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Oona Doherty – Specky Clark

February 6th – 7th, 2025 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
August 13th – 16th, 2025 Kampnagel, Hamburg
60 minutes

Meat, Sorrow and Irish Sounds

© Luca Truffarelli

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.

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Malandain Ballet Biarritz – The Seasons

February 5th – 15th, 2025 Le 13eme Art, Paris
February 25th, 2025 Quai 9, Lanester
February 27th – 28th, 2025 Théâtre Impérial, Compiègne
March 11th – 12th, 2025 Les Théâtres, Aix-en-Provence
April 26th – 27th, 2025 Detroit Opera, Detroit
April 29th, 2025 Wharton Center for Performing Arts, East Lansing
May 2nd – 3rd, 2025 Zellerbach Theater, Philadelphia
May 7th, 2025 Byham Theater, Pittsburgh
May 20th – 23rd, 2025 Gare du Midi, Biarritz
60 minutes

When Vivaldi Meets Guido

© Stephane Bellocq

The dance carries everything, from the joy of spring to the passions of summer…just a splendid invitation to meditate on the beauty of life and the passage of time.

Ariane Bavelier (Le Figaro)

Malandain Ballet Biarritz has become one of the most important companies of the French choreographic landscape. This original production combines Antonio Vivaldi’s Four Seasons and the little-known works of his contemporary and compatriot Giovanni Antonio Guido. Guido’s Seasons awakens memories of belle danse (baroque dance) in the 17th century, which emerged from the ideal of governing one’s body and mind, and moving with grace, accuracy, and lightness. With Vivaldi’s Four Seasons, dancers are moved by a more natural, more human form of dance.

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DACH region

Christos Papadopoulos / DANCE ON ENSEMBLE – Mellowing

February 1st, 2025 Tanzbiennale Heidelberg, Heidelberg
March 17th, 2025 dFERIA, San Sebastián
March 20th – 22nd, 2025 Le CENTQUATRE, Paris
April 12th, 2025 Osterfestival Tirol, Innsbruck
July 1st – 2nd, 2025 COLOURS International Dance Festival, Stuttgart
July 18th – 19th, 2025 Kalamata International Dance Festival, Kalamata
March 21st, 2026 Festspielhaus St. Pölten, St. Pölten
55 minutes

Harmony, Precision, Cohesion

© Jubal Battisti

A body that is outwardly still and inwardly vibrating – what processes does the energy undergo before it breaks through? How does it change when the body matures?

In his new production Mellowing, Christos Papadopoulos embarks on his inaugural collaboration with the dancers of the Dance On Ensemble. Together they create a lively restlessness, a permanent vibration in which the spectator is inevitably involved.

Christos Papadopoulos’ works are fed by an intensely observant approach to movement and often unfold a lively and meditative power. His attention is focused on the minimal shifts of perception, the perpetual, often unnoticed and yet powerful movements that are ever-present in nature, in everyday life, within physical phenomena and political contexts.

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Samaa Wakim & Samar Haddad King – Losing It

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

Between Fear and Hope

© Mohab Mohamed

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.

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Emanuel Gat – Freedom Sonata

January 22nd – 23rd, 2025 Opéra Berlioz / Le Corum, Montpellier
March 7th – 8th, 2025 Berliner Festspiele, Berlin
March 17th – 21st, 2025 Théâtre de la Ville, Paris
May 3rd, 2025 Festspielhaus Bregenz, Bregenz
85 minutes

Movements from Beethoven to Kanye West

© Julia Gat

Freedom Sonata is a free, contemporary take on the classic musical sonata form, evolving through three distinct choreographic movements. 

The soundtrack is a juxtaposition of two musical sources: Kanye West’s 2016 album The Life Of Pablo and L. V. Beethoven’s second movement from his last sonata #32. Played by Mitsuko Ushida and recorded in 2006. 

‘Freedom Sonata’ is yet another chapter in a continuous study into the ways in which groups/individuals behave, function and strive to find a state of balance and fulfillment. It is a manner of looking at the way society organizes itself in different contexts and exploring possible alternative models. 

‘Freedom’, the term and concept, is probably the most abused, misused and misunderstood word that exists. The truth is that nothing is easier than stripping people down from any sort of freedom, liberty or natural right. Choreography can serve as a space to examine how to solve the internal tension between the individual and the collective. When asked if my work is political, I answer that my work is not political, but the way in which I work, IS.

If I look at my work from an anthropological angle, as in a process of actively examining questions such as: models for groups organisation, governance modalities and political structures, economic models, resources management and so on, the way I would define it then would be something like: 

A commitment, through a choreographic practice, to the idea that it can be possible to have a society based on principles of self organization, voluntary association and mutual aid. 

Decentralizing the conventional hierarchies between choreographer and dancers, rethinking the distribution of power and responsibilities, defining what choreography/dance can change the established paradigms by placing individual freedom at the center of dance making, are the most valuable strategies through which dance can become a relevant force in pointing out societal anomalies and proposing alternatives.

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Emmanuel Eggermont – About Love and Death

January 20th – 21st, 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

Elegy for Raimund Hoghe

© Jihyé Jung

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.

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Emma Dante – Il tango delle capinere

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

A Love Story of
New Year’s Eve

© Rosellina Garbo

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.

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Michael Keegan-Dolan – MÁM

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

A Fresh Breeze from Ireland

© Teaċ Daṁsa

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.

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Akram Khan – GIGENIS

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

Akram Khan
Returns to His roots

© Maxime Dos

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.

Sanjoy Roy

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.

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Benelux

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
December 12th – 17th, 2025 De Singel, Antwerp
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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