bipod 2018
beirut international platform of dance
BIPOD–Beirut International Platform of Dance
14th EDITION | April 11 - 27th, 2018
AT D-BEIRUT WAREHOUSE
"Quatorze années au compteur pour un festival qui laisse assurément des marques indélébiles dans nos cellules mnémoniques. Des images de corps défiant les lois de la physique et de l’apesanteur, prouvant la force de l’imagination et de la créativité. Des images et des sons que le spectateur beyrouthin attend avec impatience chaque printemps, prêt à ouvrir grand ses rétines pour absorber ces moments récréatifs mais qui sondent aussi, à leur façon, l’âme humaine, ses joies comme ses tourments." ( Maya Ghandour Hertz- L'Orient-Le Jour)
" Fourteen years on the meter for a festival that definitely leaves indelible marks in our cells. Images Of Body defying the laws of physics and, proving the strength of imagination and creativity. Pictures and sounds that the Beiruti spectator looks forward to every spring, ready to open up his retinas to absorb these recreational moments but which also probe, in their own way, the human soul, its joys as its torments." ( Maya Ghandour Hertz- L'Orient-Le Jour)
BIPOD an annual contemporary dance platform, is reviving its already established reputation as one of the most important dance festivals in the region. The thirteen previous editions have contributed to the development and progress of the contemporary dance scene in Lebanon and allowed more visibility, collaboration, networking and exchange for artists on a local and international level.
For its 14th Edition, BIPOD offers a very special program that will celebrate dance continuously throughout the event: performances, in addition to workshops, master classes, exhibitions , discussion panels and talks with the artists.
This year the festival will include a focus on female choreographers, and a feature on Italian artists, as well as showcase internationally acclaimed companies from Spain, Italy, Iceland, USA, Switzerland, Norway and Germany.
Maqamat will also organize the 7th Edition of Moultaqa Leymoun within BIPOD 2018, supported by prohelvetia Cairo and Swiss Arts Council, hosting 17 dancers and choreographers from different Arab Countries.
For its 14th Edition, BIPOD offers a very special program that will celebrate dance continuously throughout the event: performances, in addition to workshops, master classes, exhibitions , discussion panels and talks with the artists.
This year the festival will include a focus on female choreographers, and a feature on Italian artists, as well as showcase internationally acclaimed companies from Spain, Italy, Iceland, USA, Switzerland, Norway and Germany.
Maqamat will also organize the 7th Edition of Moultaqa Leymoun within BIPOD 2018, supported by prohelvetia Cairo and Swiss Arts Council, hosting 17 dancers and choreographers from different Arab Countries.
BIPOD’s highlights:
- 19 Dance Performances for acclaimed international and local artists,
- Homage to Georgette Gebara for her life achievements in dance
- Italian FOCUS, presentation of established contemporary dance companies and choreographers that have influenced and developed the Italian dance scene.
- Discussion Panel “We Women, The Inside Story” moderated by Nayla Tamraz
- A special photographic project with Myriam Boulos that will be presented the last night of the festival.
- 9 Studio Presentations
- 3 Workshops/Lectures/Talk
- 1 Exhibition
- 1 Film Screening
BIPOD 2018 will once again be taking place within the framework of the Masahat network, with regional partners Sarreyet Ramallah for RCDF - Ramallah Contemporary Dance Festival and the Performing Arts Centre of ACDF - Amman Contemporary Dance Festival.
info@maqamat.org | 71 616 624 | Facebook: maqamat dance theatre
Twitter: @maqamat | Instagram: #maqamat_dance_theatre
Media Contact
MIRROS Communication & Media Services
Joumana Rizk: +961 1 497494 | +961 3 29 83 83
joumana@mirrosme.com
Facebook: Mirrosme | Instagram: @mirrosme | Twitter: @mirrosme
Point of Sale
Ticketing info
Tickets will be on sale Monday, March 19th, 2018
At Librairie Antoine, all branches:
ABC Achrafieh: 01 218 175 | 01 218 078 | 03 890 713
ABC Dbayeh: 04 521 684 | 03 890 657
ABC Dbayeh: 04 521 684 | 03 890 657
Beirut Souks: 01 999 650 | 03 890 673
Baabda: 05 952 872 | Hamra: 01 341 470/1
Booking online: https://www.antoineticketing.com/?event_group_id=3
Tickets available at the door two hours before each performance
Tickets available at the door two hours before each performance
FESTIVAL PASSES & OFFERS
Ask for your BIPOD Pass for reduced prices
VOLUNTEER AND WATCH ALL THE PERFORMANCES OF BIPOD 2018 FOR FREE!!
Ask for your BIPOD Pass for reduced prices
VOLUNTEER AND WATCH ALL THE PERFORMANCES OF BIPOD 2018 FOR FREE!!
Venue
D-BEIRUT WAREHOUSE
Seaside Rd - Bourj Hammoud
BIPOD 2018 will be hosted at D-BEIRUT WAREHOUSE which is a new destination for creativity. A unique platform for art, craft, design and personal development.
Performances
We Women
Sol Picó | SPAIN
Wednesday 11th of April
8:30 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by the Spanish Embassy in Beirut, Generalitat de Catalunya, Inaem and Ajuntament de Barcelona Institut de Cultura.
Duration: 75 minutes
Sol Picó builds bridges between opposing worlds matching seemingly irreconcilable elements. With her, it is never what we expect and always goes beyond what we can cope. Between strength, accuracy, dynamics and humour, We Women becomes a raw, unique performance with no concessions. The piece doesn’t give us answers but asks questions through the senses and brings us close to a life experience.
تبني Sol Picó الجسور بين العوالم المتناقضة التي تتطابق على ما يبدو مع عناصر لا يمكن التوفيق بينها. معها، لا يمكن توقّع أي شيء أبداً ودائماً ما نتخطّى ما يمكن التأقلم معه. وبين القوّة، والدقة، والحيوية والفكاهة، نصبح نحن النساء أداءً بارداً وفريداً من دون تنازلات. لا تقدّم القطعة أجوبة بل تطرح الأسئلة من خلال الأحاسيس وتقرّبنا من تجربة الحياة.
About The Company
Sol Picó is a Professional Contemporary Dance company, based in Barcelona, founded in 1994 by the dancer and choreographer Sol Picó - hence, the name- her work can be classified as a mixture of genres and style-lines. Tenacious and daring, Sol Picó develops a personal movement fully based on precision, velocity, vitality and powerfulness. Her performances which are always mature, imaginative and controverted stir the audience and make them react one way or another. The quality of her production, the sense of humour and the interaction with the audience are the essence of her work.
عن الفرقة
هي فرقة محترفة للرقص المعاصر مقرّها في برشلونة، أسّستها في العام ١٩٩٤ الراقصة ومدرّبة الرقص Sol Picó - ومن هنا جاء اسم الفرقة - بحيث يتميّز عملها بمزيج من الأساليب والخطوط. عنيدة وجريئة، تتقن Sol Picó حركات خاصة ترتكز بشكل كامل على الدقة، والسرعة، والحيوية والقوّة. أمّا عروضها المثيرة للجدل التي تتميّز دائماً بالنضج والخيال فتحرّك الجمهور وتجعله يتفاعل بطريقة أو بأخرى. أمّا نوعيّة إنتاجها، وحسّها الفكاهي وتفاعلها مع الجمهور، فكلّها عناصر تشكّل جوهر عملها.
About The Performance
Sol Picó asks herself about the condition of woman, enriching her look with perspectives of women around the world. Starting from the different disciplines practiced by the artists with whom she works and the origins and inheritance of each one of them, Sol Picó draws a portrait of contemporary woman. These artists, some of which have had to break the prevailing schemes in their cultures of origin, have different styles, techniques and languages, that can even be unknown to her companions, but they all raise the same questions and seek the same answers.
عن العرض
تتساءل Sol Picó عن حالة المرأة، وتُغني نظرتها من خلال وجهات نظر النساء حول العالم. منطلقة من ممارسات مختلفة لفنّانين عملت معهم كما من أصول وإرث كلّ واحد منهم، ترسم Sol Picó صورة المرأة المعاصرة. هؤلاء الفنّانون، الذين حطّم بعضهم الأنظمة السائدة في ثقافتهم الخاصة، يملكون أساليب وتقنيات ولغات مختلفة، قد تكون حتّى مجهولة من زملائها، ولكنّهم يطرحون جميعهم الأسئلة ذاتها ويبحثون عن الأجوبة ذاتها.
Cast & Credits
Direction : Sol Picó
Dramaturgy: Roberto Fratini
Choreographic composition: Julie Dossavi, Minako Seki, Shantala Shivalinggappa and Sol Picó
Dancers: Julie Dossavi, Minako Seki, Shreyashee Nag and Sol Picó
Musical composition and interpretation: Adele Madau, Lina León and Marta Robles
Direction assistant: Verónica Cendoya
Scenography and technical coordinator: Joan Manrique
Lighting design: Sylvia Kuchinow
Sound design: Stéphane Carteaux
Production: Pia Mazuela, Núria Aguiló Sol
Photography: David Ruano, Erin Bassa Photographer, Carmen Escudero
Video: Mayo Films
Difussion: Agente129
Thanks to: Dani Tejedor, Eulàlia Bergadà, Xaro Campo, Leo Castro, Vicens Mayans,
Companyia Mal Pelo, La Fuga Films, Funky Monkey, Jordi Pau, Jordi Nicolau, Xavier Sauret
Collaborators in the production: L’Animal a l’esquena, Festival Sismògraf , Teatre Atrium de Viladecans
Coproduced by Grec 2015 Festival de Barcelona, Festival Internacional de Buenos Aires and la Cia. Sol Picó. With the collaboration of Institut Ramon Llull. Ajuntament de Barcelona, 10 Fiba.
Subsidies by:
Gobierno De España, Ministerio de Educación, Culturay Deporte, INAEM, Generalitat de Catalunya Departamento de Cultura, Institut ramon Llull Lengua cultura catalanas, Ajuntament de Barcelona Institut de Cultura.
IBM 1401, a User´s Manual (in memoriam)
ERNA ÓMARSDÓTTIR | Iceland
Thursday 12th of April
8:30 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by apap - advanced performing arts project
Duration: 45 minutes
“There is simply something genius about everything she does.” Morgunblaðið, Margrét Áskelsdóttir.
بقريّة في كل ما تقوم به". Morgunblaðið، Margrét Áskelsdóttir.
About the Artists
Erna Ómarsdóttir
Erna Ómarsdóttir worked with Jan Fabre, Ballet C De la B, Sidi Larbi Cherkaoui before focusing on her own choreographic and performative work which includes IBM 1401, We are all Marlene Dietrich for, Transaquania, Black Marrow, Shrine, Dies Irae (video), Union of the North (film) and At Dusk. In 2008 Erna founded Shalala, together with Valdimar Jóhannsson. The pair also form a theatrical band called LAZYBLOOD. Erna Ómarsdóttir has worked closely with visual artist Gabríela Friðriksdóttir and musicians Björk, SigurRós, Ólöf Arnalds Jóhann Jóhannsson and Ben Frost. She is currently artistic director of the Iceland Dance Company.
عن الفنّانة
عملت Erna Ómarsdóttir مع Jan Fabre، و Ballet C De la Bو Sidi Larbi Cherkaouiقبل أن تركّز على أدائها ورقصها الخاص الذي يشمل IBM 1401، و We are all Marlene Dietrich for، و Transaquania، و Black Marrow، و Shrine، و Dies Irae (فيديو)، و Union of the North(فيلم) و At Dusk. في العام ٢٠٠٨، أسّست Shalala مع Valdimar Jóhannsson؛ كذلك، يشكّل الثنائي فرقة مسرحية تحت اسم LAZYBLOOD. عملت Erna Ómarsdóttir عن كثب مع الفنّانة البصرية Gabríela Friðriksdóttir والموسيقيّين Björk، و SigurRós، و Ólöf Arnalds Jóhann Jóhannsson و Ben Frost. تتولّى حالياً منصب المديرة الإبداعية لشركة Iceland Dance Company.
Óbó
Óbó's musical handwriting has been all over the Icelandic map in recent years: A multi-instrumentalist and a wizard on percussions, he studied piano and later composition in various European cities and has performed and recorded with artists such as Sigur Rós, Jónsi, Emiliana Torrini, Stórsveit Nix Noltes, slowblow, Benni Hemm Hemm, múm, Jóhann Jóhannsson, Úlfur Hansson and Valgeir Sigurðsson, to name a few
About the Performance
IBM 1401 - A User´s Manual is based around the story of the first computer to come to Iceland, in 1964. The piece blends dance movements with a set-design and music that reflects themes of techno-nostalgia/discarded technology, nurture, human and artificial intelligence, and sexuality. The choreography uses elements of the body as machine and dance as a mysterious, uncanny and intangible energy, much like electricity. The choreography explores both mechanical movements and organic movements and juxtaposes the two, seeking to find the link between them.
عن العرض
IBM 1401 – دليل للمستخدم يتمحور حول قصّة أوّل كمبيوتر وصل إلى آيسلندا في العام ١٩٦٤. يمزج العرض حركات راقصة مع ديكور مسرحي وموسيقى تعكس مواضيع التكنولوجيا القديمة/المتروكة، والتنشئة، والذكاء الإنساني والصناعي والجنس. يستخدم العرض الراقص عناصر الجسد على شكل ماكينة والرقص على شكل طاقة خارقة وغامضة، تشبه إلى حدّ بعيد الكهرباء. ويستكشف العرض الحركات الميكانيكية والعضوية في الوقت ذاته، ويضعها جنباً إلى جنب سعياً وراء إيجاد رابط بينها.
Cast & Credits
Coreography and performer: Erna Ómarsdóttir
Music composed by Jóhann Jóhannsson
Orchestrated by Jóhann Jóhannsson and Arnar Bjarnason
Music performed by Ólafur Ólafsson
Strings performed by The City of Prague Philharmonic Orchestra, conducted by
Mario Klemens.
Recorded in Prague, September 2005.
Lights: Sylvain Rausa
Production and distribution: LÓKAL – Performing Arts Reykjavík (Ragnheiður Skúladóttir & Bjarni Jónsson)
Music contains a fragment of "Ísland Ögrum Skorið",by Sigvaldi Kaldalóns, performed by the IBM 1401 Computer, programmed by Jóhann Gunnarsson and Elías Davíðsson, recorded in 1971.
Creation on the occasion of the coproduction of the GRIM (Groupe de Recherche et d’Improvisation Musicale) and of the Officina - atelier marseillais de production, for the DANSEM festival (Marseille), 26th of september 2002.
Thanks to Kitchen Motors; 1x2x3 – Philippe Baste; Rosas Parts; Tjarnarbíó (Reykjavík); Ekka; Ómar Kristinsson and Kristín Geirsdóttir; Jóhann Gunnarsson.
www.ernaomarsdottir.com
www.ernaomarsdottir.com
Taraneem - Maqamat Co-production
CHARLIE PRINCE & HOOR MALAS
Friday 13th of April
7:00 pm | D-BEIRUT WAREHOUSE
Within the framework of Moultaqa Leymoun program
Duration: 40 minutes
For this first time collaboration between Charlie Prince and Hoor Malas, two bodies are tuning, resonating, listening in and attempt to meet and connect. A journey into sound and senses.
لأوّل مرّة بين Charlie Prince و Hoor Mallas، حيث ينسجم جسدان وينصتان في محاولة لكي يلتقيا ويتّصلا. رحلة إلى عالم الصوت والأحاسيس.
About the Artists
Charlie is a Lebanese freelance artist currently based in Europe. He has worked as a performer with Ballet BC, Cie Alias, Marie Chouinard. Charlie is artist in residence at Dansmakers Amsterdam and his artistic work is supported by Maqamat and APAP for the project APAP 2020.
Hoor is a Syrian contemporary dancer born in Damascus. She completed her B.A in dance at the Higher Institute of Dramatic Arts in 2007 where she now teaches. In 2006, she co-founded the Sima Dance Company in Damascus.
تشارلي برنس
وُلد في بيروت عام 1991 وترعرع فيها. ويُعد تشارلي فنانًا مستقلًا وتتركز أعماله حاليًا بين أوروبا وبيروت. وقد عمل تشارلي راقصًا في فرقة باليه بي سي في فانكوفر، وفرقة سي ألياس في جنيف، وفرقة ماري شوينارد.
ويتم تمويله في الوقت الحالي من قبل (apap)، أداء أوروبا 2020.
كما أنه فنان مقيم في معهد دانسميكرز في أمستردام في عام 2018.
حور ملص:
تُعتبر حور راقصة معاصرة من مدينة دمشق.حصلت على شهادة تخرجها في مجال الرقص من المعهد العالي للفنون المسرحية في عام 2007. بالإضافة شهادة دبلوم في الرقص المعاصر من NSCD في مدينة ليدز في المملكة المتحدة عام 2008.
كما شاركت حور في تأسيس "فرقة سما للرقص" في دمشق عام 2006.
About the Performance
Before an orchestra plays - their instruments must be tuned to one another.
‘Taraneem’ explores this act of instrumental tuning as translated to the human body.
Four bodies emerge in one space - to engage in the journey of connecting - of understanding the frequency that binds them invisibly and metaphysically.
What does a tuned body look like?
How does this body resonate in space?
How does this body meet another within the same understanding of a larger frequency?
And once they do meet- where do they go from there?
قبل أن تبدأ الأوركسترا بالعزف، يجب أن تتم دوزنة الآلات الموسيقية فيما بينها.
ويستكشف عرض (ترانيم) دوزنة الآلات الموسيقية هذه لتترجم حركة الجسد.
وتظهر أربعة أجساد في مساحة واحدة، لكي تندمج في رحلة من التواصل في فهم التردد الذي يربطها بشكل خفي وغيبي.
كيف يبدو شكل الجسد المتناغم؟وكيف يتردد صدى الجسد في المساحة؟وكيف يلتقي هذا الجسد بآخر ضمن الفهم ذاته في تردد أوسع؟وبعد التقائهما، ما هي الخطوة التالية؟
Cast & Credits
Choreography & Concept: Charlie Prince & Hoor Malas
Performers: Hoor Malas, Charlie Prince, Erin Hill, Lara Bkhssar
Rehearsal Director: Erin Hill
Co-Production: APAP/ Maqamat/BIPOD
Special thanks to Benoit Lachambre, Philippe Rieira, Mia Habis & Omar Rajeh
for their artistic advice during the process -
Thank you to Nagham Maala and Antonia Kruschel for being bodies in space during the creation -
Thank you to Maqamat Dance Theatre, apap 2020, TanzFabrik Berlin & Institut Français Deir el Qamar for providing us space and time to give life to this project.
Image by Karl Hadife
Image by Karl Hadife
ēvolvō (DOUBLE BILL with Tu meur(s) de terre)
YARA BOUSTANY | Lebanon
Friday 13th of April
8:30 pm | D-BEIRUT WAREHOUSE
Within the framework of Moultaqa Leymoun Program
Duration: 36 minutes
Duration: 36 minutes
An intriguing human combination evolves and embarks you into a journey to question our environment and its impact on our bodies and reality.
تركيبة إنسانية مثيرة تتطوّر وتأخذنا في رحلة للتساؤل حول بيئتنا وتأثيرها على أجسادنا والواقع.
About The Artist
Having obtained her degree in audio-visuals from ALBA, Yara Boustany continued her studies at CAU Theatre and Circus School, Spain. In 2015, she founded Amalgam, a space for performers to develop their practice. She took part in national and international performances, including her latest solos ‘Astroturf’ and ‘One day – One Night – Beirut’, with the latter premiered at the International Solotanz Festival, Germany. In August 2017, she received a grant from “Afaq” - The Arab Fund for Arts and Culture to produce this performance.
بعد حصولها على شهادتها في المواد السمعية والبصرية من الأكاديمية اللبنانية للفنون الجميلة - ألبا، واصلت يارا بستاني دراستها في مدرسة المسرح والسيرك CAU في اسبانيا.
في عام 2015 ، أسّست مساحة Amalgam لفناني الرقص والمسرح لتطوير مهاراتهم الفنية.
شاركت في العروض الوطنية والدولية. من آخر عروضها الفردية، “العشب الفلكي“ في بيروت و“ ليلة ونهار – بيروت“ في مهرجان سولوتانز الدولي في ألمانيا.
في آب 2017 تلقت دعماً من الصندوق العربي للثقافة والفنون – آفاق لإنتاج هذا العمل
About The Performance
On the human struggle to adapt and keep up in an ever-changing and evolving world, where both body and mind are rushed to accept and conform to new realities. And on the incompatible yet intricate and inseparable relationship between nature and cities. ēvolvō deconstructs this modern human, bombarded with information, exposing the disappointments and fears generated from this dilemma. Warriors, feeding on the city, thriving to create a link with nature, with their animal spirits at the core, embark on the search for balance.
يتمحور العمل حول النضال البشري في التكيف والمواكبة في عالم دائم التغير والتطور، حيث يتم تحفيز كل من الجسد والعقل على حدٍ سواء للقبول والطاعة لواقعٍ جديدٍ.
كما يحث على العلاقة بين الطبيعة والمدينة، تلك العلاقة العضوية، المتفاوتة والمعقدة.
يأتي هذا العمل ليفكك الانسان المعاصرعن محيطه المكتسح بالمعلومات، ويعريه أمام كل الخيبات وجميع المخاوف الناتجة عن هذه المعضلة.
مكافحون يقتاتون من إفرزات المدينة، في حالة بحث عن التوازن، مندفعون لخلق صلة مع الطبيعة ومع جوهر روحهم الحيوانية.
Cast & Credits
Choreography, performance, costumes and visuals by Yara Boustany
Sound concept: Yara Boustany and William Llewellyn
Sound design: William Llewellyn
Image by: Ayman Baalbaki
Supported by Afac
Image by: Ayman Baalbaki
Supported by Afac
Tu meur(s) de terre (DOUBLE BILL with ēvolvō)
HAMDI DRIDI | Tunisia
Friday 13th of April
8:30 pm | D-BEIRUT WAREHOUSE
Within the framework of Moultaqa Leymoun Program
Duration: 25 minutes
An homage to the Father. When art has the power to transform pain into a choreographical poem.
نّ القدرة على تحويل الألم إلى قصيدة راقصة.
About The Artist
Hamdi Dridi started dancing in Tunis as a hip hop dancer. He danced on rooftops, tram platforms, weddings, in his popular district called "the red mountain”, then in the company Sybel Ballet Theater directed by Syhem Belkhodja where he met Hervé Robbe, Pedro Pauwels, Hafiz Dhaou and Aicha M'Barek. In 2010 he formed with Maguy Marin and then with the CNDC Angers in 2013. Hamdi is sensitive to the musicality of the spoken voice and sounds, and the text has a particular place in his physical research. He is currently refining his choreographic writing within the Masters degree practice at the International Choreographic Institute ICI-CCN of Montpellier.
عن الفنّان بدأ Hamdi Dridi الرقص في تونس كراقص هيب هوب. رقص على أسطح المباني، وأرصف الترامواي، وحفلات الزفاف في الحيّ الشهير الذي يسكن فيه ويطلق عليه اسم the red mountain؛ ثمّ في فرقة Sybel Ballet Theater بإدارة Syhem Belkhodja حيث التقى كلّ من Hervé Robbe، و Pedro Pauwels، و Hafiz Dhaouو Aicha M'Barek. في العام ٢٠١٠، صمّم مع Maguy Marin ومن ثمّ مع CNDC Angers في العام ٢٠١٣. يتأثر Hamdi بأنغام الأصوات والصوت المنطوق، كما يشكّل النص مكانة خاصة في بحثه الجسدي. ويعمل حالياً على تحسين كتابته في الرقص من خلال الحصول على شهادة ماجيستير من معهد الرقص الدولي ICI-CCN في مونبيلييه.
About The Performance
I dance my father...a housepainter. To dance my last memories, re-enacting his physical presence, in his workplace plastered with cardboard. You, who watch me, my father tells you his life story through my arms. I dance pain calmly, transforming a tumour into a poem. Between God and a human being, a father and his son, the sky and the earth, sound and movement, he watches me now. Our duo allows me to accept his having left, and that we’ll surely meet again on another day.
عن العرض في هذه الأماكن ذات إمكانية الصوت العالية، أردت أن أبتكر منطقة مقاومة بين الحركة والصوت، بحيث يمزج الرقص جسد الفنّان خلال حركته وجسد العامل. الرقص الذي أريد تأليفه يرتكز على الطاقة الخام للحركة، طاقة العمل، في اللحظة التي يلتقي فيها الصوت بالحركة، ويتواجهان ويتّحدان من أجل أن تنقل هذه الحركة، التي تتمتّع بقوّة عاطفية من حيث فائدتها، المعنى الحقيقي لها. هو بمثابة حلم، وتفسير مذهل لصورة العامل، وكلمته، والحركة التي تدخل في كلمته.
Cast & Credits
Chorégraphie et interprétation Hamdi Dridi
Collaboration David Millemann,
Compositeur sonore, Marine Oger et Jean-Charles Bessonneau du Club photo d'Angers Accompagnement CNDC d'Angers, Hafiz Dhaou, William Petit, Gianni Joseph. —Créé dansle cadre du festival Temps Fort Solo etleCNDC d’Angers 2014/2015
Image by Marine Oger
Duration: 25 minutes
An homage to the Father. When art has the power to transform pain into a choreographical poem.
نّ القدرة على تحويل الألم إلى قصيدة راقصة.
About The Artist
Hamdi Dridi started dancing in Tunis as a hip hop dancer. He danced on rooftops, tram platforms, weddings, in his popular district called "the red mountain”, then in the company Sybel Ballet Theater directed by Syhem Belkhodja where he met Hervé Robbe, Pedro Pauwels, Hafiz Dhaou and Aicha M'Barek. In 2010 he formed with Maguy Marin and then with the CNDC Angers in 2013. Hamdi is sensitive to the musicality of the spoken voice and sounds, and the text has a particular place in his physical research. He is currently refining his choreographic writing within the Masters degree practice at the International Choreographic Institute ICI-CCN of Montpellier.
عن الفنّان بدأ Hamdi Dridi الرقص في تونس كراقص هيب هوب. رقص على أسطح المباني، وأرصف الترامواي، وحفلات الزفاف في الحيّ الشهير الذي يسكن فيه ويطلق عليه اسم the red mountain؛ ثمّ في فرقة Sybel Ballet Theater بإدارة Syhem Belkhodja حيث التقى كلّ من Hervé Robbe، و Pedro Pauwels، و Hafiz Dhaouو Aicha M'Barek. في العام ٢٠١٠، صمّم مع Maguy Marin ومن ثمّ مع CNDC Angers في العام ٢٠١٣. يتأثر Hamdi بأنغام الأصوات والصوت المنطوق، كما يشكّل النص مكانة خاصة في بحثه الجسدي. ويعمل حالياً على تحسين كتابته في الرقص من خلال الحصول على شهادة ماجيستير من معهد الرقص الدولي ICI-CCN في مونبيلييه.
About The Performance
I dance my father...a housepainter. To dance my last memories, re-enacting his physical presence, in his workplace plastered with cardboard. You, who watch me, my father tells you his life story through my arms. I dance pain calmly, transforming a tumour into a poem. Between God and a human being, a father and his son, the sky and the earth, sound and movement, he watches me now. Our duo allows me to accept his having left, and that we’ll surely meet again on another day.
عن العرض في هذه الأماكن ذات إمكانية الصوت العالية، أردت أن أبتكر منطقة مقاومة بين الحركة والصوت، بحيث يمزج الرقص جسد الفنّان خلال حركته وجسد العامل. الرقص الذي أريد تأليفه يرتكز على الطاقة الخام للحركة، طاقة العمل، في اللحظة التي يلتقي فيها الصوت بالحركة، ويتواجهان ويتّحدان من أجل أن تنقل هذه الحركة، التي تتمتّع بقوّة عاطفية من حيث فائدتها، المعنى الحقيقي لها. هو بمثابة حلم، وتفسير مذهل لصورة العامل، وكلمته، والحركة التي تدخل في كلمته.
Cast & Credits
Chorégraphie et interprétation Hamdi Dridi
Collaboration David Millemann,
Compositeur sonore, Marine Oger et Jean-Charles Bessonneau du Club photo d'Angers Accompagnement CNDC d'Angers, Hafiz Dhaou, William Petit, Gianni Joseph. —Créé dansle cadre du festival Temps Fort Solo etleCNDC d’Angers 2014/2015
Image by Marine Oger
Of what I remember - Maqamat Co-production
BASSAM ABOU DIAB | Lebanon
Saturday 14th of April
7:00 pm | D-BEIRUT WAREHOUSE
Within the framework of Moultaqa Leymoun Program
Duration: 40 minutes
Duration: 40 minutes
Combining a traditional approach with contemporary thinking, Bassam reflects on the cycles of life and death and questions rituals in today’s concerns and social experiences.
من خلال المزج بين نهج تقليدي وتفكير معاصر، يتأمّل Bassam دورات الحياة والموت ويبحث في التقاليد في الاهتمامات والتجارب الاجتماعية اليوم.
About The Artist
Bassam Abou Diab is a theatre graduate from the Lebanese University and a folklore and contemporary dance artist. He has been dancing with Omar Rajeh (Maqamat) for several years. He performed in Mushrooms and Fig Leaves, Hibr, That Part Of Heaven and Watadour. Bassam was also part of the intensive dance training program Takween in 2010 and 2011, then 2017 where he worked with choreographers such as Marcel Leemann, Emilyn Claid, Thierry Smith, Hooman Sharifi, Benoit Lachamre, Marco Cantalupo, Gilles Jobin, Kristina De Chatelle, Damien Jalet, Franceso Scavetta and Nacera Belazza just to name a few. In addition to his theatrical work, Bassam is currently touring his latest creation, “Under the Flesh”. Bassam is an associated artist with Maqamat and supported by Maqamat and APAP for the project APAP 2020.
بسام أبوذياب راقص و ممثل، و مدير فرقة البيارق الفلكلورية، خريج مسرح من الجامعة اللبنانية، حائز على ماستر إعداد ممثل، متخصص في الرقص الفلكلوري و الرقص المعاصر، شارك مع فرقة مقامات للمسرح الراقص في عدة عروضات منذ العام 2010 منها (ذاك الجزء من الجنة، حبر، وتدور) كذلك شارك في عدة أعمال مسرحية كممثل منها ( قدام باب السفرة للمخرجة نضال الأشقر، لماذا تركت الحصان وحيداً للمخرج جواد الأسدي، سيستمتكل للمخرج بديع أبو شقرا، فوق الصفر لفرقة كون)
شارك في ورشة عمل تكوين في 2010-2011 و عدة ورش عمل في الرقص و المسرح الحركي في لبنان و خارجه مع مدربين منهم (مارسيل ليمان، داميان جاليه، مانويل روندا، أميلين كلايد، كريستينا دو شاتيل، ماركو كانتالوبو، اناني سانوڤي، ثيري سميث و غيرهم).
شارك في عرض الأمطار الجانبية مع فرقة ألياس السويسرية في مهرجان بيروت للرقص المعاصر في 2016.
صمم و أخرج عروض: غير متصل 2010، تحت الجلد 2016 ، كارمى فلسطين 2017، على ما أذكر 2017.
About The Performance
“Of what I remember” reflects the rituals of death and birth in the Lebanese society in general and in the Druze community in particular. Introducing linguistic and musical vocabulary associated with these rituals through transforming them into a theatrical style based on traditional social events, the work explores the ideas of reincarnation that exist within the Druze community. Similar to the movement of planets, stars, and earth, the performance begins before its beginning and doesn’t ever end.
على ما أذكر
الحياة بعد الموت أو إنتقال الروح من الجسد إلى أخر هي الفكرة التي يتمحور حولها البحث في هذا العرض من خلال تجربة واقعية ويتم سرد تفاصيل الأحداث في اللحظات الاولى لحظة الموت والولادة والطقوس المرافقة للموت والولادة وما يرافقها من أصوات وتحركات وايضاً هذا الكم من الصور والذاكرة والتجربة التي تنتقل من الجسد مع إنتقال الروح و إلى الجسد اللاخر وكيف يكون لها تأثير الاكبر في تركيبته الحركية النفسية وكذلك ردات فعله وعلاقته بالمحيط.
خلال البحث كانت هناك محاولة للخلق أصوات من آلات موسيقية تراثية لان القصة حدثت في الحرب الأهلية وذاكرة الشخصية تربط الأحداث بالاصوات المرافقة لها تحديداً
فيما يتعلق بالحركة يقوم البحث على الطقوس والحركات المتكررة وما تنتجه من رسم حركي يصبح نوع من كوريغرافيا عفوية وكذلك الذاكرة وعنف الأصوات والصور وتأثيرها في هذا الجسد وحركته.
Cast & Credits
Choreography and direction: Bassam Abou Diab
Performed by: Bassam Abou Diab and Samah Tarabay
Music Composition by Samah Tearaway and Hadi Kordab
Through the Skin - MAQAMAT CO-PRODUCTION
MITRA ZIAE KIA & HIVA SEDAGHAT- MAHA | Iran
Saturday 14th of April
8:30 pm | D-BEIRUT WAREHOUSE
Within the framework of Moultaqa Leymoun Program
Duration: 40 minutes
Duration: 40 minutes
A continuous shifting of images and emotions, redefining what a relationship can be through an explosion of boundaries.
إعادة تحديد العلاقة من خلال عدد لا متناهٍ من الحدود.
About The Artists
Hiva Sedaghat was born in Tehran, Iran. A graduate of Architecture Engineering she became familiar with contemporary dance in 2012 participating in various international and local workshops. She has since been part of a number of creations both as performer and choreographer with “MAHA group including her solo piece “Room” in the first body and Movement festival of “MAHA’” that took place in Tehran.
عن الفنّانتَين
ولدت Hiva Sedaghat في طهران في إيران. درست الهندسة المعمارية وتعرّفت إلى عالم الرقص المعاصر في العام ٢٠١٢ حيث شاركت في عدد من ورش العمل العالمية والمحلية. أصبحت جزءاً من عدد من الابتكارات كراقصة ومصمّمة رقص مع فرقة MAHA بما في ذلك عملها الفردي Room في المهرجان الأوّل للجسد والحركة لفرقة MAHA الذي أقيم في طهران.
Mitra Ziaee Kia was born in Tehran and is a graduate of acting from Samandarian Acting school. An experienced actress, in recent years Mitra has explored her love of movement and the body taking part in many workshops in classical ballet, folk and contemporary dance. A founding member of the ‘MAHA’ collective, she has most recently worked on a collaboration with Maqamat Dance Theatre, performing in ‘Zaafaran’ choreographed by Omar Rajeh.
ولدت Mitra Ziaee Kia في طهران وتخرّجت في التمثيل من مدرسة المسرح Samandarian. استكشفت Mitra، الممثلة المحترفة، مؤخراً حبّها للحركة والجسد فشاركت في عدد من ورش العمل حول رقص الباليه، والفولكلور والرقص المعاصر. أصبحت عضواً في مجموعة MAHA وعملت مؤخراً بالتعاون مع "مسرح مقامات للرقص" بحيث شاركت في Zaafaran من تصميم "عمر راجح".
About The Performance
A portrayal of the individual experience of love, pleasure, pain and suffering through the language of the body. Ensconced within a net, the work explores imperfect boundaries of the body, limitations of the skin, and the fluctuations that exist from beneath the safety of these borders. Tracing physical memories, bodies move and spread in a navigation of emotion, identity and relationships.
عن العرض
هو تصوير للتجربة الفردية للحب، والمتعة، والألم والعذاب من خلال لغة الجسد. مخبّأ في شبكة، يستكشف العمل حدود الجسد غير المكتملة، وقيود البشرة، والتقلّبات التي تولد من خلف أمان تلك الحدود. ومن خلال تعقّب الذكريات الجسدية، تتحرّك الأجسام وتنتشر في تنقّل للعاطفة والهويّة والعلاقات.
Image by Babak Haghl
Image by Babak Haghl
Rebound - MAQAMAT CO-PRODUCTION
SARAH GABR | Egypt
Saturday 14th of April
9:45 pm | Sursock Museum
Within the framework of Moultaqa Leymoun Program
Duration: 20 minutes
Duration: 20 minutes
Does our body shape the space we live in or does the space shape us? How can a city, a street, a building carry our thoughts and memories? And how can this can be reflected in our dance?
هل يكوّن جسمنا المكان الذي نعيش فيه أم أنّ المكان هو الذي يكوّننا؟ كيف يمكن لمدينة، لشارع، لعمارة أن يحملوا ذكرياتنا وأفكارنا؟ وكيف يمكن ترجمة ذلك في رقصنا؟
About The Artist
Sarah Gabr began her training in ballet at the age of 7, and by 16 she had started working as a ballet dancer at the Cairo Opera Ballet Company. In 2008, Sarah commenced her training in contemporary dance. She was invited to perform in the spectacular show Joumana Secret of The Dessert in Dubai in 2008. And she became a member in The Egyptian Modern Dance Theater Company in 2010. Sarah attended many contemporary dance workshops in Egypt, and in 2017 participated in TAKWEEN by Maqamat Dance Theater.
بدأت سارة جبر تدريبها للباليه في عمر السابعه . بدأت العمل كارقصة بالية في فرقة بالية أوبرا القاهرة في عمر السادسة عشر ، بدأت سارة تدريبها في الرقص المعاصر عام ٢٠٠٨ ، وأدعيت للمشاركة في العرض المذهل جمانة سر الصحراء في دبي عام ٢٠٠٨ ، وقد اصبحت عضوه في الفرقة المصرية للرقص المسرحي الحديث عام ٢٠١٠، حضرت سارة العديد من ورش الرقص المعاصر في مصر ، و شاركت في تكوين ٢٠١٧ بواسطة مقامات للرقص المسرحي .
About The Performance
We came here as strangers carrying with us our heavy thoughts and our light bodies. We came here to shape this space, and to let this place shape our bodies. This space was empty but now it’s loaded with our memories.
جئنا إلي هنا كالأغراب حاملين معنا أفكارنا الثقيلة ، وأجسامنا الخفيفه، جئنا إلي هنا لتشكيل هذا المكان ولنجعل هذا المكان يشكل أجسادنا ، كان هذا المكان فارغاً ولكنه الأن أصبح ملئ بذكرياتنا
Cast & Crew
Performance: Sarah Gabr, Bassam Abou Diab, Hoor Malas, Nivine Kallas, Iole La Sala, Mitra Ziae Kia, Hiva Sedaghat.
Running Away (DOUBLE BILL with I Listen (You) See)
YAZAN IWIDAT | Palestine
Sunday 15th of April
8:30 pm | D-BEIRUT WAREHOUSE
Within the framework of Moultaqa Leymoun Program
Duratin 20 Minutes
About the Artist
Duratin 20 Minutes
About the Artist
Yazan Iwidat started dancing when he was 10 years old as a Dabke dancer with Sarreyet Ramallah Dance Company. At the age of 14, Yazan decided to take a part of the contemporary dance scene and since then he has participated in multiple dance projects internationally, including area Y (Christophersen-Siljeholm, 2015, Norway), Badke (Les Ballets C de la B, KVS, 2013, Belgium), Bound (Ya Samar dance theatre, 2014, USA), Ordinary Madness, Sarreyet Ramallah Dance Company, 2012, Palestine), Keffeyieh/made in China (KVS, 2012, Belgium), Sandwichet Labaneh (Sarreyet Ramallah Dance Company, 2011, Palestine).
Iwidat has choreographed 2 pieces until now Empty Head (2014, Eye on Palestine, Belgium) that toured in Brussels, Tunis, Edinburgh and Ramallah, and Running Away (2016, Ra Festival, Palestine) which has been touring since the premier in Haifa, Palestine.
يزن عويضات، مصمم رقص، بروكسل، بلجيكا.
بدأ عويضات بالرقص عندما كان عمره 10 سنوات كراقص دبكة في فرقة سرية رام الله الأولى للموسيقى والرقص وأمضى فيها 10 أعوام، قبل أن يتخذ القرار بالإشتراك في مشهد الرقص المعاصر في فلسطين عندما كان عمره 14 عاماً.
ع الحاجز كان أول عرض راقص يشارك يزن فيه، ومنذ ذلك الحين شارك أيضاً في مشاريع متعددة دوليا؛ (منطقةY
، Christophersen-Siljeholm 2015، النرويج)، (Badke ،KVS-Les Ballets C de la B، 2013، بلجيكا)، (bound، يا سمر للمسرح الراقص، 2014، الولايات المتحدة الأمريكية)، (جنون عادي، سرية رام الله الأولى للرقص، 2012، فلسطين)، (Keffeyieh / صنع في الصين، KVS، 2012، بلجيكا)، (سندويشة لبنة، سرية رام الله الأولى للرقص، 2011، فلسطين).
قام يزن بتصميم عرضين راقصين حتى الآن، راس فاضي، 2014, Eye on Palestine، بلجيكا، الذي قام بجولة في بروكسل، تونس، أدنبرة، ورام الله، وهروب، 2016, مهرجان ر، الذي بدأ بجولة العروض في نوفمبر 2016, في حيفا، القدس، رام الله، فلسطين.
About the Performance
A dancer emerges from the dark, hoping that he can fight to reach his dreams, subtly moving -in order not to make a sound- he fights the cultural norms and burdens put on each Arab youngsters’ shoulders. Ideas of masculinity keep bumping in his head.
Running Away is not only a political statement against all economic and social labels that people get classified into, some people run away from wars, others run because they can’t face their own inside struggle.
مرّة من المرّات، قال لي أحد الأصدقاء: "لا يمكنك أبدًا تغيير هذا البلد؛ أنت الذي يجب أن يتغيّر."
هروب؛ عمل راقص يتحدّث عن رجل يحاول مغادرة بلاده والذهاب إلى مكان آخر للبحث عن بداية جديدة، عن مكان جديد يمكّنه من تكوين نفسه دون الأكاذيب والخوف من عدم قبول الآخر، لكنّه يكتشف في هذه الرحلة أنّ الهروب ليس عملًا شجاعًا، وأنّ عليه، بداية، قبول نفسه، وأنّ الجنّة التي يبحث عنها ليست موجودة إلّا في أحلامه.
I Listen (You) See (DOUBLE BILL with Running Away)
HAMDI DRIDI | Tunisia
Sunday 15th of April
8:30 pm | D-BEIRUT WAREHOUSE
Within the framework of Moultaqa Leymoun Program
Duration: 35 minutes
Duration: 35 minutes
A dreamlike, fantasmatic interpretation of the figure of the worker, his word, and the movement contained in his word.
تفسير خيالي وحالم لصورة العامل، كلماته، والحركة الموجودة في كلماته.
About The Artist
Hamdi Dridi started dancing in Tunis as a hip hop dancer. He danced on rooftops, tram platforms, weddings, in his popular district called "the red mountain”, then in the company Sybel Ballet Theater. In 2010 he formed with Maguy Marin and then in 2013 with the CNDC Angers. Hamdi is sensitive to the musicality of the spoken voice and sounds, and the text has a particular place in his physical research. Today, he refines his choreographic writing within the Masters degree practice at the International Choreographic Institute ICI-CCN of Montpellier.
عن الفنّان
بدأ Hamdi Dridi الرقص في تونس كراقص هيب هوب. رقص على أسطح المباني، وأرصف الترامواي، وحفلات الزفاف في الحيّ الشهير الذي يسكن فيه ويطلق عليه اسم the red mountain؛ ثمّ في فرقة Sybel Ballet Theater بإدارة Syhem Belkhodja حيث التقى كلّ من Hervé Robbe، و Pedro Pauwels، و Hafiz Dhaouو Aicha M'Barek. في العام ٢٠١٠، صمّم مع Maguy Marin ومن ثمّ مع CNDC Angers في العام ٢٠١٣. يتأثر Hamdi بأنغام الأصوات والصوت المنطوق، كما يشكّل النص مكانة خاصة في بحثه الجسدي. ويعمل حالياً على تحسين كتابته في الرقص من خلال الحصول على شهادة ماجيستير من معهد الرقص الدولي ICI-CCN في مونبيلييه.
About the Performance
In these places with high sound potential, I want to create a zone of resistance between the gesture and the sound, that the dance mixes the body of the artist in movement and that of the worker in action. The dance that I want to compose is based on the raw energy of movement, that of work, at this precise moment when sound and gesture meet, clash, merge, so that this action, which holds its emotional power of its utility, can deliver its meaning.
عن العرض
في هذه الأماكن ذات إمكانية الصوت العالية، أردت أن أبتكر منطقة مقاومة بين الحركة والصوت، بحيث يمزج الرقص جسد الفنّان خلال حركته وجسد العامل. الرقص الذي أريد تأليفه يرتكز على الطاقة الخام للحركة، طاقة العمل، في اللحظة التي يلتقي فيها الصوت بالحركة، ويتواجهان ويتّحدان من أجل أن تنقل هذه الحركة، التي تتمتّع بقوّة عاطفية من حيث فائدتها، المعنى الحقيقي لها. هو بمثابة حلم، وتفسير مذهل لصورة العامل، وكلمته، والحركة التي تدخل في كلمته.
Cast & Credits
Projet initié à ‹‹exerce›› ICI-CCN de Montpellier
Partenaires : Théâtre National Tunisien, Ballet National de Marseille, Bonlieu-scène National Annecy,
Montpellier Danse.
Création : Hamdi Dridi Distribution : Hamdi Dridi, Houcem Bouakroucha & Feteh Khiari
Jessica and Me
CRISTIANA MORGANTI| Italy
Tuesday 17th of April
8:30 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by MIBACT , Istituto Italiano di Cultura – Beirut ,the Italian Embassy in Beirut, Italia Culture Mediterraneo, Republica Italiana , Vivere AllÍtaliana.
Duration: 70 minutes
Image by Claudia Kempf
Duration: 70 minutes
One of Pina Bausch's most famous performers offers us an irresistible, (generous) play of poetry and fun. We laugh, we cry, we are touched by this disconcerting and unpredictable confession” , Biennale de la Danse de Lyon.
تقدّم أحد المؤدّين الأشهر في Pina Bausch مسرحية لا تقاوم وسخيّة من الشعر والمرح. نضحك، نبكي، نتأثر بهذا الاعتراف المقلق وغير المتوقّع"، Biennale de la Danse de Lyon.
About the Company
From 1993 until 2014, Cristiana Morganti was soloist dancer with PINA BAUSCH’S TANZTHEATER, WUPPERTAL, where she is regularly invited back as guest artist to this day.
In 2010 she created her homage to Pina Bausch: the lecture-performance MOVING WITH PINA. In 2011 she received the Positano Leonide Massine Award as Best Contemporary Dancer of the Year.
For her solo creation JESSICA AND ME Cristiana has been awarded the Critic Award Danza & Danza as best Interpreter/Choreographer in 2014.
Cristiana Morganti’s latest work A FURY TALE has premiered at the Festival APERTO - Reggio Emilia in October 2016.
عن الفرقة
من العام ١٩٩٣ حتى ٢٠١٤، عملت Cristiana Morganti كراقصة منفردة في PINA BAUSCH’S TANZTHEATER في مدينة "فوبرتال" الألمانية حيث لا تزال حتّى اليوم تتمّ دعوتها كفنّانة ضيفة بشكل منتظم.
في العام ٢٠١٠، قدّمت تكريماً لـ Pina Bausch: المحاضرة-الأداء MOVING WITH PINA. وفي العام ٢٠١١، حازت على جائزة Positano Leonide Massine كأفضل راقصة معاصرة للعام.
حصدت في العام ٢٠١٤ جائزة Critic Award Danza & Danza كأفضل مؤديّة/راقصة في عرضها الفردي JESSICA AND ME.
تمّ عرض عملها الأخير A FURY TALE لأوّل مرّة خلال مهرجان APERTO - Reggio Emilia في شهر تشرين الثاني من العام ٢٠١٦.
About the Performance
Do you want me to dance, or do you want me to talk?
Behind the question that Cristiana Morganti puts to her audience lies the key to understanding Jessica and Me.
In this new piece, the long-standing soloist of the Pina Baush Tanztheater of Wuppertal has reached a crucial moment in her professional development and is finally taking time out to reflect on herself, her relationship with her body and with the art of dance. The answer is a sort of self-portraiture told in two voices, those of the inner self (Me) and of her alter-ego (Jessica), in which, with piquant irony, Cristiana reveals a dancer's on- and off-stage life journey, using a patchwork of gestures, shadows, muscles, tenacious grit and gentle irreverence, past memories and visions of the future.
عن العرض
هل تريدني أن أرقص، أم تريدني أن أتكلّم؟
وراء هذا السؤال الذي تعرضه Cristiana Morganti أمام جمهورها، يكمن مفتاح فهم Jessica and Me.
في هذه القطعة الجديدة، حقّقت الراقصة المنفردة في PINA BAUSCH’S TANZTHEATER في "فوبرتال" لحظة حاسمة في تطوّرها المهني ووصلت أخيراً لأن تخصّص الوقت للتأمّل بذاتها، وعلاقتها بجسدها وبفنّ الرقص. الجواب هو بمثابة فنّ تصوير ذاتي من خلال صوتَين، صوت الذات الداخلية (Me) وصوت الذات الثانية (Jessica)، حيث تكشف Cristiana، بسخريّة لاذعة، حياة الراقص على المسرح وخارجه، من خلال استخدام خليط من الحركات، والظلال، والعضلات، وحزم ثابت وروح دعابة خفيفة، وذكريات قديمة ورؤية للمستقبل.
Cast & Credits
Technical director: Jacopo Pantani
Audio/Video Technichan: Mancini Simone
Electrician Chief: Sgommino Berselli
International Management:Aldo Grompone
Trigger (DOUBLE BILL with Choreographing Rappers)
ANNAMARIA AJMONE | Italy
Wednesday 18th of April
7:00 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by MIBACT , Istituto Italiano di Cultura – Beirut ,the Italian Embassy in Beirut, Italia Culture Mediterraneo, Republica Italiana , Vivere AllÍtaliana.
image by Andrea Macchia
Duration: 20 minutes
Evolving around the audience, Annamaria amplifies the space and transforms its geometry into a movable system receiving the body into its nest.
ّر مع الجمهور، تضخّم Annamaria المساحة وتحوّل الهندسة إلى نظام متحرّك يصبح ملاذاً للجسد.
About the Company
She is a dancer and choreographer. Graduate in Italian Literature, she studied dancing at Civica Scuola di Teatro Paolo Grassi, Milano. Her works are presented in contemporary dance and theatre festivals, museums, art galleries and in venus not originally meant for performance in Italy, Europe and USA. She won the prize “Best young Italian Performer 2015”. She is one of the organizers of Nobody's Business from Italy.
عن الفنّانة
راقصة ومصمّمة رقص، تخرّجت في الأدب الإيطالي ودرست الرقص في Civica Scuola di Teatro Paolo Grassi في ميلانو. قدّمت أعمالها في الرقص المعاصر والمسرح في المهرجانات، والمتاحف، وصالات العرض الفنيّة وفي مواقع لم تكن مخصّصة بالأصل للعرض في إيطاليا، وأوروبا والولايات المتّحدة الأمريكية. فازت بجائزة Best young Italian Performer 2015 وهي من المنظّمين في Nobody's Business في إيطاليا.
About the Performance
Trigger is a movable system, that organises itself differently according to the location where it’s being hosted. The system reshapes the geometry of the spaces and, vice versa, the space itself transforms the performance action.Trigger is a personal exploration that, for a limited period of time, aims at transforming a space into a “place”. This becomes a shelter, a crossing point and the nest of a body that, in a state of perpetual listening, amplifies the spaces which are internal and external to itself.
عن العرض
Trigger هو نظام متحرّك، يقوم بتنظيم ذاته بشكل مختلف في كل مرّة بحسب الموقع الذي يقام فيه. يعيد النظام تشكيل هندسة المساحات وتُحوّل المساحة بالمقابل أداء العرض. هو استكشاف شخصيّ يهدف، ولفترة محدودة من الزمن، إلى تحويل المساحة إلى "مكان". فيصبح ملاذاً، ونقطة عبور وبيتاً للجسد الذي، وفي حالة إصغاء دائم، يضخّم المساحات التي هي داخلية وخارجية بذاتها.
Cast & Credits
Concept and dance: Annamaria Ajmone
Music: Palm Wine
Technical direction: Giulia Pastore
Production: CAB008 with the support of REGIONE TOSCANA,MIBACT
Co-production: CANGO /UMANO -CANTIERI INTERNAZIONALI SUI LINGUAGGI DEL CORPO E DELLA DANZA
In collaboration with TEATRO DELLA TOSCANA
image by Andrea Macchia
R.OSA
SILVIA GRIBAUDI | Italy
Wednesday 18th of April
9:00 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by MIBACT , Istituto Italiano di Cultura – Beirut ,the Italian Embassy in Beirut, Italia Culture Mediterraneo, Republica Italiana , Vivere AllÍtaliana.
Duration : 45 minutes
Be ready for a mesmerising moment, where your body and mind will explode all preconceptions and redefine the laws of gravity.
حظة تخطف الأنفاس، حيث يثور الجسد والروح ضدّ الجاذبية ويحطّمان كل الأفكار المسبقة.
About The Company
Silvia was born in Turin, and has been active as a performer for quite a while. Her choreographic language crosses performing art, dance and theatre, focusing on the research on body and on the relationship with the audience. Her poetics constantly resorts to dialogue and is embedded in the social and cultural framework where her performances develop. Her artistic language could be summarised as the encounter of dance with a raw, empathetic humour. Silvia Gribaudi’s works embody light-heartedness, irony and freedom.
عن الفرقة
ولدت Silvia في تورينو وهي تعمل كراقصة منذ فترة طويلة. تعبر لغة الرقص الخاصة بها فنّ الأداء، والرقص والمسرح، من خلال التركيز على البحث حول الجسم وعلى العلاقة مع الجمهور. تتحوّل شاعريّتها بشكل دائم نحو الحوار وهي مدمجة في إطار عمل اجتماعي وثقافي حيث يتطوّر أداؤها. يمكن تلخيص لغتها الفنيّة بلقاء بين الرقص وحسّ فكاهي فطري ومتعاطف. تجسّد أعمال Silvia Gribaudi اللامبالاة، والسخرية والحريّة.
About The Performance
R. OSA is inspired by Botero’s imagery, by Jane Fonda’s world of the 80s, by the concept of success and performance. R.OSA is a piece in which the performer stages a “one woman show” shifting the audience’s gaze through a dramaturgy that is composed of 10 exercises of virtuosity. R.OSA stages the revolution of the body, which revolts against gravity and shows its levity.
عن العرض
استُلهم R.OSA من صور الفنّان Botero، ومن عالم Jane Fonda في ثمانينيّات القرن الماضي ومن مفهوم النجاح والأداء. هي قطعة تنظّم فيها المؤدّية "عرض امرأة واحدة" أي "one woman show" فتغيّر نظرة الجمهور من خلال نظرية مسرحية مؤلّفة من ١٠ تمارين من البراعة الفنية الراقية. ينظّم هذا العرض ثورة الجسد الذي يثور ضدّ الجاذبية ويُظهر رعونته.
Cast & Credits
Concept, choreography and direction Silvia Gribaudi
Performer Claudia Marsicano
Lighting design Leonardo Benetollo
Costumes: Erica Sessa
Artistic consultant Antonio Rinaldi, Giulia Galvan, Francesca Albanese e Matteo Maffesanti.
Production ZEBRA, Silvia Gribaudi
Performing Arts and La Corte OspitaleRubiera - Italiacoproduction with Santarcangelo Festival with the support of Qui e Ora Residenza Teatrale - Milan and Associazione Culturale Zebra - Venice in collaboration with Armunia Centro di Residenze Artistiche Castiglioncello/Festival Inequilibrio, AMAT - Ass. Marchigiana attività teatrali, Teatro delle Moire/LachesiLAB - Milano and CSC Centro per la Scena Con-temporanea - Bassano del Grappa
Choreographing Rappers (DOUBLE BILL with Trigger)
JACOPO JENNA | Italy
Thursday 19th of April
7:00 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by MIBACT , Istituto Italiano di Cultura – Beirut ,the Italian Embassy in Beirut, Italia Culture Mediterraneo, Republica Italiana , Vivere AllÍtaliana.
Duration: 25 minutes.
Jacopo Jenna revisits Rap music, stretching on words, transforming them into powerful and meaningful mediums for the body to react around them.
يعيد Jacopo Jenna إعادة ترجمة موسيقى الراب، مستعيناً بالكلمات ليحوّلها إلى وسائط قويّة وذات معنى فيتفاعل الجسد حولها.
About the Artist
Jacopo Jenna is a choreographer, performer and filmmaker creating stage works, video pieces, and installations. The works are oriented towards research concerning the perception of dance or choreography as an extended practice. As a graduate of Sociology, he also studied dance in Codarts / Rotterdam Dance Academy. In Europe he has worked for several years as a dancer and performer for a number of companies and choreographic research projects. He presents his works internationally and continues to develop projects with visual artist and musician.
عن الفنّان
Jacopo Jenna هو راقص ومؤدّ وصانع أفلام يبتكر أعمالاً مسرحية، وقطع فيديو وتركيبات فنيّة. وتتّجه أعماله نحو البحث عن مفهوم الرقص أو العرض الراقص كممارسة موسّعة. تخرّج في علم الاجتماع ودرس أيضاً الرقص في Codarts / Rotterdam Dance Academy. عمل في أوروبا لسنوات عدّة كراقص في عدد من الفرق وفي مشاريع بحث حول تصميم الرقص. يقدّم أعماله عالمياً ويواصل تطوير المشاريع مع فنّان بصري وموسيقي.
About the Performance
The power of Rap is “the quality of bringing one into direct and instant involvement with something, giving rise to a sense of urgency or excitement”. (Oxford Dictionary) The Flow is the ability to vocalise a rhythmic yet complex string rhymes that fit together in a logical and seamless manner. In this dance project the body is used in relation to the words of rappers, marking the rhythm of dynamic and shapes, displacing movements like words creating intensity and fragmentation.
عن العرض
إنّ قوّة الراب هي "ميزة وضع الشخص في تطوير مباشر وفوريّ مع شيء ما، ممّا يؤدّي إلى حسّ من الضرورة أو الحماس" (Oxford Dictonary). The Flow هو القدرة على لفظ إيقاعات الوتر الإيقاعية ولكن المعقّدة والتي تنسجم بأسلوب منطقي وسلس. في هذا العرض الراقص، يُستخدم الجسد في علاقة مع كلمات مؤدّي الراب، فيطلق إيقاعاً من الحيوية والأشكال، ويشرّد الحركات كالكلمات ممّا يخلق قوّة وتجزئة.
Cast & Credits
Concept.Choreography.Dance/ Jacopo Jenna
Sound Project/ Francesco CasciaroLighting Design/ Giulia BroggiOrganization/ Luisa ZuffoProduction/ spazioK.Kinkaleriwith the support ofCROSS International Performance Award, Le Murate. Progetti Arte ContemporaneaCollettivo C_A_P
Image by Ilario Constanzo
Pastime/Carnation/ Museum Piece by Lucinda Childs
SCARLETT’S RUTH CHILDS | USA, Swiss
Thursday 19th of April
8:30 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by the US Embassy in Lebanon, prohelvetia and the Swiss Embassy in Lebanon.
Duration: 60 minutes
The icon of post-modern dance and a founding member of the Judson Dance Theater, Lucinda Childs transmitted to her niece Ruth Childs three of her historical solos: Pastime (1963), Carnation (1964) and Museum Piece (1965). Together, they worked on this project of transmission and recreation of these three pieces, as a tribute and a revival of these historical pieces to a new generation of spectators.
نقلتLucinda Childs، أيقونة الرقص ما بعد الحديث والعضو المؤسس في Judson Dance Theater، إلى ابنة أخيها Ruth Childs ثلاثة من عروضها التاريخية: Pastime (١٩٦٣)، و Carnation (١٩٦٤) و Museum Piece (١٩٦٥). وقد عملتا مع بعضهما البعض على هذا المشروع المنقل وإعادة ابتكار تلك القطع الثلاث، كتكريم وإعادة إحياء تلك المسرحيات التاريخية للجيل الجديد من المشاهدين.
About The Company
British-American performer, Ruth Childs was born in 1984 in London. She grew up in the United States where she studied dance and music. In 2003 she moved to Geneva to finish her dance training with the Ballet Junior de Genève. She worked with many internationally known choreographers and directors including Foofwa d’Imobilité, La Ribot, Gilles Jobin and Yasmine Hugonnet. Since 2015, she has been working on a revival project of the early works of her the aunt, the American choreographer Lucinda Childs. At the moment Ruth Childs is working on her first personal creation, The Goldfish and the Inner Tube.
عن الفرقة
ولدت المؤدّية البريطانية-الأمريكية Ruth Childs في العام ١٩٨٤ في لندن. ترعرعت في الولايات المتّحدة حيث درست الرقص والموسيقى. في العام ٢٠٠٣، انتقلت إلى جنيف حيث أنهت تدريبها في الرقص مع Ballet Junior de Genève. عملت مع عدد من الراقصين ومدراء الرقص العالميّين منهم Foofwa d’Imobilité، و La Ribot، و Gilles Jobin و Yasmine Hugonnet. هي تعمل منذ العام ٢٠١٥ على إعادة إحياء مشروع من أعمال عمّتها الأولى، مصمّمة الرقص الأمريكية Lucinda Childs. تبتكر Ruth Childs حالياً أوّل عمل لها، The Goldfish and the Inner Tube.
About The Performance
Dance is being enriched more than ever by its own history. The performance retraces Lucinda Childs’Early Works that she passed on to her niece, Ruth Childs. From her first fantastical performances such as Carnation, a symbolic piece of postmodern dance for the huge simplicity of its effects, to Pastime, an intriguing sculpture in which the body is constrained by fabric, by way of the first films to pave the way for repetitive choreography, Ruth Childs invites us to much more than a work of mere reconstruction. It is a salutary reminder of what was radical about the postmodern gesture in its rejection of the spectacular and appropriation of the banal.
عن العرض
لطالما اغتنى الرقص بتاريخه الخاص. يعيد العرض إحياء الأعمال الأولى لـ Lucinda Childsالتي نقلتها لابنة أخيها Ruth Childs.
بدءاً من عروضها الرائعة الأولى ومنها Carnation، القطعة الرمزية للرقص ما بعد الحديث حول تأثيراته البسيطة، وصولاً إلى Pastime، وهي منحوتة استثنائية يتقيّد فيها الجسد بالقماش، وعن طريق الأفلام الأولى لتمهيد الطريق أمام الرقص المتكرّر، تدعونا Ruth Childs إلى أكثر ممّا هو مجرّد عمل تجدّدي. هو تذكير مفيد عمّا كان جذرياً في ما يتعلّق بالحركة ما قبل الحديثة في رفض العرض المشهديّ واعتماد السطحي.
In addition to this performance, Ruth Childs will also be giving a workshop from 11.00AM - 1.00PM on Friday, 20 April. For more information on the workshop, please contact admin@maqamat.org
Cast & Credits
Pastime, Carnation et Museum piece
Choreography : Lucinda Childs
Dance : Ruth Childs
Light design: Eric Wurtz
Calico Mingling (film)
Choreography : Lucinda Childs
Film maker: Babette Mangolte
Dancers : Susan Brody, Lucinda Childs, Nancy Fuller and Judy Padow
Place : Robert Moses Plaza, Fordham University
Katema (film)
Choreography and performance: Lucinda Childs
Film: Renato Berta
Place : Kunsthaus Zürich
Production: SCARLETT’S ; Coproduction : ADC - Association pour la danse contemporaine Financial support: The City of Geneva, the Stanley Johnson foundation, the Loterie Romande, the Nestlé Foundation for Art and the L. Vuitton foundation, Corodis, The State of Geneva, Pro Helvetia.
http://www.tutuproduction.ch/Ruth_Childs.htm
Duration: 60 minutes
The icon of post-modern dance and a founding member of the Judson Dance Theater, Lucinda Childs transmitted to her niece Ruth Childs three of her historical solos: Pastime (1963), Carnation (1964) and Museum Piece (1965). Together, they worked on this project of transmission and recreation of these three pieces, as a tribute and a revival of these historical pieces to a new generation of spectators.
نقلتLucinda Childs، أيقونة الرقص ما بعد الحديث والعضو المؤسس في Judson Dance Theater، إلى ابنة أخيها Ruth Childs ثلاثة من عروضها التاريخية: Pastime (١٩٦٣)، و Carnation (١٩٦٤) و Museum Piece (١٩٦٥). وقد عملتا مع بعضهما البعض على هذا المشروع المنقل وإعادة ابتكار تلك القطع الثلاث، كتكريم وإعادة إحياء تلك المسرحيات التاريخية للجيل الجديد من المشاهدين.
About The Company
British-American performer, Ruth Childs was born in 1984 in London. She grew up in the United States where she studied dance and music. In 2003 she moved to Geneva to finish her dance training with the Ballet Junior de Genève. She worked with many internationally known choreographers and directors including Foofwa d’Imobilité, La Ribot, Gilles Jobin and Yasmine Hugonnet. Since 2015, she has been working on a revival project of the early works of her the aunt, the American choreographer Lucinda Childs. At the moment Ruth Childs is working on her first personal creation, The Goldfish and the Inner Tube.
عن الفرقة
ولدت المؤدّية البريطانية-الأمريكية Ruth Childs في العام ١٩٨٤ في لندن. ترعرعت في الولايات المتّحدة حيث درست الرقص والموسيقى. في العام ٢٠٠٣، انتقلت إلى جنيف حيث أنهت تدريبها في الرقص مع Ballet Junior de Genève. عملت مع عدد من الراقصين ومدراء الرقص العالميّين منهم Foofwa d’Imobilité، و La Ribot، و Gilles Jobin و Yasmine Hugonnet. هي تعمل منذ العام ٢٠١٥ على إعادة إحياء مشروع من أعمال عمّتها الأولى، مصمّمة الرقص الأمريكية Lucinda Childs. تبتكر Ruth Childs حالياً أوّل عمل لها، The Goldfish and the Inner Tube.
About The Performance
Dance is being enriched more than ever by its own history. The performance retraces Lucinda Childs’Early Works that she passed on to her niece, Ruth Childs. From her first fantastical performances such as Carnation, a symbolic piece of postmodern dance for the huge simplicity of its effects, to Pastime, an intriguing sculpture in which the body is constrained by fabric, by way of the first films to pave the way for repetitive choreography, Ruth Childs invites us to much more than a work of mere reconstruction. It is a salutary reminder of what was radical about the postmodern gesture in its rejection of the spectacular and appropriation of the banal.
عن العرض
لطالما اغتنى الرقص بتاريخه الخاص. يعيد العرض إحياء الأعمال الأولى لـ Lucinda Childsالتي نقلتها لابنة أخيها Ruth Childs.
بدءاً من عروضها الرائعة الأولى ومنها Carnation، القطعة الرمزية للرقص ما بعد الحديث حول تأثيراته البسيطة، وصولاً إلى Pastime، وهي منحوتة استثنائية يتقيّد فيها الجسد بالقماش، وعن طريق الأفلام الأولى لتمهيد الطريق أمام الرقص المتكرّر، تدعونا Ruth Childs إلى أكثر ممّا هو مجرّد عمل تجدّدي. هو تذكير مفيد عمّا كان جذرياً في ما يتعلّق بالحركة ما قبل الحديثة في رفض العرض المشهديّ واعتماد السطحي.
In addition to this performance, Ruth Childs will also be giving a workshop from 11.00AM - 1.00PM on Friday, 20 April. For more information on the workshop, please contact admin@maqamat.org
Cast & Credits
Pastime, Carnation et Museum piece
Choreography : Lucinda Childs
Dance : Ruth Childs
Light design: Eric Wurtz
Calico Mingling (film)
Choreography : Lucinda Childs
Film maker: Babette Mangolte
Dancers : Susan Brody, Lucinda Childs, Nancy Fuller and Judy Padow
Place : Robert Moses Plaza, Fordham University
Katema (film)
Choreography and performance: Lucinda Childs
Film: Renato Berta
Place : Kunsthaus Zürich
Production: SCARLETT’S ; Coproduction : ADC - Association pour la danse contemporaine Financial support: The City of Geneva, the Stanley Johnson foundation, the Loterie Romande, the Nestlé Foundation for Art and the L. Vuitton foundation, Corodis, The State of Geneva, Pro Helvetia.
http://www.tutuproduction.ch/Ruth_Childs.htm
In girum imus nocte et consumimur igni
ALDES / ROBERTO CASTELLO | Italy
Friday 20th of April
8:30 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by MIBACT , Istituto Italiano di Cultura – Beirut ,the Italian Embassy in Beirut, Italia Culture Mediterraneo, Republica Italiana , Vivere AllÍtaliana.
Duration: 60 minutes
Roberto Castello takes us into a tireless performance and a journey beyond the body, where space and time have exploded their limits.
يأخذنا Roberto Castello في أداء متواصل ورحلة إلى أبعد من الجسد، حيث تخطّى المكان والزمان حدودهما.
About the Artist
Castello is probably the most ideologically engaged and politically controversial choreographer among the founders of Italian contemporary dance.
In the early ‘80s, he danced with Carolyn Carlson’s Teatro Danza la Fenice where he created his first choreography. In 1984 he was one of the founders of Italian modern dance company Sosta Palmizi and in 1993 he founds ALDES. Since 2008, Castello has been directing the project “SPAM!” through ALDES, organising residencies, events, a multidisciplinary season, workshops, public meetings and didactic activities.
عن الفنّان
قد يكون Castello من أكثر الراقصين المثيرين للجدل سياسياً وأكثرهم التزاماً أيدولوجياً في أوساط مؤسّسي الرقص المعاصر الإيطالي.
شارك في أوائل الثمانينات في Teatro Danza la Fenice لـ Carolyn Carlson حيث صمّم أوّل رقصة له. في العام ١٩٨٤، أصبح من مؤسسي الشركة الإيطالية للرقص المعاصر Sosta Palmizi وفي العام ١٩٩٣ أسّس ALDES. يديرCastello منذ العام ٢٠٠٨ مشروع SPAM! من خلال ALDES، بحيث يعمل على تنظيم الإقامات، والفعاليّات، وموسم تعدّد الاختصاصات، وورش العمل، واللقاءات العامة والأنشطة التعليمية.
About the Performance
A rugged black and white and hypnotic music is the environment in which the micro stories of this peripatetic night show are linked together, a mixture between cinema, dance and theatre. The cold light of a video projector articulates the spaces, times and geometry, and the black costumes turn the characters translucent, projecting them into a timeless past inhabited by a dispersed humanity that moves on, struggling, with a brusque, emotional, disorganised gestuality, beyond exhaustion, slowly falling into a trance.
عن العرض
الموسيقى القويّة بالأبيض والأسود والمنوّمة تشكّل البيئة التي ترتبط فيها القصص الصغيرة لهذا العرض الليلي الجوّال ببعضها البعض، مزيج بين السينما والرقص والمسرح. يعبّر الضوء البارد لجهاز عرض الفيديو عن الأماكن، والأزمنة والهندسة، ويجعل اللباس الأسود الشخصيّات شفّافة، فيعرضها في ماضٍ أزليّ تسكنه الإنسانية المشتّتة التي تتحرّك، مكافحةً، من خلال حركات عنيفة، وعاطفية وغير منظّمة، إلى ما بعد الإرهاق، لتقع ببطء في حالة من النشوة.
Cast & Credits
Project: ROBERTO CASTELLO
In collaboration with the company
Performers: MARIANO NIEDDU, STEFANO QUESTORIO, GISELDA RANIERI, IRENE RUSSOLILLO
Light, music and costumes: ROBERTO CASTELLO
Assistant: ALESSANDRA MORETTI
Costumes made by Sartoria Fiorentina, Csilla Evinger
Production ALDES
With the support of MIBACT/Direzione Generale Spettacolo dal vivo, REGIONE TOSCANA/Sistema Regionale dello Spettacolo
http://www.aldesweb.org/en/aldes
Duration: 60 minutes
Roberto Castello takes us into a tireless performance and a journey beyond the body, where space and time have exploded their limits.
يأخذنا Roberto Castello في أداء متواصل ورحلة إلى أبعد من الجسد، حيث تخطّى المكان والزمان حدودهما.
About the Artist
Castello is probably the most ideologically engaged and politically controversial choreographer among the founders of Italian contemporary dance.
In the early ‘80s, he danced with Carolyn Carlson’s Teatro Danza la Fenice where he created his first choreography. In 1984 he was one of the founders of Italian modern dance company Sosta Palmizi and in 1993 he founds ALDES. Since 2008, Castello has been directing the project “SPAM!” through ALDES, organising residencies, events, a multidisciplinary season, workshops, public meetings and didactic activities.
عن الفنّان
قد يكون Castello من أكثر الراقصين المثيرين للجدل سياسياً وأكثرهم التزاماً أيدولوجياً في أوساط مؤسّسي الرقص المعاصر الإيطالي.
شارك في أوائل الثمانينات في Teatro Danza la Fenice لـ Carolyn Carlson حيث صمّم أوّل رقصة له. في العام ١٩٨٤، أصبح من مؤسسي الشركة الإيطالية للرقص المعاصر Sosta Palmizi وفي العام ١٩٩٣ أسّس ALDES. يديرCastello منذ العام ٢٠٠٨ مشروع SPAM! من خلال ALDES، بحيث يعمل على تنظيم الإقامات، والفعاليّات، وموسم تعدّد الاختصاصات، وورش العمل، واللقاءات العامة والأنشطة التعليمية.
About the Performance
A rugged black and white and hypnotic music is the environment in which the micro stories of this peripatetic night show are linked together, a mixture between cinema, dance and theatre. The cold light of a video projector articulates the spaces, times and geometry, and the black costumes turn the characters translucent, projecting them into a timeless past inhabited by a dispersed humanity that moves on, struggling, with a brusque, emotional, disorganised gestuality, beyond exhaustion, slowly falling into a trance.
عن العرض
الموسيقى القويّة بالأبيض والأسود والمنوّمة تشكّل البيئة التي ترتبط فيها القصص الصغيرة لهذا العرض الليلي الجوّال ببعضها البعض، مزيج بين السينما والرقص والمسرح. يعبّر الضوء البارد لجهاز عرض الفيديو عن الأماكن، والأزمنة والهندسة، ويجعل اللباس الأسود الشخصيّات شفّافة، فيعرضها في ماضٍ أزليّ تسكنه الإنسانية المشتّتة التي تتحرّك، مكافحةً، من خلال حركات عنيفة، وعاطفية وغير منظّمة، إلى ما بعد الإرهاق، لتقع ببطء في حالة من النشوة.
Cast & Credits
Project: ROBERTO CASTELLO
In collaboration with the company
Performers: MARIANO NIEDDU, STEFANO QUESTORIO, GISELDA RANIERI, IRENE RUSSOLILLO
Light, music and costumes: ROBERTO CASTELLO
Assistant: ALESSANDRA MORETTI
Costumes made by Sartoria Fiorentina, Csilla Evinger
Production ALDES
With the support of MIBACT/Direzione Generale Spettacolo dal vivo, REGIONE TOSCANA/Sistema Regionale dello Spettacolo
http://www.aldesweb.org/en/aldes
Lost Accidentally
WEE / FRANCESCO SCAVETTA | Norway
Sunday 22nd of April
8:30 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by the Royal Norwegian Embassy in Lebanon, the Norwegian Ministry of Foreign Affairs and DTS/ Danse-og Teatersentrum / Performing Arts Hub Norway.
Duration: 80 minutes
It is a thin line between appearance and disappearance. Francesco Scavetta plays the game of Freud, over and over again.
هناك خيط رفيع بين الظهور والاختفاء. يلعب Francesco Scavetta لعبة Freud، مراراً وتكراراً.
About the Artist
Established in 1999 by Francesco Scavetta and Gry Kipperberg in Oslo, Wee has produced 20 performances and has had extensive international activity, touring in 36 countries. Wee's creations have changed in format and aesthetic, yet they have continuously tried to explore what theatre and performance can mean in contemporary life and what kind of dialogues they can open with the audience. The core of the company's investigation deals with fragility and paradox, epiphany and dream, empathy and surprise, avoiding narrative and physical cliché, and questioning reality and identity with humouristic disbelief.
عن الفنّان
تأسّست Wee في العام ١٩٩٩ على يد Francesco Scavetta و Gry Kipperbergفي أوسلو؛ أنتجت ٢٠ عرضاً وكان لها نشاطات عالمية شاملة بحيث جالت ٣٦ بلداً. تغيّرت إبداعات Wee في الشكل والجماليّات، ولكنّها واصلت محاولة استكشاف المعنى الحقيقي للمسرح والعرض في الحياة المعاصرة وماهيّة الحوارات التي يمكن إطلاقها مع الجمهور. إنّ جوهر البحث في الشركة يتمحور حول الهشاشة والتناقض، الإلهام والحلم، التعاطف والمفاجأة، مع تجنّب كليشيه القصّة والجسد، ومعالجة الواقع والهويّة من خلال تشكيك فكاهي.
About the Performance
Sometimes things get accidentally lost and never show up again. The act of vanishing: we are all searching for something to be grasped, if not it’s lost forever. There is a game that Freud describes as: “Children making things disappear and reappear, over and over, again”, as if they are practicing the experience of loss. Lost Accidentally deals with the theme of loss and being lost. It’s the constant dialectic between permanency towards irreversibility. Towards changes of our personal life and society that we are inadequate of facing.
عن العرض
تضيع الأمور في بعض الأوقات وتختفي من الوجود. إنّه فعل التلاشي: نبحث جميعنا عن شيء نتمسّك به، وفي حال لم نفعل يضيع إلى الأبد. هناك لعبة يصفها Freud بالشكل التالي : "يجعل الأطفال الأشياء تختفي لتعود وتظهر من جديد، مراراً وتكراراً"، وكأنّهم يختبرون تجربة الفقدان. يعالج Lost Accidentally فكرة الفقدان والضياع. هو جدال دائم بين الديمومة نحو اللارجعة. نحو التغييرات في حياتنا الخاصة والمجتمع اللذين لسنا أهلاً لمواجهتهما.
Cast & Credits
Concept,choreography:Francesco Scavetta
Created in collaboration with: Gry Kipperberg, Luke Divall, Ismaera Takeo Ishii, Meleat Fredriksson, Riina Kalmi
Composer,musician:Henrik Olsson
Sound design:Gianluca Mastronardi
Dramaturg:Sasa Bozic
Light design:Stefano Stacchini
Costume design:Gjøril BjerckeSæther
Light technician:Gunnvá Meinseth
Scenography:Francesco Scavetta, Gjøril Bjercke Sæther
Production:Wee
Co-production:Dansens Hus, Oslo
In collaboration with: Vitlycke-Centre for performing arts, EspaciosIbsen (Cuba) / Supported by:Arts Council Norway, Fond for Lyd og Bilde, the Norwegian Ministry of Foreign Affairs, Danse-og Teatersentrum -Performing Arts Hub Norwayand Swedish Konstnärsnämden.
www.wee-francescoscavetta.no
Duration: 80 minutes
It is a thin line between appearance and disappearance. Francesco Scavetta plays the game of Freud, over and over again.
هناك خيط رفيع بين الظهور والاختفاء. يلعب Francesco Scavetta لعبة Freud، مراراً وتكراراً.
About the Artist
Established in 1999 by Francesco Scavetta and Gry Kipperberg in Oslo, Wee has produced 20 performances and has had extensive international activity, touring in 36 countries. Wee's creations have changed in format and aesthetic, yet they have continuously tried to explore what theatre and performance can mean in contemporary life and what kind of dialogues they can open with the audience. The core of the company's investigation deals with fragility and paradox, epiphany and dream, empathy and surprise, avoiding narrative and physical cliché, and questioning reality and identity with humouristic disbelief.
عن الفنّان
تأسّست Wee في العام ١٩٩٩ على يد Francesco Scavetta و Gry Kipperbergفي أوسلو؛ أنتجت ٢٠ عرضاً وكان لها نشاطات عالمية شاملة بحيث جالت ٣٦ بلداً. تغيّرت إبداعات Wee في الشكل والجماليّات، ولكنّها واصلت محاولة استكشاف المعنى الحقيقي للمسرح والعرض في الحياة المعاصرة وماهيّة الحوارات التي يمكن إطلاقها مع الجمهور. إنّ جوهر البحث في الشركة يتمحور حول الهشاشة والتناقض، الإلهام والحلم، التعاطف والمفاجأة، مع تجنّب كليشيه القصّة والجسد، ومعالجة الواقع والهويّة من خلال تشكيك فكاهي.
About the Performance
Sometimes things get accidentally lost and never show up again. The act of vanishing: we are all searching for something to be grasped, if not it’s lost forever. There is a game that Freud describes as: “Children making things disappear and reappear, over and over, again”, as if they are practicing the experience of loss. Lost Accidentally deals with the theme of loss and being lost. It’s the constant dialectic between permanency towards irreversibility. Towards changes of our personal life and society that we are inadequate of facing.
عن العرض
تضيع الأمور في بعض الأوقات وتختفي من الوجود. إنّه فعل التلاشي: نبحث جميعنا عن شيء نتمسّك به، وفي حال لم نفعل يضيع إلى الأبد. هناك لعبة يصفها Freud بالشكل التالي : "يجعل الأطفال الأشياء تختفي لتعود وتظهر من جديد، مراراً وتكراراً"، وكأنّهم يختبرون تجربة الفقدان. يعالج Lost Accidentally فكرة الفقدان والضياع. هو جدال دائم بين الديمومة نحو اللارجعة. نحو التغييرات في حياتنا الخاصة والمجتمع اللذين لسنا أهلاً لمواجهتهما.
Cast & Credits
Concept,choreography:Francesco Scavetta
Created in collaboration with: Gry Kipperberg, Luke Divall, Ismaera Takeo Ishii, Meleat Fredriksson, Riina Kalmi
Composer,musician:Henrik Olsson
Sound design:Gianluca Mastronardi
Dramaturg:Sasa Bozic
Light design:Stefano Stacchini
Costume design:Gjøril BjerckeSæther
Light technician:Gunnvá Meinseth
Scenography:Francesco Scavetta, Gjøril Bjercke Sæther
Production:Wee
Co-production:Dansens Hus, Oslo
In collaboration with: Vitlycke-Centre for performing arts, EspaciosIbsen (Cuba) / Supported by:Arts Council Norway, Fond for Lyd og Bilde, the Norwegian Ministry of Foreign Affairs, Danse-og Teatersentrum -Performing Arts Hub Norwayand Swedish Konstnärsnämden.
www.wee-francescoscavetta.no
Wah Wah
ANNA KONJETZKY | Germany
Tuesday 24th of April
8:30 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by the Goethe Institute in Beirut, the City of Munich, Die Beauftragte der Bundesregierung für Kultur und Medien and the Nationales Performance Netz (NPN).
Duration: 60 minutes
In “wah-wah“, Anna Konjetzky allows the audience to look at six dancers as though through a microscope and “sends the audience through highs and lows”.
في wah-wah، تقدّم Anna Konjetzky للجمهور فرصة مشاهدة ستّة راقصين وكأنّ من خلال مجهر، فتأخذ الجمهور "من خلال مرتفعات ومنخفضات".
About the Artist
Since 2005 Anna Konjetzky creates dance-pieces and dance-installations, where the questioning and organisation of the space is always very central.
Her work has been shown for example at Spielart, Dance, Tanzwerkstatt Munich, Unidram Potsdam, Tanztage Regensburg, Festival Danse Balsa Marni Bruxelles, in Kampala, Nairobi, Hanoi, Istanbul, Gent, Salzbur and Rio de Janeiro. At the moment she receives a 3 years support of the city of Munich.
عن الفنّانة
تصمّم Anna Konjetzky منذ العام ٢٠٠٥ عروضاً راقصة وتركيبات راقصة حيث يشكّل البحث وتنظيم المكان دائماً نقطة التركيز.
تمّ عرض عملها مثلاً في Spielart، و Dance، و Tanzwerkstatt Munich، و Unidram Potsdam، و Tanztage Regensburg، و Festival Danse Balsa Marni Bruxelles، وفي كامبالا، ونيروبي، وهانوي، واسطنبول، وغنت، وسالزبورغ، وريو دي جانيرو...
في الوقت الحالي، تحظى بدعم يمتدّ على ثلاث سنوات من مدينة ميونيخ.
About the Performance
In “wah-wah“, Anna Konjetzky allows the audience to look at six dancers as though through a microscope. A kaleidoscope of aggregate states and constellations are opened up to observers. As in a chemical reaction, the bodies meld, pulse as one, reject one another, individualise, encircle one another to then once again be attracted to one another. The events on stage are thus similar to the principle of a black hole that makes everything move at its edges to then swallow and meld with it all to thus create a state of higher density – layer by layer, loop by loop.
عن العرض
في wah-wah، تقدّم Anna Konjetzky للجمهور فرصة مشاهدة ستّة راقصين وكأنّ بواسطة مجهر. مِشكال من مجموعة ولايات وكواكب مكشوفة للمراقب. وكما في تفاعل كيميائي، تندمج الأجساد، وتنبض كجسد واحد، وترفض بعضها، وتميّز وتطوّق بعضها البعض لتنجذب مرّة أخرى بعضها لبعض.
تشبه الأحداث على المسرح مبدأ الثقب الأسود الذي يجعل كل شيء يتحرّك عند أطرافه ليبتلعه ويندمج به فيخلق حالة من كثافة أعلى – طبقة طبقة، وحلقة حلقة.
Anna Konjetsky will be giving a workshop with Sahra Huby with a focus on the training and movement vocabulary of the work on Wednesday, 25 April from 6.00PM - 9.00PM at D Beirut Warehouse. Further information can be found in the "Workshops" below, or by contacting admin@maqamat.org.
Cast & Credits
Choreography: Anna KonjetzkyDance: Viviana Defazio, Sahra Huby, Michele Meloni, Quindell Orton, Damiaan Veens, Jascha Viehstädt
Music: Brigitta MuntendorfStage
Costume: Linda Sollacher
Light: Wolfgang Eibert
Dramaturgy: Sarah Israel
Project Management: Hannah Melder
www.annakonjetzky.com
Duration: 60 minutes
In “wah-wah“, Anna Konjetzky allows the audience to look at six dancers as though through a microscope and “sends the audience through highs and lows”.
في wah-wah، تقدّم Anna Konjetzky للجمهور فرصة مشاهدة ستّة راقصين وكأنّ من خلال مجهر، فتأخذ الجمهور "من خلال مرتفعات ومنخفضات".
About the Artist
Since 2005 Anna Konjetzky creates dance-pieces and dance-installations, where the questioning and organisation of the space is always very central.
Her work has been shown for example at Spielart, Dance, Tanzwerkstatt Munich, Unidram Potsdam, Tanztage Regensburg, Festival Danse Balsa Marni Bruxelles, in Kampala, Nairobi, Hanoi, Istanbul, Gent, Salzbur and Rio de Janeiro. At the moment she receives a 3 years support of the city of Munich.
عن الفنّانة
تصمّم Anna Konjetzky منذ العام ٢٠٠٥ عروضاً راقصة وتركيبات راقصة حيث يشكّل البحث وتنظيم المكان دائماً نقطة التركيز.
تمّ عرض عملها مثلاً في Spielart، و Dance، و Tanzwerkstatt Munich، و Unidram Potsdam، و Tanztage Regensburg، و Festival Danse Balsa Marni Bruxelles، وفي كامبالا، ونيروبي، وهانوي، واسطنبول، وغنت، وسالزبورغ، وريو دي جانيرو...
في الوقت الحالي، تحظى بدعم يمتدّ على ثلاث سنوات من مدينة ميونيخ.
About the Performance
In “wah-wah“, Anna Konjetzky allows the audience to look at six dancers as though through a microscope. A kaleidoscope of aggregate states and constellations are opened up to observers. As in a chemical reaction, the bodies meld, pulse as one, reject one another, individualise, encircle one another to then once again be attracted to one another. The events on stage are thus similar to the principle of a black hole that makes everything move at its edges to then swallow and meld with it all to thus create a state of higher density – layer by layer, loop by loop.
عن العرض
في wah-wah، تقدّم Anna Konjetzky للجمهور فرصة مشاهدة ستّة راقصين وكأنّ بواسطة مجهر. مِشكال من مجموعة ولايات وكواكب مكشوفة للمراقب. وكما في تفاعل كيميائي، تندمج الأجساد، وتنبض كجسد واحد، وترفض بعضها، وتميّز وتطوّق بعضها البعض لتنجذب مرّة أخرى بعضها لبعض.
تشبه الأحداث على المسرح مبدأ الثقب الأسود الذي يجعل كل شيء يتحرّك عند أطرافه ليبتلعه ويندمج به فيخلق حالة من كثافة أعلى – طبقة طبقة، وحلقة حلقة.
Anna Konjetsky will be giving a workshop with Sahra Huby with a focus on the training and movement vocabulary of the work on Wednesday, 25 April from 6.00PM - 9.00PM at D Beirut Warehouse. Further information can be found in the "Workshops" below, or by contacting admin@maqamat.org.
Cast & Credits
Choreography: Anna KonjetzkyDance: Viviana Defazio, Sahra Huby, Michele Meloni, Quindell Orton, Damiaan Veens, Jascha Viehstädt
Music: Brigitta MuntendorfStage
Costume: Linda Sollacher
Light: Wolfgang Eibert
Dramaturgy: Sarah Israel
Project Management: Hannah Melder
www.annakonjetzky.com
SOLO
by ISRAEL GALVÁN | Spain
Friday 27th of April
8:30 pm | D-BEIRUT WAREHOUSE
Performance in Beirut is supported by BIPOD.
Duration: 45 minutes
Galvan is the leading figure of contemporary flamenco and a master in reinventing the possibilities of this dance form. Honoured to have him again in BIPOD and to cherish this exquisite virtuoso.
Galvan هو الشخصيّة الرائدة في رقص الفلامنكو المعاصر ومحترف في إعادة ابتكار إمكانيّات تلك الرقصة. نشعر بفخر لمشاركته مرّة جديدة في "بايبود" ونقدّر هذا الفنّان الاستثنائي.
About the Artist
Born in Spain, Israel Galván underwent classical flamenco training but has gradually transformed into an unclassified dancer and choreographer. Galván recodifies the physical language of flamenco, using not only modes of expression genealogically close to it, such as bullfighting, but also performative aspects of other rituals of popular culture. Galván has been honoured with numerous prestigious prizes and in 2016, he was promoted to the rank of Officier dans l'Ordre des Arts et des Lettres in France.
Israel Galván was honoured with the most prestigious prizes such as the Premio Nacional de Danza (Spain), the New York Bessie Performance Award, the National Dance Award for Exceptional Artistry (UK). In 2016, he was promoted to the rank of Officier dans l'Ordre des Arts et des Lettres in France. He is an associated artist at Le Théâtre de la Ville, Paris.
عن الفنّان
ولد Israel Galván في أسبانيا وخضع لتدريب في رقص الفلامنكو الكلاسيكي ليتحوّل تدريجياً إلى راقص ومصمّم رقص غير مصنّف. يعيد Galván تنظيم اللغة الجسدية في رقصة الفلامنكو، باستخدام جوانب أدائية من تقاليد أخرى لثقافة شعبيّة، وليس فقط من أساليب تعبير مرتبطة بها بشكل نسبيّ. تمّ تكريمه بعدد من الجوائز المرموقة وفي العام ٢٠١٦، تمّت ترقيته إلى منصب Officier dans l'Ordre des Arts et des Lettres في فرنسا.
حصد Israel Galván أرقى الجوائز منها Premio Nacional de Danza (أسبانيا)، و New York Bessie Performance Award، و National Dance Award for Exceptional Artistry (المملكة المتحدة). هو فنّان منتسب إلى Le Théâtre de la Ville في باريس.
About the Performance
Alone on stage, accompanied by only silence around, dressed in a short-sleeved black shirt, black trews and shoes, Galván uses flamenco’s attitudes merely to distort them, turn them inside out, and transform them into new and vivid life. His body draws long lines of dance across the stage, and these flower into extraordinary imageries, at once modern, unprecedented and yet wholly true to flamenco as style. The percussive traditions of drumming feet and clicking fingers are enriched with rhythms beaten on teeth, navel, chest. The dance seizes every opportunity to mutate, to explore: Galván can conjure up percussive opportunities from the least of things, from the floor, from his body, from the air. His solo is a subliminal narrative, studies both emotional and rhythmic, cadenzas in which a form extends its life, gains some mysterious logic of its own, and holds us relentlessly until we have seen its resolution.
عن العرض
منفرداً على المسرح، مترافقاً بالصمت الذي يحيط به، مرتدياً قميص أسود بكمّ قصير، وسروال اسكتلندي وحذاء أسود، يستعين Galván بحركات الفلامنكو لتشويهها وقلبها فقط، وتحويلها إلى حياة جديدة وحيوية. يرسم جسده خطوطاً طويلة على المسرح، تُزهر وتصبح صوراً مذهلة، عصرية لم يسبق لها مثيل ولكنّها في الوقت نفسه مطابقة كلياً لأسلوب الفلامنكو. تمّ إثراء تقاليد القرع بواسطة الأرجل وطرطقة الأصابع بإيقاعات مطروقة بالأسنان، والسُرّة والصدر. تغتنم الرقصة كل فرصة لتتحوّل وتستكشف: يستطيع Galván أن يستحضر الفرص من أبسط الأمور، من الأرض، من جسمه، من الهواء. إنّ عرضه الفردي هو قصّة مبطنّة، يعالج نهاية المقطوعات الموسيقية، العاطفية والإيقاعية معاً، حيث يطيل شكل معيّن حياتها، ويكتسب نوعاً من المنطق الغامض بذاته، فيبقينا مترقّبين بلا ملل حتّى نرى الحلّ.
Cast & Credits
TITLE OF THE CHOREOGRAPHY : SOLO ISRAEL GALVÁN
Choreography and dance : Israel GALVÁN
Sound technician : Pedro León
Technical director : Pablo Pujol
Delegate producer : Carole Fierz
Production : ISRAEL GALVÁN COMPANY – SEVILLA – SPAIN
www.israelgalvan.com
Duration: 45 minutes
Galvan is the leading figure of contemporary flamenco and a master in reinventing the possibilities of this dance form. Honoured to have him again in BIPOD and to cherish this exquisite virtuoso.
Galvan هو الشخصيّة الرائدة في رقص الفلامنكو المعاصر ومحترف في إعادة ابتكار إمكانيّات تلك الرقصة. نشعر بفخر لمشاركته مرّة جديدة في "بايبود" ونقدّر هذا الفنّان الاستثنائي.
About the Artist
Born in Spain, Israel Galván underwent classical flamenco training but has gradually transformed into an unclassified dancer and choreographer. Galván recodifies the physical language of flamenco, using not only modes of expression genealogically close to it, such as bullfighting, but also performative aspects of other rituals of popular culture. Galván has been honoured with numerous prestigious prizes and in 2016, he was promoted to the rank of Officier dans l'Ordre des Arts et des Lettres in France.
Israel Galván was honoured with the most prestigious prizes such as the Premio Nacional de Danza (Spain), the New York Bessie Performance Award, the National Dance Award for Exceptional Artistry (UK). In 2016, he was promoted to the rank of Officier dans l'Ordre des Arts et des Lettres in France. He is an associated artist at Le Théâtre de la Ville, Paris.
عن الفنّان
ولد Israel Galván في أسبانيا وخضع لتدريب في رقص الفلامنكو الكلاسيكي ليتحوّل تدريجياً إلى راقص ومصمّم رقص غير مصنّف. يعيد Galván تنظيم اللغة الجسدية في رقصة الفلامنكو، باستخدام جوانب أدائية من تقاليد أخرى لثقافة شعبيّة، وليس فقط من أساليب تعبير مرتبطة بها بشكل نسبيّ. تمّ تكريمه بعدد من الجوائز المرموقة وفي العام ٢٠١٦، تمّت ترقيته إلى منصب Officier dans l'Ordre des Arts et des Lettres في فرنسا.
حصد Israel Galván أرقى الجوائز منها Premio Nacional de Danza (أسبانيا)، و New York Bessie Performance Award، و National Dance Award for Exceptional Artistry (المملكة المتحدة). هو فنّان منتسب إلى Le Théâtre de la Ville في باريس.
About the Performance
Alone on stage, accompanied by only silence around, dressed in a short-sleeved black shirt, black trews and shoes, Galván uses flamenco’s attitudes merely to distort them, turn them inside out, and transform them into new and vivid life. His body draws long lines of dance across the stage, and these flower into extraordinary imageries, at once modern, unprecedented and yet wholly true to flamenco as style. The percussive traditions of drumming feet and clicking fingers are enriched with rhythms beaten on teeth, navel, chest. The dance seizes every opportunity to mutate, to explore: Galván can conjure up percussive opportunities from the least of things, from the floor, from his body, from the air. His solo is a subliminal narrative, studies both emotional and rhythmic, cadenzas in which a form extends its life, gains some mysterious logic of its own, and holds us relentlessly until we have seen its resolution.
عن العرض
منفرداً على المسرح، مترافقاً بالصمت الذي يحيط به، مرتدياً قميص أسود بكمّ قصير، وسروال اسكتلندي وحذاء أسود، يستعين Galván بحركات الفلامنكو لتشويهها وقلبها فقط، وتحويلها إلى حياة جديدة وحيوية. يرسم جسده خطوطاً طويلة على المسرح، تُزهر وتصبح صوراً مذهلة، عصرية لم يسبق لها مثيل ولكنّها في الوقت نفسه مطابقة كلياً لأسلوب الفلامنكو. تمّ إثراء تقاليد القرع بواسطة الأرجل وطرطقة الأصابع بإيقاعات مطروقة بالأسنان، والسُرّة والصدر. تغتنم الرقصة كل فرصة لتتحوّل وتستكشف: يستطيع Galván أن يستحضر الفرص من أبسط الأمور، من الأرض، من جسمه، من الهواء. إنّ عرضه الفردي هو قصّة مبطنّة، يعالج نهاية المقطوعات الموسيقية، العاطفية والإيقاعية معاً، حيث يطيل شكل معيّن حياتها، ويكتسب نوعاً من المنطق الغامض بذاته، فيبقينا مترقّبين بلا ملل حتّى نرى الحلّ.
Cast & Credits
TITLE OF THE CHOREOGRAPHY : SOLO ISRAEL GALVÁN
Choreography and dance : Israel GALVÁN
Sound technician : Pedro León
Technical director : Pablo Pujol
Delegate producer : Carole Fierz
Production : ISRAEL GALVÁN COMPANY – SEVILLA – SPAIN
www.israelgalvan.com
MOULTAQA LEYMOUN - Arab Dance Platform
MOULTAQA LEYMOUN STUDIO PRESENTATION
SHARAF DARZAID | Palestine
Wednesday 14th of March
11:00 am | D-BEIRUT WAREHOUSE
About the Artist:
Sharaf DarZaid is a dancer, choreographer & art manager living in Ramallah, Palestine. Sharaf is a folkloric and contemporary dancer and choreographer with EI-Funoun Dance Troupe, dancing in different local & international professional dance productions. DarZaid trains youth groups at PAC dance school, co-coaching and directing different TOT courses, giving Palestinian folkloric dance and Palestinian contemporary dance workshops, training in different local & international cities, Palestinian marginalised villages and refugee camps.
شرف هو راقص ومصمم واداري فني في فرقة الفنون الشعبية الفلسطينية في رام الله – فلسطين، شارك في العديد من العروض والمهرجانات المحلية والدولية. دارزيد هو مدرب لفئة الاطفال والشباب في مدرسة الرقص التابعة لمركز الفن الشعبي، وشارك في تدريب وتوجيه عدد من دورات تدريب المدربين/ات. كما انه يعطي ورشات وحصص في الدبكة الشعبية الفلسطينية والرقص الفلسطيني المعاصر في عدة مدن محلية ودولية وقرى فلسطينية مهمشة ومخيمات فلسطينية.
Sharaf DarZaid is a dancer, choreographer & art manager living in Ramallah, Palestine. Sharaf is a folkloric and contemporary dancer and choreographer with EI-Funoun Dance Troupe, dancing in different local & international professional dance productions. DarZaid trains youth groups at PAC dance school, co-coaching and directing different TOT courses, giving Palestinian folkloric dance and Palestinian contemporary dance workshops, training in different local & international cities, Palestinian marginalised villages and refugee camps.
شرف هو راقص ومصمم واداري فني في فرقة الفنون الشعبية الفلسطينية في رام الله – فلسطين، شارك في العديد من العروض والمهرجانات المحلية والدولية. دارزيد هو مدرب لفئة الاطفال والشباب في مدرسة الرقص التابعة لمركز الفن الشعبي، وشارك في تدريب وتوجيه عدد من دورات تدريب المدربين/ات. كما انه يعطي ورشات وحصص في الدبكة الشعبية الفلسطينية والرقص الفلسطيني المعاصر في عدة مدن محلية ودولية وقرى فلسطينية مهمشة ومخيمات فلسطينية.
MOULTAQA LEYMOUN STUDIO PRESENTATION
Sina Saberi
Friday 13th of April
11:00 am | D-BEIRUT WAREHOUSE
About the Artist
Coming from a background in Literature, Teaching & Communication, Sina discovered performing arts in 2012. He helped establish and co-found an independent dance collective called MaHa alongside 7 other young artists in Tehran. MaHa has had several successful dance creations in Iran (including Iran’s first Body Movement Festival in March 2016) some of which are currently touring around the world. The artistic work of Sina is supported by Maqamat and APAP for the project APAP 2020. His artistic journey is inspired much by the urgency of the performing arts in initiating cultural dialogues. In terms of movement, Sina is curious about the (minimum) 40-year gap that there is in the existence of the art form of dance in Iran and wonders what contemporary Persian dance might be. He relies on notions from the ancient Persian culture and how they might still be relevant, today. In December 2017 he founded KAHKESHĀN; an initiative dedicated to dance. He still works as an adviser for various projects within the dance community of Iran such as MaHa and IPAC (Iranian Performing Arts Community).
عن الفنّان
يأتي Sina من خلفيّة في الأدب والتعليم والاتّصال، وقد اكتشف فنون الأداء في العام ٢٠١٢. ساعد وشارك في تأسيس مجموعة مستقلّة للرقص باسم MaHa إلى جانب ٧ فنّانين شباب آخرين في طهران. أطلقت MaHa عدداً من الإبداعات الراقصة الناجحة في إيران (منها مهرجان Body Movement Festival الأول في إيران في آذار ٢٠١٦)، وبعضها يجول العالم حالياً. استوحيت مسيرته الفنيّة بشكل كبير من ضرورة إطلاق الحوارات الثقافية من خلال فنون الأداء. أمّا في ما يتعلّق بالحركة، فيشعر Sina بالفضول حول ثغرة الأربعين عاماً (على الأقل) في الشكل الفنيّ للرقص في إيران متسائلاً عمّا يمكن أن يكون شكل الرقص المعاصر الفارسيّ. يرتكز على أفكار من الحضارة الفارسية القديمة وكيف يمكنها أن تكون ملائمة اليوم. في كانون الثاني ٢٠١٧، أسّس KAHKESHĀN؛ وهي مبادرة مخصّصة للرقص. لا يزال يعمل كمستشار لمشاريع منوّعة في مجتمع الرقص في إيران منها MaHa و IPAC(مجموعة فنون الأداء الإيرانية).
Coming from a background in Literature, Teaching & Communication, Sina discovered performing arts in 2012. He helped establish and co-found an independent dance collective called MaHa alongside 7 other young artists in Tehran. MaHa has had several successful dance creations in Iran (including Iran’s first Body Movement Festival in March 2016) some of which are currently touring around the world. The artistic work of Sina is supported by Maqamat and APAP for the project APAP 2020. His artistic journey is inspired much by the urgency of the performing arts in initiating cultural dialogues. In terms of movement, Sina is curious about the (minimum) 40-year gap that there is in the existence of the art form of dance in Iran and wonders what contemporary Persian dance might be. He relies on notions from the ancient Persian culture and how they might still be relevant, today. In December 2017 he founded KAHKESHĀN; an initiative dedicated to dance. He still works as an adviser for various projects within the dance community of Iran such as MaHa and IPAC (Iranian Performing Arts Community).
عن الفنّان
يأتي Sina من خلفيّة في الأدب والتعليم والاتّصال، وقد اكتشف فنون الأداء في العام ٢٠١٢. ساعد وشارك في تأسيس مجموعة مستقلّة للرقص باسم MaHa إلى جانب ٧ فنّانين شباب آخرين في طهران. أطلقت MaHa عدداً من الإبداعات الراقصة الناجحة في إيران (منها مهرجان Body Movement Festival الأول في إيران في آذار ٢٠١٦)، وبعضها يجول العالم حالياً. استوحيت مسيرته الفنيّة بشكل كبير من ضرورة إطلاق الحوارات الثقافية من خلال فنون الأداء. أمّا في ما يتعلّق بالحركة، فيشعر Sina بالفضول حول ثغرة الأربعين عاماً (على الأقل) في الشكل الفنيّ للرقص في إيران متسائلاً عمّا يمكن أن يكون شكل الرقص المعاصر الفارسيّ. يرتكز على أفكار من الحضارة الفارسية القديمة وكيف يمكنها أن تكون ملائمة اليوم. في كانون الثاني ٢٠١٧، أسّس KAHKESHĀN؛ وهي مبادرة مخصّصة للرقص. لا يزال يعمل كمستشار لمشاريع منوّعة في مجتمع الرقص في إيران منها MaHa و IPAC(مجموعة فنون الأداء الإيرانية).
MOULTAQA LEYMOUN STUDIO PRESENTATION
HAMZA DAMRA | Palestine
Friday 13th of April
11:00 am | D-BEIRUT WAREHOUSE
About the Artist
Hamza Damra is a self-trained hip-hop dancer and a founding member of Stere48 Dance Company(Palestine). Hamza has performed with various Dance Companies, most recently: Sareyyet Ramallah (Palestine) Siljeholm/Christophersen (Norway), 2016, Les Ballets C de la B (Belgium), 2015 NGC25(France) And YA Samar! Dance Theatre (New York\Palestine). He has taken several intensive workshops in contemporary dance and is now teaching hip-hop in two schools in Ramallah city. Hamza is currently a performer and dancer for ‘Gesturing Refugees’ by Farah Saleh.
حمزة ضمرة هو راقص هيب هوب وهو عضو مؤسس لشركة Stere48 الرقص (فلسطين). كان أداء حمزة مع مختلف الشركات الرقص، وكان آخرها: سرية رام الله (فلسطين) Siljeholm / Christophersen (النرويج)، عام 2016،Les Ballets C de la B (بلجيكا)، 2015 NGC25 (فرنسا) وYA Samar! مسرح الرقص (نيويورك \ فلسطين). وقد اتخذت عدة ورش عمل مكثفة في الرقص المعاصر والآن يعليم الهيب هوب في مدرستين في مدينة رام الله. حمزة حاليا راقص عن "اللاجئين الإيماء" مع فرح صالح.
Hamza Damra is a self-trained hip-hop dancer and a founding member of Stere48 Dance Company(Palestine). Hamza has performed with various Dance Companies, most recently: Sareyyet Ramallah (Palestine) Siljeholm/Christophersen (Norway), 2016, Les Ballets C de la B (Belgium), 2015 NGC25(France) And YA Samar! Dance Theatre (New York\Palestine). He has taken several intensive workshops in contemporary dance and is now teaching hip-hop in two schools in Ramallah city. Hamza is currently a performer and dancer for ‘Gesturing Refugees’ by Farah Saleh.
حمزة ضمرة هو راقص هيب هوب وهو عضو مؤسس لشركة Stere48 الرقص (فلسطين). كان أداء حمزة مع مختلف الشركات الرقص، وكان آخرها: سرية رام الله (فلسطين) Siljeholm / Christophersen (النرويج)، عام 2016،Les Ballets C de la B (بلجيكا)، 2015 NGC25 (فرنسا) وYA Samar! مسرح الرقص (نيويورك \ فلسطين). وقد اتخذت عدة ورش عمل مكثفة في الرقص المعاصر والآن يعليم الهيب هوب في مدرستين في مدينة رام الله. حمزة حاليا راقص عن "اللاجئين الإيماء" مع فرح صالح.
MOULTAQA LEYMOUN STUDIO PRESENTATION
GHIDA HACHICHO | Lebanon
Friday 13th of April
11:00 am | D-BEIRUT WAREHOUSE
About The Artist
Ghida Hachicho (b. 1989) lives and works in Beirut. Her practice emerges in the interdisciplinary space of art, architecture and performance. She holds an MA in performance from Goldsmiths, University of London and BFA in architecture from the American University of Beirut. Ghida is currently a participant in Ashkal Alwan’s Home Workspace Program. Her work explores the performativity of space and its production, investigating the influence of knowledge and the imaginary on geography.
غيدا حشيشو (مواليد 1989) تقيم وتعمل في بيروت. تتخذ مشاريعها اشكال ووظائف مختلفة بين فضاء الفن والعمارة والاداء. حازت شهادة الماجستير في فن الأداء من جامعة غولدسميثس في لندن وبكالوريا في مجال الهندسة المعمارية من الجامعة الأميركية في بيروت. تشارك حاليا في برنامج 'فضاء اشغال داخلية' في أشكال ألوان. معنية في اعمالها بدراسة ادائية الفضاء في انتاجاته واشكاله المختلفة، وتسائل ارتباط وتاثير المعرفة والخيال على الجعرافيا.
Ghida Hachicho (b. 1989) lives and works in Beirut. Her practice emerges in the interdisciplinary space of art, architecture and performance. She holds an MA in performance from Goldsmiths, University of London and BFA in architecture from the American University of Beirut. Ghida is currently a participant in Ashkal Alwan’s Home Workspace Program. Her work explores the performativity of space and its production, investigating the influence of knowledge and the imaginary on geography.
غيدا حشيشو (مواليد 1989) تقيم وتعمل في بيروت. تتخذ مشاريعها اشكال ووظائف مختلفة بين فضاء الفن والعمارة والاداء. حازت شهادة الماجستير في فن الأداء من جامعة غولدسميثس في لندن وبكالوريا في مجال الهندسة المعمارية من الجامعة الأميركية في بيروت. تشارك حاليا في برنامج 'فضاء اشغال داخلية' في أشكال ألوان. معنية في اعمالها بدراسة ادائية الفضاء في انتاجاته واشكاله المختلفة، وتسائل ارتباط وتاثير المعرفة والخيال على الجعرافيا.
MOULTAQA LEYMOUN STUDIO PRESENTATION
NIVINE KALLAS | Lebanon
Saturday 14th of April
11:00 am | D-BEIRUT WAREHOUSE
About the Artist
Nivine Kallas is an actress and dancer. Born in Beirut, Nivine started her training with Caracalla dance theatre at the age of 14, followed by a Drama degree from the Lebanese university of fine arts. With a background in Lebanese folklore, Oriental, modern, and contemporary Dance, Nivine has performed parts in several dance theatre musicals in Lebanon and the Arab world, and worked on different projects with multiple artists and companies. A member of Sima Dance Company between 2014 and 2015, Nivine has participated in workshops conducted by local and international choreographers in Spain and Lebanon.
نيفين الكلاس، ممثلة و راقصة محترفة من بيروت.
بدأت تلقي دروس الرقص من عمر الرابعة عشرة من مدرسة كركلا للمسرح الراقص. ثم اكملت مسيرتها في الجامعة اللبنانية-معهد الفنون الجميلة (الفرع الثاني) محصلة اجازة في التمثيل .تعرف نيفين بامتلاكها خلفية غنية من مدارس الرقص،(الفلكلوراللبناني،الشرقي،الرقص المعاصر)
شاركت في عدد من الاعمال المسرحية الراقصة في لبنان والعالم العربي وكانت جزءا من مشاريع فنية تحت إدارة محترفين وشركات كثر . عضو في مؤسسة سيما للرقص المعاصر بين سنة"٢٠١٤-٢٠١٥". شاركت نيفين في محترفات للتعبير الجسدي الراقص مع مصممين رقص محلين وعالمين بين لبنان وإسبانيا.
Nivine Kallas is an actress and dancer. Born in Beirut, Nivine started her training with Caracalla dance theatre at the age of 14, followed by a Drama degree from the Lebanese university of fine arts. With a background in Lebanese folklore, Oriental, modern, and contemporary Dance, Nivine has performed parts in several dance theatre musicals in Lebanon and the Arab world, and worked on different projects with multiple artists and companies. A member of Sima Dance Company between 2014 and 2015, Nivine has participated in workshops conducted by local and international choreographers in Spain and Lebanon.
نيفين الكلاس، ممثلة و راقصة محترفة من بيروت.
بدأت تلقي دروس الرقص من عمر الرابعة عشرة من مدرسة كركلا للمسرح الراقص. ثم اكملت مسيرتها في الجامعة اللبنانية-معهد الفنون الجميلة (الفرع الثاني) محصلة اجازة في التمثيل .تعرف نيفين بامتلاكها خلفية غنية من مدارس الرقص،(الفلكلوراللبناني،الشرقي،الرقص المعاصر)
شاركت في عدد من الاعمال المسرحية الراقصة في لبنان والعالم العربي وكانت جزءا من مشاريع فنية تحت إدارة محترفين وشركات كثر . عضو في مؤسسة سيما للرقص المعاصر بين سنة"٢٠١٤-٢٠١٥". شاركت نيفين في محترفات للتعبير الجسدي الراقص مع مصممين رقص محلين وعالمين بين لبنان وإسبانيا.
MOULTAQA LEYMOUN STUDIO PRESENTATION
BASSAM ABOU DIAB | Lebanon & JACOPO JENNA | Italy
Saturday 14th of April
11:00 am | D-BEIRUT WAREHOUSE
This studio presentation will be taking place within the framework of the Italian artist residency program that is being facilitated by Maqamat Beit El Raqs in collaboration and with the support of MiBACT and the Italian Ministry of Culture and the Istituto Italiano de Cultura in Lebanon.
Image by Eleonora Costa
About the Artists:
Bassam Abou Diab is a theatre graduate from the Lebanese University and a folklore and contemporary dance artist. He has been dancing with Omar Rajeh (Maqamat) for several years. He performed in Mushrooms and Fig Leaves, Hibr, That Part Of Heaven and Watadour. Bassam was also part of the intensive dance training program Takween in 2010 and 2011, then 2017 where he worked with choreographers such as Marcel Leemann, Emilyn Claid, Thierry Smith, Hooman Sharifi, Benoit Lachamre, Marco Cantalupo, Gilles Jobin, Kristina De Chatelle, Damien Jalet, Franceso Scavetta and Nacera Belazza just to name a few. In addition to his theatrical work, Bassam is currently touring his latest creation, “Under the Flesh”. Bassam is an associated artist with Maqamat and supported by Maqamat and APAP for the project APAP 2020.
بسام أبوذياب راقص و ممثل، و مدير فرقة البيارق الفلكلورية، خريج مسرح من الجامعة اللبنانية، حائز على ماستر إعداد ممثل، متخصص في الرقص الفلكلوري و الرقص المعاصر، شارك مع فرقة مقامات للمسرح الراقص في عدة عروضات منذ العام 2010 منها (ذاك الجزء من الجنة، حبر، وتدور) كذلك شارك في عدة أعمال مسرحية كممثل منها ( قدام باب السفرة للمخرجة نضال الأشقر، لماذا تركت الحصان وحيداً للمخرج جواد الأسدي، سيستمتكل للمخرج بديع أبو شقرا، فوق الصفر لفرقة كون)
شارك في ورشة عمل تكوين في 2010-2011 و عدة ورش عمل في الرقص و المسرح الحركي في لبنان و خارجه مع مدربين منهم (مارسيل ليمان، داميان جاليه، مانويل روندا، أميلين كلايد، كريستينا دو شاتيل، ماركو كانتالوبو، اناني سانوڤي، ثيري سميث و غيرهم).
شارك في عرض الأمطار الجانبية مع فرقة ألياس السويسرية في مهرجان بيروت للرقص المعاصر في 2016.
صمم و أخرج عروض: غير متصل 2010، تحت الجلد 2016 ، كارمى فلسطين 2017، على ما أذكر 2017.
Jacopo Jenna is a choreographer, performer and filmmaker creating stage works, video pieces, and installations. The works are oriented towards research concerning the perception of dance or choreography as an extended practice. As a graduate of Sociology, he also studied dance in Codarts / Rotterdam Dance Academy. In Europe he has worked for several years as a dancer and performer for a number of companies and choreographic research projects. He presents his works internationally and continues to develop projects with visual artist and musician.
عن الفنّان
Jacopo Jenna هو راقص ومؤدّ وصانع أفلام يبتكر أعمالاً مسرحية، وقطع فيديو وتركيبات فنيّة. وتتّجه أعماله نحو البحث عن مفهوم الرقص أو العرض الراقص كممارسة موسّعة. تخرّج في علم الاجتماع ودرس أيضاً الرقص في Codarts / Rotterdam Dance Academy. عمل في أوروبا لسنوات عدّة كراقص في عدد من الفرق وفي مشاريع بحث حول تصميم الرقص. يقدّم أعماله عالمياً ويواصل تطوير المشاريع مع فنّان بصري وموسيقي.
Image by Eleonora Costa
MOULTAQA LEYMOUN STUDIO PRESENTATION
OUSSAMA CHERIEF | Algeria
Sunday 15th of April
11:00 am | D-BEIRUT WAREHOUSE
About the Artist:
Oussama Cherief was born in Ain-Defla, Algeria. Dancer, Comedian and President of Association of Youth Activities since September 2011, Oussama started dancing hip hop forming the team KBS in 2006. He has developed his skills in contemporary dance through internships and participation in festival presentations both nationally and internationally. In 2011 and again in 2014, Oussama received with his team the jury prize at the international Contemporary Dance Festival in Algeria.
أسامة شرياف من مواليد 26جويلية 1990 بولاية عين الدفلى-الجزائر، راقص و ممثل ورئيس جمعية نشاطات الشباب الجيل الجديد عين الدفلى منذ سنة 2011، بدأت رقص الهيب هوب مع فريق "كا بي أس" في عام 2006. وقد طورت مهاراتي في الرقص المعاصر من خلال التدريب والمشاركة في العروض و المهرجانات على الصعيدين الوطني والدولي. تحصلت في عام 2011 و 2014، مع فريقي جائزتي لجنة التحكيم في مهرجان الرقص المعاصر الدولي في الجزائر.
Oussama Cherief was born in Ain-Defla, Algeria. Dancer, Comedian and President of Association of Youth Activities since September 2011, Oussama started dancing hip hop forming the team KBS in 2006. He has developed his skills in contemporary dance through internships and participation in festival presentations both nationally and internationally. In 2011 and again in 2014, Oussama received with his team the jury prize at the international Contemporary Dance Festival in Algeria.
أسامة شرياف من مواليد 26جويلية 1990 بولاية عين الدفلى-الجزائر، راقص و ممثل ورئيس جمعية نشاطات الشباب الجيل الجديد عين الدفلى منذ سنة 2011، بدأت رقص الهيب هوب مع فريق "كا بي أس" في عام 2006. وقد طورت مهاراتي في الرقص المعاصر من خلال التدريب والمشاركة في العروض و المهرجانات على الصعيدين الوطني والدولي. تحصلت في عام 2011 و 2014، مع فريقي جائزتي لجنة التحكيم في مهرجان الرقص المعاصر الدولي في الجزائر.
Hommage
TAKREEM GEORGETTE GEBARA
Monday 16th of April
7:00 pm | Sursock Museum
BIPOD presents its 2018 Award for Life Achievement.
Maqamat, will honour Georgette Gebara for her life achievements.
Georgette Gabra, dancer, educator, writer, performer and academic is a pioneering icon of the dance and cultural scene in Lebanon. In 1964, she opened Ecole Libanaise de Ballet in Beirut, one of the first of its kind, with subsequent schools opening across Tripoli (1972), Zouk Mosbeth (1985) and Ain Saadeh (1990). In 1966 she founded “Soirees de Ballets”, the first professional dance company in Lebanon where she acted as both choreographer and producer. In the same year, Georgette began teaching at the Institute of Fine Arts, Dramatic Arts Section of the Lebanese University, a post she continued until 1984.
As a choreographer, Georgette worked across plays, musicals, TV and film. Her work included Arabic, English, French and Armenian productions that took place in Beirut, Addis Ababa, Baghdad, Carthage, Damascus, Nancy (France), Rome, Wichita (Kansas, USA). As a dancer, Georgette performed leading roles in a range of classical repertoire, including “Nutcracker”, “Sleeping Beauty”, “Coppelia” and “Syiphides”. In 1978, Georgette choreographed and danced to the recitation of Arabic poetry for a Jordanian Television programme which was aired in almost all Arab countries, the first experience of its kind in the Middle East.
A co-founder of the Syndicate of Professional Artists in 1993, Georgette is also an accomplished writer, having contributed to a number of publications including Der Schauspiel Fuhrer (vols 9, 10, 11, 12, 19), Japanese Theatre Yearbook (2004, 2006, 2007), World Theatre Book (2004). Most recently, Georgette published her first book “Entre Deux Pas” which was released in November 2017.
Having lectured in English, French and Arabic in and out of Lebanon, Georgette has been a life-long advocate for dance. A central figure in the International Theatre Institute (UNESCO), she was a member of the Executive Council (1997 - 2008), sectary for the International Dance Committee (1996 - 2008), vice-president of the Lebanese Centre of the International Theatre Insitute (1980 - 2008) and has been an honorary member since 2011. A jury member of Studio Al Fan from 1974 - 1992, Georgette produced and featured in 103 programmes on dance in Arabic with Radio Lebanon and was a founding member of the Institute for the Preservation of Folkloric and Traditional Art for Twelve Mediterranean Countries in 1968.
Through her dedicated artistic, education and advocacy work, Georgette has made essential contributions to the establishment and development of dance in Lebanon, pioneering the way for future generations both in Lebanon and across the world.
BIPOD will place on record this year its thanks and appreciation for the crucial role played by Georgette Gebara.
Maqamat, will honour Georgette Gebara for her life achievements.
Georgette Gabra, dancer, educator, writer, performer and academic is a pioneering icon of the dance and cultural scene in Lebanon. In 1964, she opened Ecole Libanaise de Ballet in Beirut, one of the first of its kind, with subsequent schools opening across Tripoli (1972), Zouk Mosbeth (1985) and Ain Saadeh (1990). In 1966 she founded “Soirees de Ballets”, the first professional dance company in Lebanon where she acted as both choreographer and producer. In the same year, Georgette began teaching at the Institute of Fine Arts, Dramatic Arts Section of the Lebanese University, a post she continued until 1984.
As a choreographer, Georgette worked across plays, musicals, TV and film. Her work included Arabic, English, French and Armenian productions that took place in Beirut, Addis Ababa, Baghdad, Carthage, Damascus, Nancy (France), Rome, Wichita (Kansas, USA). As a dancer, Georgette performed leading roles in a range of classical repertoire, including “Nutcracker”, “Sleeping Beauty”, “Coppelia” and “Syiphides”. In 1978, Georgette choreographed and danced to the recitation of Arabic poetry for a Jordanian Television programme which was aired in almost all Arab countries, the first experience of its kind in the Middle East.
A co-founder of the Syndicate of Professional Artists in 1993, Georgette is also an accomplished writer, having contributed to a number of publications including Der Schauspiel Fuhrer (vols 9, 10, 11, 12, 19), Japanese Theatre Yearbook (2004, 2006, 2007), World Theatre Book (2004). Most recently, Georgette published her first book “Entre Deux Pas” which was released in November 2017.
Having lectured in English, French and Arabic in and out of Lebanon, Georgette has been a life-long advocate for dance. A central figure in the International Theatre Institute (UNESCO), she was a member of the Executive Council (1997 - 2008), sectary for the International Dance Committee (1996 - 2008), vice-president of the Lebanese Centre of the International Theatre Insitute (1980 - 2008) and has been an honorary member since 2011. A jury member of Studio Al Fan from 1974 - 1992, Georgette produced and featured in 103 programmes on dance in Arabic with Radio Lebanon and was a founding member of the Institute for the Preservation of Folkloric and Traditional Art for Twelve Mediterranean Countries in 1968.
Through her dedicated artistic, education and advocacy work, Georgette has made essential contributions to the establishment and development of dance in Lebanon, pioneering the way for future generations both in Lebanon and across the world.
BIPOD will place on record this year its thanks and appreciation for the crucial role played by Georgette Gebara.
Talks
MOULTAQA LEYMOUN TALKS
MOULTAQA LEYMOUN TALK WITH THE ARTISTS
Friday 13th of April
3:00 pm | D-BEIRUT WAREHOUSE
A talk with Stefan Kaegi
Stefan Kaegi is based in Berlin, produces documentary theatre plays and works in public space in a diverse variety of collaborative partnerships. Kaegi has toured across Europe and Asia with two Bulgarian lorry drivers and a truck which was converted into a mobile audience room (“Cargo Sofia”). He developed “Radio Muezzin” in Cairo – a project about the call to prayer in this age of technical reproduction. At the moment he adapts "Remote X" an audiotour for 50 headphones to Cities like Taipei and Tunis, and he tours the interactive installation “Nachlass” that portrays people who have not much time to live. Kaegi co-produces works with Helgard Haug and Daniel Wetzel, under the label “Rimini Protocol”.
A talk with Maria Rössler
Maria Rössler is a dramaturg, a programmer and a cultural worker, living and working between Amsterdam and Berlin. She studied theatre and media studies (BA) as well as International Dramaturgy (MA). After assisting the theatre collectives Rimini Protokoll and lunatiks production in Berlin, she worked for art festivals and conferences, such as Transmediale – festival for art and digital culture, the 3rd international Dance Congress as well as projects of the International Theatre Institute, the German Federal Cultural Foundation, and Wikimedia Germany. From 2013 until 2016, she was involved in the program development and organisation of the international performing arts festival Foreign Affairs at Berliner Festspiele. In 2017, she was dramaturgical advisor to the artistic program team of Kunstencentrum Vooruit in Ghent. Moreover, she conceptualised talk and reflexion formats for festivals in Brussels and Amsterdam. since 2017, she is a member of the program board of Zürcher Theater Spektakel. Her recent work as a freelance dramaturg includes collaborations with theatre makers Christiane Kühl & Chris Kondek, Margo Van de Linde, Abhishek Thapar, et al. Together with hardware hacker Nathan Fain, she has been conducting a research into the relationship between digital technologies, self-regulation and social intuition, in the framework of which they created the lecture performances Right Is the Might of the Community. A lecture on future democracy (2015, commissioned by HAU – Hebbel am Ufer Berlin) and Looking for Lena. Physiognomic fragments for the promotion of human recognition and human love (2017, in progress).
Stefan and Maria will be presenting a talk to Moultaqa Leymoun artists.
Stefan Kaegi is based in Berlin, produces documentary theatre plays and works in public space in a diverse variety of collaborative partnerships. Kaegi has toured across Europe and Asia with two Bulgarian lorry drivers and a truck which was converted into a mobile audience room (“Cargo Sofia”). He developed “Radio Muezzin” in Cairo – a project about the call to prayer in this age of technical reproduction. At the moment he adapts "Remote X" an audiotour for 50 headphones to Cities like Taipei and Tunis, and he tours the interactive installation “Nachlass” that portrays people who have not much time to live. Kaegi co-produces works with Helgard Haug and Daniel Wetzel, under the label “Rimini Protocol”.
A talk with Maria Rössler
Maria Rössler is a dramaturg, a programmer and a cultural worker, living and working between Amsterdam and Berlin. She studied theatre and media studies (BA) as well as International Dramaturgy (MA). After assisting the theatre collectives Rimini Protokoll and lunatiks production in Berlin, she worked for art festivals and conferences, such as Transmediale – festival for art and digital culture, the 3rd international Dance Congress as well as projects of the International Theatre Institute, the German Federal Cultural Foundation, and Wikimedia Germany. From 2013 until 2016, she was involved in the program development and organisation of the international performing arts festival Foreign Affairs at Berliner Festspiele. In 2017, she was dramaturgical advisor to the artistic program team of Kunstencentrum Vooruit in Ghent. Moreover, she conceptualised talk and reflexion formats for festivals in Brussels and Amsterdam. since 2017, she is a member of the program board of Zürcher Theater Spektakel. Her recent work as a freelance dramaturg includes collaborations with theatre makers Christiane Kühl & Chris Kondek, Margo Van de Linde, Abhishek Thapar, et al. Together with hardware hacker Nathan Fain, she has been conducting a research into the relationship between digital technologies, self-regulation and social intuition, in the framework of which they created the lecture performances Right Is the Might of the Community. A lecture on future democracy (2015, commissioned by HAU – Hebbel am Ufer Berlin) and Looking for Lena. Physiognomic fragments for the promotion of human recognition and human love (2017, in progress).
Stefan and Maria will be presenting a talk to Moultaqa Leymoun artists.
MOULTAQA LEYMOUN TALKS
Sina Saberi - Kahkeshān Project
Saturday 14th of April
12:00 pm | D-BEIRUT WAREHOUSE
Sina Saberi discusses the development of his initiative KAHKESHAN which is focused on dance education and the progress of Iranian dancers.
Kahkeshān is a meeting place for dance practices, creation & process. Translated as 'Cosmos' in Farsi, it is an invitation for sharing, exchange & development based on the idea of togetherness for the manifestation of relevant prepositions.
Kahkeshān is a meeting place for dance practices, creation & process. Translated as 'Cosmos' in Farsi, it is an invitation for sharing, exchange & development based on the idea of togetherness for the manifestation of relevant prepositions.
MOULTAQA LEYMOUN TALKS
WE WOMEN, THE INSIDE STORY
Saturday 14th of April
3:00 pm | D-BEIRUT WAREHOUSE
A discussion panel facilitated by and featuring extraordinary women providing insights into personal episodes of their careers will be held as part of the broader focus on Female Choreographers for this edition of BIPOD.
Moderated by Nayla Tamraz, writer, curator, researcher and professor of Literature and Art History and Head of the French Literature Department at Saint Joseph University in Beirut, the discussion panel will include Asma-Maria Andraos Yassine, Hania Mroue, Taghreed Darghout, Georgette Gebara, Nayla de Freige and Nadine Touma.
This event will build on the outcomes of the 2017 Moultaqa Leymoun conversation series on the role of Art and Culture, which explored dance practices and activism in the Arab world. The social and theoretical approach of these panels highlighted the urgency for connecting with the cultural and social environments for the sake of change. Moreover, it highlighted the need for engaging in such social and civil causes and addressing the body, and its concepts, as a strong tool for resistance and activism. The panelists for 2018, as female change - makers, will provide further context in the continuation of this debate.
Moderated by Nayla Tamraz, writer, curator, researcher and professor of Literature and Art History and Head of the French Literature Department at Saint Joseph University in Beirut, the discussion panel will include Asma-Maria Andraos Yassine, Hania Mroue, Taghreed Darghout, Georgette Gebara, Nayla de Freige and Nadine Touma.
This event will build on the outcomes of the 2017 Moultaqa Leymoun conversation series on the role of Art and Culture, which explored dance practices and activism in the Arab world. The social and theoretical approach of these panels highlighted the urgency for connecting with the cultural and social environments for the sake of change. Moreover, it highlighted the need for engaging in such social and civil causes and addressing the body, and its concepts, as a strong tool for resistance and activism. The panelists for 2018, as female change - makers, will provide further context in the continuation of this debate.
Guest Speakers:
Hania Mroué
Founder and Director of Metropolis Art Cinema
Former Managing Director of Ayam Beirut al Cinema’iya and Chief Arab Programmer for DFI
Nadine R.L Touma
Author, Publisher and pedagogue
Co-Founder of Dar Onboz Publishing and multidisciplinary creative platform
Asma Andraos
Co- Founder of Stree ( Luxury Event Agency)
Private Public Relations Expert
Nayla de Freige
Author
President of the Baalbeck International Festival since 2012
Member of the strategic committee and CEO of L Orient le Jour and Le Commerce du Levant.
Tagreed Darghouth
Artist Painter
Winner of the inaugural Boghossian Foundation prize for young Lebanese artists in 2012
Georgette Gebara
Dancer, choreographer, dance educator, founder of “École Libanaise de Ballet”.
Honorary Member of the International Theatre Institute, UNESCO.
Workshops
Anna Konjetsky - WAH WAH WORKSHOP
Date: 25 April 2018
Time: 6pm - 9pm
Place: D BEIRUT WAREHOUSE
Price : 40 USD
Registrations for the workshop will close before the start of the festival on 10 April. Your place will be confirmed only once payment has been received. Participants should have a knowledge in dance or movement.
About the workshop
A contemporary dance workshop that gives an inside view on the work of Anna Konjetzky's company and more specifically to the presented piece wah-wah. Going into the training and the movement vocabulary of the piece, as well as working with group principles and tasks. The workshop will be given by Anna Konjetzky and Sahra Huby.
About the artist
Since 2005 Anna Konjetzky creates dance-pieces and dance-installations, where the questioning and organization of the space is always very central. Her work has been shown for example at Spielart, Dance, Tanzwerkstatt Munich, Unidram Potsdam, Tanztage Regensburg, Festival Danse Balsa Marni Bruxelles, in Salzburg, Warsaw, Kampala, Nairobi, Hanoi, Istanbul, Gent, Brazil, Panama and Pakistan. Her dance-installation "Abdrücke" was invited in 2012 to Tanzplattform Germany. At the moment she receives a 3 years support of the City of Munich, and creates her work since 2014 in collaboration with Kammerspiele München.
Payments for the workshop can be made directly at the Maqamat Office. For further information please contact admin@maqamat.org.
Time: 6pm - 9pm
Place: D BEIRUT WAREHOUSE
Price : 40 USD
Registrations for the workshop will close before the start of the festival on 10 April. Your place will be confirmed only once payment has been received. Participants should have a knowledge in dance or movement.
About the workshop
A contemporary dance workshop that gives an inside view on the work of Anna Konjetzky's company and more specifically to the presented piece wah-wah. Going into the training and the movement vocabulary of the piece, as well as working with group principles and tasks. The workshop will be given by Anna Konjetzky and Sahra Huby.
About the artist
Since 2005 Anna Konjetzky creates dance-pieces and dance-installations, where the questioning and organization of the space is always very central. Her work has been shown for example at Spielart, Dance, Tanzwerkstatt Munich, Unidram Potsdam, Tanztage Regensburg, Festival Danse Balsa Marni Bruxelles, in Salzburg, Warsaw, Kampala, Nairobi, Hanoi, Istanbul, Gent, Brazil, Panama and Pakistan. Her dance-installation "Abdrücke" was invited in 2012 to Tanzplattform Germany. At the moment she receives a 3 years support of the City of Munich, and creates her work since 2014 in collaboration with Kammerspiele München.
Payments for the workshop can be made directly at the Maqamat Office. For further information please contact admin@maqamat.org.
Ruth Childs - WORKSHOP
Date: 20 April 2018
Time: 11am - 1.00pm
Place: D BEIRUT WAREHOUSE
Price : 40 USD
Registrations for the workshop will close before the start of the festival on 10 April. Your place will be confirmed only once payment has been received.
About the workshop
Ruth Childs will give a workshop around the choreographic work of Lucinda Childs and especially around the work that comes after the Jusdon Dance Theater period. In the 70s, three founding elements appear in her way of creating: the use of a score, a path in a space and a rhythm imposed without music.
Ruth wants to share and work on the scores of Calico Mingling (1973) and Katema (1978), pieces that are projected in their original version in the program Pastime, Carnation and Museum Piece that she presents on April 19th. Calico Mingling and Katema are part of a program she has just put together with Lucinda Childs and four other European dancers at the La Bâtie festival in Geneva.
About the artist
British-American performer, Ruth Childs was born in 1984 in London. She grew up in the United States where she studied dance and music. In 2003 she moved to Geneva to finish her dance training with the Ballet Junior de Genève. She worked with many internationally known choreographers and directors including Foofwa d’Imobilité, La Ribot, Gilles Jobin and Yasmine Hugonnet. Since 2015, she has been working on a revival project of the early works of her the aunt, the American choreographer Lucinda Childs. At the moment Ruth Childs is working on her first personal creation, The Goldfish and the Inner Tube.
Time: 11am - 1.00pm
Place: D BEIRUT WAREHOUSE
Price : 40 USD
Registrations for the workshop will close before the start of the festival on 10 April. Your place will be confirmed only once payment has been received.
About the workshop
Ruth Childs will give a workshop around the choreographic work of Lucinda Childs and especially around the work that comes after the Jusdon Dance Theater period. In the 70s, three founding elements appear in her way of creating: the use of a score, a path in a space and a rhythm imposed without music.
Ruth wants to share and work on the scores of Calico Mingling (1973) and Katema (1978), pieces that are projected in their original version in the program Pastime, Carnation and Museum Piece that she presents on April 19th. Calico Mingling and Katema are part of a program she has just put together with Lucinda Childs and four other European dancers at the La Bâtie festival in Geneva.
About the artist
British-American performer, Ruth Childs was born in 1984 in London. She grew up in the United States where she studied dance and music. In 2003 she moved to Geneva to finish her dance training with the Ballet Junior de Genève. She worked with many internationally known choreographers and directors including Foofwa d’Imobilité, La Ribot, Gilles Jobin and Yasmine Hugonnet. Since 2015, she has been working on a revival project of the early works of her the aunt, the American choreographer Lucinda Childs. At the moment Ruth Childs is working on her first personal creation, The Goldfish and the Inner Tube.
Video Dance Screening
FILM SCREENING
So-city of Spectacle
Saturday 14th of April
12:00 pm | D-BEIRUT WAREHOUSE
About the film
The name of the video is inspired from the theory of Guy Debord, ‘The Society of Spectacle’, considering the society as a staged scene on which every individual is posited, ruled and played by or in favor of the power relations (Debord, 1967). In this piece the spectacle is looking for the collision of heterogeneous and eccentric qualities with the unified, harmonic and tuned constructs; the more naked and spectacular, the more rejected and at the same time, desired!
Cast & credits
Performed & created by:
Maryam Bagheri Nesami, Mitra Ziaee Kia
Camera:
Mostafa Shabkhan
Editor:
Odessa Grayson
The name of the video is inspired from the theory of Guy Debord, ‘The Society of Spectacle’, considering the society as a staged scene on which every individual is posited, ruled and played by or in favor of the power relations (Debord, 1967). In this piece the spectacle is looking for the collision of heterogeneous and eccentric qualities with the unified, harmonic and tuned constructs; the more naked and spectacular, the more rejected and at the same time, desired!
Cast & credits
Performed & created by:
Maryam Bagheri Nesami, Mitra Ziaee Kia
Camera:
Mostafa Shabkhan
Editor:
Odessa Grayson
Exhibition
2018 BIPOD PHOTOGRAPHY EXHIBITION
MYRIAM BOULOS
Friday 27th of April
10:00 pm | D-BEIRUT WAREHOUSE
About the Artist
Born in Beirut in 1992, Myriam Boulos graduated from the Lebanese Academy of Fine Arts in 2015 and has been steadily making her mark as an artist to watch. In her photographic process, she constantly searches for the other. The need for integration takes different forms and is a recurring theme within her work. Myriam has participated in several group exhibitions such as The Games of the Francophonie, Photomed, Beirut Art Fair and Le Salon d'Automne amongst others. In 2014 she won the Byblos Bank Award, which lead to her first solo exhibition. She is also part of the Gemini Collective (with Michèle Standjofski and Laura-Joy Boulos), with whom she exhibited their first project, Disorder (s) in Beirut at the Janine Rubeiz Gallery.
Myriam’s involvement within BIPOD began in 2014, where she was invited as a student to take photographs behind the scenes. Her ability to capture unique moments from the perspective of audience members and performers provided a generous insight into the mosaic of experiences that exists within the festival. Following this experience, Maqamat invited Mariam to once again document a dance event, in this instance “Mashreq to Maghreb - From Sunrise to Sunset” a dance festival in Hellerau - European Cetnre for the Arts in Dresden, curated by Maqamat.
About the Exhibition
Having followed her work since her initial involvement in BIPOD 2014, we are delighted to invite Myriam to once again capture the many faces and experiences for this 14th edition of BIPOD. Documenting the artists, performers, dancers, choreographers, technicians, volunteers and audience members that bring BIPOD to life, Myriam’s work will be presented in an exhibition that will open after the final performance of BIPOD.
Born in Beirut in 1992, Myriam Boulos graduated from the Lebanese Academy of Fine Arts in 2015 and has been steadily making her mark as an artist to watch. In her photographic process, she constantly searches for the other. The need for integration takes different forms and is a recurring theme within her work. Myriam has participated in several group exhibitions such as The Games of the Francophonie, Photomed, Beirut Art Fair and Le Salon d'Automne amongst others. In 2014 she won the Byblos Bank Award, which lead to her first solo exhibition. She is also part of the Gemini Collective (with Michèle Standjofski and Laura-Joy Boulos), with whom she exhibited their first project, Disorder (s) in Beirut at the Janine Rubeiz Gallery.
Myriam’s involvement within BIPOD began in 2014, where she was invited as a student to take photographs behind the scenes. Her ability to capture unique moments from the perspective of audience members and performers provided a generous insight into the mosaic of experiences that exists within the festival. Following this experience, Maqamat invited Mariam to once again document a dance event, in this instance “Mashreq to Maghreb - From Sunrise to Sunset” a dance festival in Hellerau - European Cetnre for the Arts in Dresden, curated by Maqamat.
About the Exhibition
Having followed her work since her initial involvement in BIPOD 2014, we are delighted to invite Myriam to once again capture the many faces and experiences for this 14th edition of BIPOD. Documenting the artists, performers, dancers, choreographers, technicians, volunteers and audience members that bring BIPOD to life, Myriam’s work will be presented in an exhibition that will open after the final performance of BIPOD.
Partners
SUPPORTERS 2018
Saturday 28th of April
12:00 am | D-BEIRUT WAREHOUSE
We are extremely grateful and proud to be supported by all our partners and sponsors as well as by our wonderful audience!
ORGANISERS OF BIPOD 2018
Maqamat Dance Theatre
Moultaqa Leymoun
Maqamat Beit El Raqs
PATRONAGE
Ministry of Culture
MAQAMAT MAIN PARTNER
The Royal Norwegian Embassy in Beirut
MAIN PARTNER - ITALIAN FOCUS
MIBACT | Institut de Cultura | Italia Culture Mediterraneo | Republica Italiana | Vivere AllÍtaliana
PARTNERS
US Embassy in Lebanon | Italian Embassy in Beirut | Swiss Embassy in Beirut | Generalitat de Catalunya | Inaem | Ajuntament de Barcelona | Spanish Embassy in Beirut | Pro Helvetia Cairo, Swiss Arts Council | Goethe Institute | NPN | APAP | Performing Arts Hub Norway | Norwegian Ministry of Foreign Affairs | Sursock Museum
MEDIA PARTNERS
Promomedia | L’Orient le Jour | Al Akhbar Newspaper | Voix du Liban | Light Fm | Lebtivity
SPONSPORS
Warde | Over the counter | Sohat | Dots
FOOD SUPPORTERS
Olio | Lux | Tawlet | Souk El Tayyeb | Bar National | Keyrouz Bakery
ORGANISERS OF BIPOD 2018
Maqamat Dance Theatre
Moultaqa Leymoun
Maqamat Beit El Raqs
PATRONAGE
Ministry of Culture
MAQAMAT MAIN PARTNER
The Royal Norwegian Embassy in Beirut
MAIN PARTNER - ITALIAN FOCUS
MIBACT | Institut de Cultura | Italia Culture Mediterraneo | Republica Italiana | Vivere AllÍtaliana
PARTNERS
US Embassy in Lebanon | Italian Embassy in Beirut | Swiss Embassy in Beirut | Generalitat de Catalunya | Inaem | Ajuntament de Barcelona | Spanish Embassy in Beirut | Pro Helvetia Cairo, Swiss Arts Council | Goethe Institute | NPN | APAP | Performing Arts Hub Norway | Norwegian Ministry of Foreign Affairs | Sursock Museum
MEDIA PARTNERS
Promomedia | L’Orient le Jour | Al Akhbar Newspaper | Voix du Liban | Light Fm | Lebtivity
SPONSPORS
Warde | Over the counter | Sohat | Dots
FOOD SUPPORTERS
Olio | Lux | Tawlet | Souk El Tayyeb | Bar National | Keyrouz Bakery