June 12th – 13th, 2025 Suzanne Dellal Centre, Tel Aviv July 9th, 2025 Festival dei Due Mondi, Spoleto July 12th – 13th, 2025 Colours International Dance Festival, Stuttgart July 29th – 30th, 2025 House of Dance, Be’er Sheva 55 minutes
NEW EARTH explores our deep, innate connection to the Earth in every movement. Before becoming a choreographer, Binyamini studied biology, and his stage is always a laboratory where he examines the body and its make-up: How much of the animal is still ingrained within us, or are we souls trapped in a shell? How do emotions arise, and what do they change within our bodies?
A layer of earth on the stage and the seemingly naked skin of the dancers combine in the generation of images that are almost archaic. Walking upright, these beings search for dignity or twitch in sudden excitement. Yet, in between, they entwine with each other in intense duets to the ancient sounds of strings or drums from the Mediterranean, creating moments of profound closeness.
Like so many Israeli choreographers, Shahar Binyamini’s roots lie in the renowned Batsheva Company, and he is a recognized expert in Gaga. Developing on this tradition, he and his dancers seek insights their own bodies.
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
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.
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?
