique, Nantes May 9th – 10th, 2025 Sadler’s Wells, London May 14th – 17th, 2025 Dublin Dance Festival, Dublin June 24th – 27th, 2025 Théâtre de la Ville, Paris 120 minutes
Part fiction, part biographical, all elements are overlapping, and it will become difficult to determine what’s myth and what’s reality.
It goes back to a time when families worked in the abattoirs of Belfast. Pigs in the garden of New lodge.
There’s something in the meat of me, bloodline, there is a pink fleshy vulnerability to me, to dancing, there is a violence in me.
This new show will follow the story of Oona’s Great Great Grandfather Specky Clark and his arrival in Belfast.
For this piece which will be unfolding in a series of theatrical images, Oona Doherty will collaborate with many faithful and new partners. The production features music from Irish band Lankum, Gavino Murgia and David Holmes & Raven Violet. Maxime Jerry Fraisse is sound designer, Irish playwright Enda Walsh is dramaturg, Sabine Dargent is set designer, Darius Dolatyari-Dolatdoust is costume designer and long-time collaborator John Gunning is lighting designer. The piece will be performed by an international cast of 9 dancers.
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 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.
January 21st – 22nd, 2025 Théâtre de la Cité Internationale, Paris March 12th – 13th, 2025 Le Gymnase CDCN de Roubaix, Roubaix April 2nd – 3rd, 2025 CCAM, Vandoeuvre April 23rd – 24th, 2025 Pôle Sud CDCN Strasbourg, Strasbourg 75 minutes
As a true danced elegy, this piece questions lineage in the choreographic field through the prism of over fifteen years of collaboration with the German choreographer Raimund Hoghe, who passed away in 2021. Aiming to shine a light on how this generation of creators continues to influence us, Emmanuel Eggermont revisits fragments of pieces woven from moments suspended in time, in which love and death act in the background, articulating them with other personal materials in order to imagine new writings.
In About Love and Death, it is both the iconographic and musical palette of Raimund Hoghe and the living kinesthesia of the imagination of Emmanuel Eggermont that are expressed. From fantasy of a fantasized fauna to the comical elegance of a Gene Kelly dancing in the rain by way of the syncopated energy of a Josephine Baker, this danced medley is accompanied by new sequences that multiply evocations, leading up to the incarnation of the ghost of Raimund Hoghe himself.
The ramified writing of this elegy-toned collection reveals an entire panel of references offering to all audiences, particularly those experiencing it for the first time, a path to access this unique and necessary universe in the panorama of the history of dance.
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.
December 4th – 7th, 2024 Théâtre de la Ville, Paris December 10th, 2024 Espace des Arts, Chalon-sur-Saône December 14th, 2024 Festpielhaus, St. Pölten December 17th – 18th, 2024 Théatre Senart Scéne Nationale, Melun 90 minutes
Bringing together the virtuoso, Irish traditional concertina player Cormac Begley, the European classical, contemporary collective, s t a r g a z e and twelve international dancers from the Teaċ Daṁsa company, MÁM is a meeting place between soloist and ensemble, classical and traditional, the local and universal.
Following the success of his acclaimed re-imagining of the world-famous ballet, Swan Lake/Loch na hEala (2016) Michael Keegan-Dolan and Teaċ Daṁsa have created another mythic yet timely production that acknowledges how life’s polarities can on occasion come together and find resolution.
November 20th – 24th, 2024 Sadler’s Wells, London January 11th – 14th, 2025 Théâtre des Champs-Elysées, Paris February 12th – 16th, 2025 The Joyce Theatre, New York April 10th, 2025 UCSB Arts & Lectures, Santa Barbara April 17th – 19th, 2025 The Kennedy Center, Washington 60 minutes
So that was where he came from, and the story puts in place several elements that went on to recur throughout Khan’s career: classical kathak, contemporary dance, commercial dance, famous figures, international touring, a strong technique and a compelling stage presence. Yet to “come from” somewhere is about more than personal biography: it’s also about cultural milieu.
A choreographer and dancer rooted in the tradition of his practice, and a creative interpreter of stories that need to be ‘felt’ – Akram has revolutionised the world of dance. His deeply moving style is simultaneously poetic, innovative and experiential underpinned by intelligently crafted narrative structures. With his bilingual mastery of Kathak and contemporary dance, he has developed a uniquely individual voice as a protagonist of cross-cultural encounters. It is this very encounter, that provokes a personal need for this new creation: a unique work featuring an ensemble of seven renowned artists of Indian Classical Dance (including Akram himself) and seven live Indian Classical musicians.
Drawing from his deep-seated connection to traditional practices and his ability to weave narratives through movement, Akram’s GIGENIS transcends time, invoking the collective memories of our civilisation. It is not just a performance but a profound statement— a testament to the enduring resonance of tradition in a rapidly changing world.
October 9th – 12th, 2024 Maison de la Danse, Lyon November 20th – 21st, 2024 L’Empreinte, Brive-la-Gaillarde November 24th, 2024 L’Archipel, Perpignan December 11th – 14th, 2024 Théâtre de la Ville, Paris December 18th, 2024 Le Corum, Montpellier February 7th, 2025 Le Forum, Fréjus February 11th – 12th, 2025 Les Théâtres de la Ville de Luxembourg, Luxembourg 60 minutes
In DUB, Amala Dianor explores how today’s globally connected youth has embraced the legacy of hip-hop culture to forge new choreographic identities. After travelling across continents seeking out the underground world of urban dance and delving into social media where movements are reimagined, extended, and exchanged, the iconic Franco-Senegalese artist has brought together talented dancers from diverse geographical backgrounds, each influenced by a plethora of aesthetics and encompassing different styles, from whacking and dancehall to jookin and pantsula. As they adapt their practices and blend their techniques to connect with each other, they create a space that’s even brighter and freer than their individual realms. Awir Leon’s live music and Grégoire Korganow’s evocative design contribute to the immersive, joyous atmosphere.
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
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).
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 Duration: 90 minutes
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.
October 1st – 3rd, 2024 Théâtre de la Cité Internationale, Paris October 22nd & 23rd, 2024 Teatro Stabile Torino, Turin October 27th, 2024 I Teatri di Reggio Emilia, Reggio Emilia December 7th, 2024 Les Écuries, Charleroi December 11th & 12th, 2024 Théâtre de Liège, Liège 80 minutes
An Unpredictable Performance from Greece
@ Pinelopi Gerasimou
Following the success of RELIC (2015), TITANS (2017), and ELENIT (2019) — which continue to tour globally — Euripides Laskaridis now presents his latest work, LAPIS LAZULI. Inspired by the mesmerizing blue semi-precious stone known for its unpredictable behavior under pressure, Laskaridis crafts an enigmatic world filled with intriguing dualities. The stone’s name, often interpreted as the “Stone from Heaven”, reflects both earthly and celestial origins, sparking Laskaridis’ exploration of contrasts on stage. Paying tribute to the rich diversity of theatrical genres — from amateur to commercial, horror to musical, ancient Greek drama to Kabuki, and beyond — LAPIS LAZULI also celebrates the complexity of the performing arts.
