Zoë Demoustier / Ultima Vez (BE)
dance | duration 60 min
in English with Italian subtitles
c/o ZONA K, admission allowed after membership 2024
At the end of the performance on Friday 5 April there will be the meeting “The political gesture of a body-archive“.
The body-archive and gesture as instruments of an investigation into violence, at the centre of Zoë Demoustier’s work, are themes that also belong to other contemporary dance experiences.
One of the most significant is that of Arkadi Zaides and his “Archive”, in which the dancer’s body interprets the proxemics of war, calling into question the gaze of the spectator.
To these intersections is dedicated the meeting with Zoë Demoustier, moderated by Camilla Lietti and Francesca Serrazanetti (Stratagemmi).
In Unfolding an Archive, Zoë Demoustier unfolds an image archive of 20 years of war reporting. The man behind the camera is her father Daniel Demoustier. The search for a relationship to the imagery of world events with which she grew up is like a movement from far and near. In an attempt at a reconstruction, she brings the archive to life. She dismantles the mechanisms hidden behind the archive images. Gradually, a choreography of poses and gestures is created in a broken timeline of physical memories.
« In Unfolding an Archive I investigate what news is, how journalism works, how you use images to place reality in a certain frame. But there is also a second, much more personal track: what has my father’s special job done to me? It took a long time before I dared to put that into the performance. At some point I realized I couldn’t avoid that question. And that those apparently very personal topics – how
our family functioned, the father-daughter relationship, the question of how present a parent should be – are just very universal: everyone has to deal with them. » Zoë Demoustier in HUMO
Choreography and performance Zoë Demoustier Live sound Willem Lenaerts Sound concept Willem Lenaerts & Rint Mennes Light design Harry Cole Light and technical support Pieter Kint Interview & editing Yelena Schmitz Design & Costume Annemie Boonen Research Annemie Boonen & Willem Lenaerts Dramaturgy Elowise Vandenbroecke Coaching Danielle van Vree Video and sound archive Daniel Demoustier Co-production STUK With the support of the City of Leuven, 30CC, Platform In De Maak Residences STUK, Ultima Vez, Vlaams Cultuurhuis de Brakke Grond, Voetvolk Atelier Rubigny Thanks to Shila Anaraki, Oihana Azpillaga, Jonas Beerts, Anna Bentivegna, Stijn De Cauwer, Elliot Dehaspe, Dirk De Lathauwer, Lahja Demoustier, Misha Demoustier, Hannes Dereere, Josine De Roover, Pieter Desmet, Klaas De Somer, Willem Malfliet, Hildegard De Vuyst, Silke Huysmans, Karen Joosten, Koen Theys, Maarten Van Cauwenberghe, Gerlinde Van Puymbroeck, Veerle Van Schoelant, Niek Vanoosterweyck, Bart Vanvoorden, Remo Verdickt, Cas-co Leuven, Dag van de Dans, Danstuin.
Photo by TomHerbots
Zoë Demoustier (1995) is performer and choreographer. The body is always the starting point for her visual representations. From movement she makes links with topical and committed subjects to create documentary choreographic work. Zoë made the performances nesten (fABULEUS/Anna Bentivegna & Ayrton Fraenk), Road to Nowhere (Forsiti’A/Yelena Schmitz), Born to be wild (Thespikon) and worked as a performer and assistant with Kabinet K, Michiel Vandevelde, Alma Söderberg/Manyone, Iris Bouche/Opera Ballet Vlaanderen, David Weber Krebs and Marcelo Evelin. In 2021 she was ambassador of Dance Day in which she created tomorrow’s dance makers in collaboration with De Zendelingen. From 2022 she will start a new collaboration as a choreographer at Ultima Vez. Unfolding an Archive is her first solo performance, for which she has already initiated within the Directing course at the RITCS and Cultural Studies at the KU Leuven. In the performance she uses techniques from the mime corporel tradition that she learned during her studies at the Mime Education in Amsterdam. For Unfolding an Archive she works closely with musician and sound designer Willem Lenaerts.
Faustin Linyekula / Mamu Tshi (RDC/CH)
dance | duration 50 min
in French with Italian subtitles
c/o ZONA K, admission allowed upon 2024 membership
Amandine Ngindu, a renowned krump dancer from Lausanne who goes by the stage name Mamu Tshi, met her Congolese compatriot Faustin Linyekula at Vidy. Together they traveled to the Kasai region to meet her grandmother, with whom she has no common language. In this danced portrait composed together upon their return, Mamu Tshi expresses herself through words and the restrained power of krump, reaching across the borders of her history.
With Mamu Tshi (Amandine Tshijanu Ngindu) Concept and choreography Faustin Linyekula, Mamu Tshi (Amandine Tshijanu Ngindu) Assistant director Angélique Tahé Music Twin Traxamus, Groupe folklorique Atandele (Kananga, DRC) Recorded voices Kaku Musambi Papa Ngindu Papa Mako Griot Tshimina Video Faustin Linyekula Zima Tukala Thanks to Aunt Pauline Bibomba and all the family in Kanyuka, DRC, Zima Tukala (yo moko oyebi), Victor Bafuafua, Sylvie Makela and the Salon Tribus Urbaines General director Veronique Kespi Lighting director Farid Deghou Boussad Sound director Luc Grandjean Stage director Christian Wilmart Production Anouk Luthier Production Théâtre Vidy-Lausanne with support from Studios Kabako (Kisangani, DRC) Support Arts and Humanities Division, New York University Abu Dhabi
photo by Sarah Imsand
Mamu Tshi Mamu Tshi was born in Congo, which she left at birth for Lausanne, where she lives and works today. Very early attracted to urban dance, she is today part of the world krump elite: in 2020 and 2021, she received the title of “dancer of the year” in this discipline. Freestyle dancing, powerful, expressive and liberating, is part of the street dance movement and is considered, among other things, as an artistic response to the systematic oppression of certain groups and the frustration that results from it. The battles, influenced by hip-hop and full of energy, are generally contested in public spaces by different crews. Mamu Tshi frequented urban dances for a long time before performing for the first time in 2019 at the Théâtre Sévelin 36 as part of the “Quarts d’Heure” – a platform for young choreographers. The same theater then invited her to develop her soloWomb: Entrailles as an “associated artist” for a creation in spring 2023. With her playL’Héritière, Mamu Tshi also completes the international trio Portraits in Otherness commissioned by Akram Khan Company for the tour in Switzerland (Steps festival). In parallel and with the collective “Swiss Krump Movement” and the Warriorz, pioneers of krump in Switzerland, she transmits this culture by organizing training and other community events. The lack of resources led her to initiate a project to include cultures and artistic practices from urban and underground environments in the Swiss cultural landscape, CAaUSE, entre d’Arts Alternatif et Urbain Suisse Émergent. At Vidy, she is a choreography assistant and performer in Sous influence by Nina Negri in 2021, and in 2024 she performs Mamu Tshi, Portrait pour Amandine in collaboration with Faustin Linyekula.
Dancer, choreographer and director, Faustin Linyekula lives and works in Kisangani (Democratic Republic of Congo). After literary and theatrical training in Kisangani, he moved to Nairobi in 1993 and in 1997 co-founded the first contemporary dance company in Kenya, the Gàara company. Returning to Kinshasa in June 2001, he set up a structure for dance and visual theater, a place for exchange, research and creation: Studios Kabako. With his company, Linyekula is the author of more than fifteen plays which have been presented on the biggest stages and festivals in Europe, North and South America, Australia and Africa. Among his collaborations are a production for the Comédie Française (Bérénice, 2009), a creation for the Ballet de Lorraine (La Création du monde 1923-2012, 2012), a solo for a dancer from the National Ballet of Portugal. Linyekula has also imagined performances for museums: the MOMA in New York (2012), the MUCEM in Marseille (2016), the Metropolitan Museum (2017) or the Royal Museum for Central Africa in Tervuren (2018). He teaches regularly in Africa and the United States. Linyekula received the Grand Prize from the Prince Claus Foundation for Culture and Development in 2007. Since 2007, Linyekula’s work and approach have been based in the city of Kisangani, where Kabako Studios supports the training, production and dissemination of young Congolese artists in the field of performing arts, but also video and music. In 2014, Linyekula and Kabako Studios received the first prize from the American CurryStone foundation for the work developed in Kisangani and in particular in the commune of Lubunga with the different communities. In 2016, as part of the Artista Na Cidade biennial, Linyekula was an associated artist of the city of Lisbon, from which he received the medal for artistic merit. From September 2018 and for three seasons, he was associated with the Manège – Scène nationale de Reims in France. In 2019 he was an associate artist of the Holland Festival in Amsterdam. At Vidy, he presented Congo, a trio for singer, actor and dancer based on the eponymous book by Éric Vuillard in 2019. The series of films by young African artists Lettres du continent, which he designed with Virginie Dupray during the pandemic in 2020, was presented by Vidy in the fall of 2020. In 21/22, he led the Imaginaires des futurs possibles cycle with the playwright Claire de Ribaupierre, an initiative bringing together artists, scientists and spectators proposed by Vidy and the Sustainability Center of the University of Lausanne. In 2024 he presents Mamu Tshi, Portrait pour Amandine.
source https://vidy.ch/en/
Dance Makers (IT)
Landscapes of long duration where time stands still. Places that intertwine and confuse past and present. Spaces to walk through and observe. Bodies that move to compose unusual choreographic scores.
Can dance offer new perspectives and ways of inhabiting the city? Can places – steeped in history, nature and art – become a stimulus for imagination and artistic creation?
The Dance Makers project starts precisely from the relationship between people and territories with the intention of spreading contemporary dance in unconventional places to stimulate reflection on the territory and its resources. This thought is the basis for the creation of choreographies that draw inspiration from architectural elements, geometries, sounds, works of art, history and inhabitants.
Each choreographic itinerary thus becomes unique because it is developed and conceived in close relation to the environment and gives shape to a route in multiple stages in which artistic creations of a performing nature alternate with participatory moments in which the public becomes visitor, spectator and protagonist.
This itinerary in Milan is the result of an articulated didactic project, proposed and produced by STANZE and ZONA K, which involved the dance company DANCE MAKERS as trainers and dancer-choreographers, the school L’ARCOBALENODANZA and the ACCADEMIA DI BELLE ARTI DI BRERA, which made available the spaces of its historical headquarters, with the active participation of a group of students from the Two-year Specialisation Course in Theatre Scenography and Costume for the Performing Arts.
The dancers have inhabited and choreographed the open spaces of the Napoleonic Courtyard of Honour, the Loggiato above it, the steps, the corridors and those indoors, the basement and the Gipsoteca, working in close dialogue with the Costume and Set Design students, who have succeeded in transmuting bodies and places, revealing the ineffable essence of the non-visible.
site-specific project c/o Accademia delle Belle Arti di Brera
curated by ZONA K and Stanze
Concept and interpretation: Dance Makers (Anna Altobello, Beatrice Bresolin, Ilaria Campagnolo, Marina Donatone, Giovanna Garzotto, Ana Luisa Novais Gomez, Andrea Rampazzo, Silvia Sessi) with the collaboration of: L’Arcobalenodanza School and the Brera Academy of Fine Arts – Two-year Specialistic Course in Theatre Scenography and Costume for the Performing Arts set designers: Nadir Dal Grande, Ludovica Diomedi, Riccardo Galbussera, Elisa Gelmi, Matilde Grossi, Yang Linqing, Andrea Pogliani, Giulia Trivelli, Shi Shiting, We Yue costume designers: Mara Pieri, Alice Manente, Paola Mammolini, Jagna Nawrocka with the support of: CSC – Centro per la Scena Contemporanea di Bassano del Grappa, Fondazione Cariplo, MIBAC, a performance realised within the Teen Time project with the contribution of Regione Lombardia under the patronage of Comune di Milano photos by: Roberto Cinconze
Dance Makers is a group of dance artists born in 2017 following participation in Dance Makers1, a project organized by CSC – Centro per la Scena Contemporanea in Bassano del Grappa. The group is composed of dancers, teachers, Dance Well – movement research for Parkinson’s and choreographers. The Dance Makers have conceived and realized choreographic itineraries in unconventional spaces, research activities on choreographic practices and performances at B.Motion Danza Operaestate – Festival Veneto, Festival Ammutinamenti – Cantieri Danza and Gender Bender Festival. They have danced in projects curated by Iván Pérez, James Batchelor and Silvia Gribaudi, and are currently involved in a new creation with choreographer Andrea Costanzo Martini. In parallel, they continue to realise site-specific performances in museums and urban spaces, and are active in the organisation of workshops for professionals and non-professionals.
EUTROPIA + VANITAS
Ultimo appuntamento con la rassegna di danza contemporanea “it’s a little bit messy”.
PROGRAMMA DELLA SERATA:
EUTROPIA
di MariaGiulia Serantoni
+
VANITAS
di Francesca Penzo.
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Incontro “Fattoria Vittadini a confronto. Il tema dell’identità contemporanea e le sfide del futuro di questa realtà della Danza Milanese”.
Interviene Alessandro Pontremoli
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Aperitivo per festeggiare tutti insieme i 10 anni del gruppo Fattoria Vittadini!
Prenotazioni: biglietti@zonak.it
DANZARE LA VITA
OBIETTIVI DEL CORSO
Percepire sé stessi e gli altri
Sciogliere le tensioni che bloccano l’ espressività del corpo e della voce
Ampliare le possibilità nel movimento
Migliorare la presenza in scena
Riconoscere i propri schemi motori per esplorare nuove origini percorsi e memorie di movimento
INVENTARE E CREARE LA PROPRIA DANZA …
Info e prenotazioni Emanuela Passerini:
348.7517656 emanuelapasserini.bhumi@gmail.com
COS’è IL Body-Mind Centering® -BMC®
La natura si organizza in pattern.
Anche in noi, che della natura siamo parte, si formano dei pattern.
La mente è come il vento e il corpo come la sabbia: se vuoi sapere come soffia il vento, puoi guardare la sabbia.
Bonnie Bainbridge Cohen
BMC è uno studio esperienziale che, attraverso la rieducazione del movimento e la riorganizzazione dei pattern, porta a una comprensione di come la mente si esprime attraverso il corpo e il corpo attraverso la mente.
Basato su fondamenti di anatomia, fisiologia, psicologia e sulla conoscenza dello sviluppo del movimento dal concepimento ai primi anni di vita, BMC fa uso di una varietà di principi teorico-funzionali e di pratiche nell’esplorazione di tutti i sistemi corporei, del respiro e della vocalizzazione, dei sensi e della dinamica percettiva, dell’arte del tocco delle mani e del movimento, fino al livello cellulare. Ha una vasta gamma di applicazioni: educazione e pratica del movimento, danza, yoga, bodywork, riabilitazione, psicoterapia, sviluppo infantile, educazione, musica, voce, arte, meditazione, arti marziali, atletica e altre discipline che coinvolgono l’insieme mente-corpo.
Emanuela Passerini
Body-Mind Centering® Practitioner
Somatic Movement Educator
Sonenalé
a project by and with Riccardo Fusiello and Agostino Riola
lighting design Matteo Crespi
communication Marianna Musella
graphics, scenic element forEVER Claudia Broggi
assistant to the choreography for Play Serena Marossi
production Sonenalé
co-production E45 Napoli Fringe Festival – Fondazione Campania dei Festival
choreographic residencies Centro Danza Canal (Madrid), Mosaico Danza (Turin), Dance_B (Milan), Studio 28 (Milan)
we would like to thank Teatro Litta (Milan), Scuola D’Arte Drammatica Paolo Grassi (Milan), Teatro della Cooperativa (Milan), PuntoZero Teatro (Milan), Teatro Mimesis (Trani), Teatro Radice Timbrica (Legnano), ZONA K (Milan) and also Daniele D’Angelo, Simone Marossi
YOUR HAPPY SAD SONGS is a project in three snapshots, I WANNA – Play – forEVER, freely inspired by the figure of Federico García Lorca.
“The work feeds on Lorca, sinks its roots into the contrasts that animated him, digs through his words and images in search of the essence that moved his work and his life”.
Your Happy Sad Songs thus becomes a sort of pop opera, moving between everyday situations and dreamlike images, on the difficulty of following one’s instincts, on the will to react when all around seems dark, on the disorientation caused by an absence. At the centre is the body and its movement, which becomes the main instrument of investigation. The bodies of the two performers are observed in the circumstances in which they are protagonists and at the same time, as if analysed, decomposed, X-rayed in search of what moves them and what they conceal.
I WANNA (2010), running time 15 min
selected and promoted by ANTICORPI XL – network young dance d’auteur
PLAY (2012), running time 20 min
winner of ‘Presenta tu proyecto’ by Centro Danza Canal (Madrid) and ‘DE.Mo./ Movin’ Up 2011′ (curated by GAI – Giovani Artisti Italiani and MiBAC – Ministero Beni e Attività Culturali)
forEVER (2013), 20 min
debut Museo Madre, Naples – E45 Napoli Fringe Festival, June 2013
Sonenalé was founded in Milan in 2012 by Riccardo Fusiello, dancer and choreographer, and Agostino Riola, performer and director. Their artistic research focuses on the investigation of the body, in all its expressions. The collaboration between the two began in 2008 on the occasion of the show Il Signor P, produced by the Castel Dei Mondi International Festival in Andria. In 2010 they created Your Happy Sad Songs. They have collaborated with Italian and European companies (Spain, Denmark). ”