JOY ALPUERTO RITTER
19 & 20.7.2019
Kalamata Dance Megaron - Studio | 19:30 | 40΄
Joy Alpuerto Ritter performs in Greece for the first time with Babae, a solo work inspired by Mary Wigman’s Witch Dance. Babae, which means ‘woman’ in Tagalog (Philippine language), premiered at the Witch Dance Project at the Sophiensaele, Berlin in 2016.
Alpuerto Ritter examines inherited vocabularies, reconfiguring what it means to summon the power and mystical practices of a woman as a witch. She develops Mary Wigman’s movement material into her own witch character, by combining her roots in Philippine folk dance, her classical/contemporary training, and the vocabulary of hip hop and voguing.
During her performance, Alpuerto Ritter lets the audience witness an ancient and intimate ritual, a procedure apparently known only to her. She exposes herself to states of transformation and trance on the one hand, and radiates strength in her femininity on the other. Her journey is a celebration of life, spiritual awareness, and wisdom. In her witch character, Alpuerto Ritter embodies women’s historical sacrifices along with pure and absolute freedom.
Babae is a one-woman interplay between the animalistic and sensual qualities of ritual and power.
Choreography-Concept-Dance: Joy Alpuerto Ritter
Music Composer: Vincenzo Lamagna
Artistic Assistant: Lukas Steltner
Light designer: Arne Schmitt & Joy Alpuerto Ritter
Costume designer: Lan Behrendt DYAO
Special thanks to Christoph Winkler (Witchdance Project), Farooq Chaudry (Portrait in Otherness), Akram Khan, Elena Polzer (Ehrliche Arbeit), Lukas Steltner, Sophiensaele Berlin, Tanzfonds Erbe
Joy Alpuerto Ritter graduated from the Palucca Dance School of Dresden. Since 2004, she has worked as a freelance dancer with Akram Khan, Wangramirez, Christoph Winkler, Anja Kozik, Heike Hennig, Milan Gervais, Constanza Macras and the Cirque du Soleil. Her versatile background from classical training to Urban Dance techniques has allowed her to develop a unique movement esthetic. She has been creating her own choreographies since 2016.
CCN DE LA ROCHELLE /CIE ACCRORAP - KADER ATTOU
19 & 20.7.2019
Kalamata Dance Megaron - Main Stage | 22:00 | 90΄
For the past twenty years, Kader Attou’s approach to dance has been honed through the grinding and blending of various aesthetics—hip hop, Indian kathak, and contemporary dance. Attou believes that the key to this process is to build bridges, create links and a dialogue beyond and through difference. His aim is to distinguish what transpires from the physical as opposed to the emotional, how feeling can be born through the virtuoso use of a specific technique, a mechanical gesture, a simple hint. This quest is the heart of The Roots.
The Roots is above all a human adventure, a journey enacted by eleven exceptional hip hop dancers. Chapter after chapter, the performance transforms, opening up new horizons and transporting the spectator elsewhere. The setting is ordinary: a table, a crackling vinyl record on a turntable, childhood memories. Music plays a crucial part, stirring and calling for the dancers to unite. The Roots delves into one’s history, with each dancer exploring their strengths, their own path. Shaped over the years, each dancer’s unique style becomes the starting point of a journey from one’s roots towards body memory. The Roots represents the rewards of this quest, drawing upon the munificence of dance to show the way to new directions.
Artistic director-choreographer: Kader Attou
Cast: Mickaël Arnaud, Sim’Hamed Benhalima, Babacar (Bouba) Cissé, Virgile Dagneaux, Erwan Godard, Kevin Mischel, Artem Orlov, Mehdi Ouachek, Nabil Ouelhadj, Maxime Vicente
Scenography: Olivier Borne
Original painting: Ludmila Volf
Music: Régis Baillet - Diaphane, along with additional music
Lights: Fabrice Crouzet
Costume designer: Nadia Genez
Production: CCN de La Rochelle / Cie Accrorap Direction Kader Attou
Co-production: La Coursive – Scène Nationale de La Rochelle / MA Scène Nationale – Pays de Montbéliard
With the support of Châteauvallon – Scène Nationale during creation residencies
The performance The Roots is presented at 25th Kalamata International Dance Festival with the support of the French Institute.
Accrorap was founded by Kader Attou, Eric Mezino, Chaouki Saïd, Mourad Merzouki, and Lionel Frédoc in 1989. From its outset as an artists’ collective to the creation of unique choreographic works, Accrorap has been characterized by a profound openness: openness to the world through journeys conceived as moments of sharing, to different artistic forms, to different trends. Accrorap’s work is the tale of an international collective adventure, where encounters and journeys enrich reflection.
Since 1989, Accrorap and Kader Attou have been creating a dance that is generous, a dance that breaks and crosses frontiers, enriched and fine-tuned through the influence of hip hop, the circus arts, contemporary dance, and the visual arts. Attou and Accrorap have performed around the world with works like Prière pour un fou (1999), Anokha (2000), Pourquoi pas (2002), Douar (2004), Les corps étrangers (2006), Petites histoires.com (2008), Trio (?) (2010), SymfoniaPiésniZałosnych (2010), The Roots (2013), Un break à Mozart (2014), OPUS 14 (2014), Un break à Mozart 1.1 (2016) and Allegria (2017).
20, 21 & 22.7
Kalamata Dance Megaron - Main Stage (backstage)
20 & 21.7 [12:00 & 14:00 & 19:00 & 23:50]
22.7 [12:00 & 14:00 & 19:00 & 21:00] | 20΄
19 → 23.7.2019
Kalamata Dance Megaron - Lobby
A performance and photography project
Mnémosyne expresses the memory of a world: the world of choreographer and visual artist Josef Nadj. Thirty years after the creation of his first performance, Nadj produces a global piece, both photographic project and theatrical performance. Reclaiming a practice developed alongside his main work, Nadj digs into his own memory to widen once again his creative horizon.
For Mnémosyne he has conceived a large photographic exhibition and a black box. Inside the box, in the intimacy of this camera obscura, Nadj stages himself in a short performance of a rare density, where every movement, every action, every second is an echo of his personal and artistic journey. Around the black box Nadj has imagined a photographic exhibition. Each one of his photographs tells a story, contains a unique memory, known only to the artist. Found objects kept because of their suggestive power, pieces of art that keep inspiring him, and all kinds of souvenirs evoke a relationship to time that spans over many years, from the search for forms to the composition of the images and from the choice of the technique to the actual moment the shot was taken.
A personal tribute to The Atlas, German art historian Aby Warburg’s unfinished project, Mnémosyne is all in all a total piece of art—installation, performance, and exhibition at the same time. Each spectator retains one final image, an impression that questions our vision and our memory.*
The photographic exhibition will be held at the Megaron lobby as part of the performances but also as a separate visual installation.
*From an interview of Josef Nadj by Marylène Malbert
Concept-Performance: Josef Nadj
Lights: Rémi Nicolas
Set Construction-Τechnical Manager: Sylvain Blocquaux
Music: Peter Vogel, Schubert performed by Emmanuelle Tat
Set Manager: Romuald Liteau-Lego
Photographs: Josef Nadj
Artistic Collaboration: Dudás Szabolcs
Framing: Jean-Pierre Haie, Atelier Demi-Teinte
Technical Manager: Sylvain Blocquaux
Production-Τouring: Bureau PLATÔ - Séverine Péan, Emilia Petrakis
Administration: Bureau PLATÔ – Marie de Heaulme
Executive Producer: Atelier 3+1
Co-production: Biennale de la danse de Lyon 2018, Centre Chorégraphique National – Orléans, La Filature Scène Nationale – Mulhouse, Le CENTQUATRE-Paris
With the support of the Ministère de la Culture – Direction générale de la création artistique – Délégation à la Danse, Région Ile-de-France, La Villette-Paris, Résidence Sainte-Cécile-Orléans
The performance and photography project Mnémosyne is presented at 25th Kalamata International Dance Festival with the support of the French Institute.
Josef Nadj is artist-in-residence at the CENTQUATRE-Paris and winner of the international residency programme of the Ville de Paris – Récollets
Creation: 22 September 2018, Biennale de la danse de Lyon – Musée des Beaux-Arts
Understanding dance above all as a site for encounter, this is how Josef Nadj defines his work. Beyond his role as choreographer, Nadj is an artist without borders and without barriers. Dancer but also visual artist and photographer, his vision of humanity is poetic and passionate.
Constantly in search of new forms, ceaselessly willing to explore humanity as closely as possible to the human truth. Across his career, from Canard pékinois (1987) to Mnémosyne (2018), Nadj has relentlessly pursued exigent and passionate choreography, where gravity and compassion take turns, where depth and humour alternate. Whether he is visiting atypical authors (Beckett, Kafka, Michaux) or bringing painting along with him on stage (in a performance with Miquel Barceló), Nadj flourishes in complete corporal freedom. Oscillating between reality and fantasy, tradition and modernity, he explores the essential: man’s relationship with himself. Because for Nadj, dance is fundamentally a humanist act.
Over the years, the works of Nadj have become reference points in contemporary dance. Acclaimed nationally (Carte Blanche at the Grande Halle de La Villette in Paris in 2014; Associated Artist at the 2006 Avignon Festival, which officially designated him as “creator without borders”), his work is also recognized and celebrated around the globe. Nadj has been enthusiastically received by 400,000 audience members in the most important international venues across five continents. Drawing his inspiration from the depths of the great myths of humanity, passionately intertwining both artistic disciplines and cultural references, Nadj is elaborating a universal language. From 1995 to 2016, Nadj was director of the Centre chorégraphique national d’Orléans. In 2017, he established his new company Atelier 3+1 in Paris.
ARISANDMARTHA | ARIS PAPADOPOULOS & MARTHA PASAKOPOULOU
LUCY. TUTORIAL FOR A RITUAL
Kalamata Dance Megaron - Studio | 19:30 | 45΄
Having previously presented their debut work at the Aerowaves 2018 dance platform, the creative duo arisandmartha (Aris Papadopoulos and Martha Pasakopoulou) have now come up with the concept of a contemporary, devised ritual that places us in a liminal world, where everything is invested with meaning by the mere fact of its presence. The title references the famous controversial skeleton of Lucy, the first Australopithecus afarensis identified in Ethiopia in 1974. This performance is a ritualistic attempt to connect disparate elements, an experiment on the unclear temporal and spatial boundaries of the transition from the individual to the collective. Toying with the aspects of ecstacy and conscious observation, imagination and inescapable reality, the forgotten need for faith and the glorification of lies, the ‘man-animal’ and the ‘human animal,’ this performance sets out to expand our perception, inviting us to reconsider ways and places of ritualistic practices still surviving in our everyday life. The artists raise the question: “Can we reach something real through something fake?”
Concept-Choreography-Performance: arisandmartha (Aris Papadopoulos & Martha Pasakopoulou)
Dramaturgy Consultant: Anastasios Koukoutas
Sound Design-Original Music: Maria Sideri
Set and Costume Design: Dimitra Liakoura & Periklis Pravitas
Lighting Design: Eliza Alexandropoulou
Vocal Coaching: Anna Pangalou
Press-Communication: Evangelia Skrobola
Graphic Design: Chrysoula Korovesi & Marios Gampierakis
Photography: Yannis Bournias
Video: Manos Arvanitakis
Production Design: Maria Vasariotou
Production Management: Delta Pi
Co-production: arisandmartha, Athens and Epidaurus Festival 2019 and FLUXUM Foundation - Geneva.
With the kind support of the Duncan Dance Research Center – Athens, Garage Performing Arts Center – Corfu, KLAP Maison pour la danse - Marseille, Flux Laboratory – Geneva.
With the financial support of the Hellenic Ministry of Culture and Sports (2018-9) and FLUXUM Foundation – Geneva.
Aris Papadopoulos and Martha Pasakopoulou explore the fields of dance, performance, and site specific. While following individual artistic paths and collaborations, they are also working together as arisandmartha since 2016, bringing their personal interests and aesthetics into a mutual discussion. Flexible and open to the double identity of dancer-choreographer, they are discovering new, common creative grounds with their every performative encounter.
KABINET K / JOKE LAUREYNS & KWINT MANSHOVEN
Kalamata Dance Megaron - Main Stage | 22:00 | 55΄
A human asks questions, restless, full of longing. The world remains silent, indifferent, and overwhelming. But life gains the upper hand, time and again, no matter how.
Kabinet k performs in Greece for the first time. Invisible, created for seven dancers from different generations, questions what happens when human beings lose their reference points. A performance about purification, hope, and comfort. About how we walk on a tightrope between everything and nothing. About how we whistle in the dark.
Choreography: Joke Laureyns & Kwint Manshoven
Dancers: Louise Tanoto, Jacob Ingram-Dodd, Kwint Manshoven, Titus Messiaen, Lisse Vandevoort, Sueli Besson, Naïm Glas
Music: Stijn Ylode De Gezelle
Scenography: Stef Stessel
Dramaturgy: Mieke Versyp & Liesbeth De Clercq (UIA intern)
Costumes: Valerie Le Roy
Lighting Design: Stef Stessel & Barbara De Wit
Stage Technicians: Dirk De Hooghe & Lorin Duquesne
Photography: Kurt Van der Elst
Production: kabinet k & hetpaleis
With support from the Flemish Community and the city of Ghent
With thanks to NTGent
Since 2002, kabinet k has been using a dance language that can be reflective, minimalist, and expressive, then suddenly switch to a raw, brutal, exuberant energy. The company creates productions around a central concept, such as resilience (Rauw) and blind faith (Horses), which is translated for young audiences through the movement, scenography, cast, rhythm, and other aspects of the show. Live or newly composed music, the presence of different generations on stage, and the influence of the visual arts are characteristic elements in their work.
Kabinet k approaches dance in an organic manner, focusing not so much on virtuosity but on authenticity. Through its productions, kabinet k aims to offer an alternative, to demonstrate how things can be done differently in a world full of assertions.
Kabinet k has been structurally collaborating with hetpaleis (Antwerp) since 2016. Horses is the first production resulting from this partnership. Created by kabinet k in 2018, Invisible is a performance for both adult and young audiences from the age of eight.
KI OMOS KINEITAI
THE MASTER AND MARGARITA
Kalamata Dance Megaron - Studio | 19:30 | 60΄
Inspired by Mikhail Bulgakov’s homonymous novel:
—I do not understand what will happen from now on.
—Surely something utterly absurd!
A surrealist tale in which the Devil himself, vengeful and tired, appears with his escort to cure the lack of faith, rebalance logic with the absurd, the feasible with the impossible, and ultimately scorn the trust of humans in what they arbitrarily define as reality. A scaffolding, with people hanging from it, is being dismounted. A performance devoted to the constructivist movement, which stubbornly denied romanticism before eventually glorifying it.
Excerpts from the constructivists’ Realistic Manifesto:
“Above the tempests of our weekdays, across the ashes and cindered homes of the past, before the gates of the vacant future, we proclaim [that] efficacious existence is the highest beauty.
Life knows neither good nor bad nor justice as a measure of morals… need is the highest and most just of all morals.
Life does not know rationally abstracted truths as a measure of cognizance, deed is the highest and surest of truths.
Space and time are re-born to us today.”
(Moscow, three years after the October Revolution)
Concept-Direction: ki omOs kineitai (Christina Sougioultzi, Camilo Bentancor, Hermes Malkotsis)
Performers: Camilo Bentancor, Anastasis Karahanidis, Antigoni Linardou, Hermes Malkotsis, Aggeliki Merenditi, Christina Sougioultzi, Chronis Tomboris
Original Music-Sound Design: Kleon Andoniou & Babis Paritsis
Set Designer-Visual Concept: Camilo Bentancor
Lighting Design: Maria Athanasopoulou
Costumes: Aggeliki Manesi & Fani Mouzaki
With the support of the Hellenic Ministry of Culture and Sports
The group ki omOs kineitai was founded in 2003 by dancer Christina Sougioultzi and circus performer Camilo Bentancor. Since 2008, the group regularly collaborates with dancer and choreographer Ermis Malkotsis. It is a collaboration of artists with diverse kinesiological backgrounds, a group of complex physical performances where dance, circus, and performance techniques meet and blend.
Within the structure of a performance, based on each performers’ movement and expression, circus techniques relating to the creation and use three-dimensional space and the performers’ expressive range are combined with the communication particularities of a performance.
The group’s aim is to formulate a distinct expressive manner by merging rather than juxtaposing each performer’s unique style, always in relation to a specific performance.
LE GALACTIK ENSEMBLE
23 & 24.7.2019
Kalamata Dance Megaron - Main Stage | 23.7 [22:00] / 24.7 [ 19:30] | 60΄
This is the Galactik Ensemble’s first Greek performance. Rather than pure circus skills, it is their research into the relationship between people and a hostile environment that inspires them. Their work draws from their desire to stage simple actions in ways that challenge the human body. Simply standing up, speaking, moving freely, resisting, and adapting to an external physical force lie at the heart of many existential questions.
The group has developed what they call ‘situation acrobatics’, which explore the direct, concrete relationship between humans and an unstable environment and the former’s ability to adjust. They present individuals and groups faced with unpredictable and risky situations.
The Galactik Ensemble creates pieces where movement does not appear as a well-honed skill but as a necessity, an urge. On stage they seek a quality of movement that can infiltrate the real world, be measured against it, and challenge the audience.
Performers: Mathieu Bleton, Mosi Espinoza, Jonas Julliand, Karim Messaoudi, Cyril Pernot
Technical Management: Victor Fernandes
Stage Management: Charles Rousseau
Set Construction: Franck Breuil
Lighting Design: Adèle Grépinet
Lighting Technician: Romain Caramalli
Sound-Music Design: Denis Mariotte
Sound Technician: Eric Sterenfeld
Graphics-Communication: Maëva Longvert
Artistic Collaboration: Matthieu Gary & Marie Fonte
Acrobatics Supervision: Dimitri Jourde
Production-Distribution: Léa Couqueberg
Production Management: Emilie Leloup
Production: Le Grand Gardon Blanc & Galactik Ensemble
Co-production: Plateforme 2 Pôles Cirques en Normandie: La Brèche à Cherbourg – Cirque Théâtre d’Elbeuf, Scène Nationale de Châteauvallon, Le Tandem, scène nationale, Les 3T-Scène conventionnée de Chatellerault, Houdremont Scène Conventionnée, La Courneuve, Les Subsistances, Lyon, CircuxNext.
Le Galactik Ensemble benefits from the Aide à la production de la DRAC, Île-de-France, Aide à la création artistique pour le cirque – DGCA / Ministère de la Culture, the support of SACD / Processus Cirque, ADAMI, and the Aide à la diffusion d’œuvres sur le territoire parisien de la Mairie de Paris.
With the support of Arcadi, Île-de-France, Le Monfort Théâtre, Paris, Théâtre de L’Agora, Evry, La Nouvelle Digue, Toulouse, CIRCa, Auch, La Grainerie, Balma, La Cascade, Pôle National des Arts du Cirque, Bourg-Saint-Andéol, Le Carré magique, Pôle National des Arts du Cirque en Bretagne, Lannion.
The performance Optraken is presented at 25th Kalamata International Dance Festival with the support of the French Institute.
Mathieu Bleton, Mosi Espinoza, Jonas Julliand, Karim Messaoudi, and Cyril Pernot began collaborating ten years ago. They met at the National School for Circus Arts (École Nationale des Arts du Cirque de Rosny-sous-Bois, France, ENACR) while training as acrobats and have since developed their craft as performers and writers through a wide variety of experiences.
LALI AYGUADÉ COMPANY.
IU AN MI
25 & 26.7.2019
Kalamata Dance Megaron - Studio | 19:30 | 55΄
“Deformed. Deceived. We live in a fantastically imagined world, and this allows us to continue our misfortune, headlong towards death.”
The Lali Ayguadé Company performs in Greece for the first time with iU an Mi. Under the pretext of a funeral, iU an Mi exposes what people do when confronted with irreversible events, inevitable actions they do not know how to cope with. It speaks about emotions prettied up by convention, about intimacies forcibly exposed to the group. About how we look at others and how others see us. About the private and the social, the personal and the public.
We are all equal. We all go through the same things and we all need the same things. Yet we persist in believing that we are different, in pretending that we are special, unique. We all believe that fate holds something different in store for us. “It could happen to anyone, but it won’t happen to me.” We are aware of reality, but we are all attracted to fantasy. We let ourselves get carried away by our imagination, and this is essentially what guides us in life.
We need to put a name on what we do not know, on what we cannot explain, even when this means associating it to another concept that we cannot define either, such as God, the Unconscious, Destiny, Soul, Spirit, the afterlife. This is our only way to achieve a greater peace of mind. But what is real, and what is imagined? What is the Truth? Maybe that’s the problem.
Performers: Anna Calsina Forrellad, Nick Coutsier, Marlène Rostaing, Diego Sinniger
Composer: Josep Baldomà
Set Designer: Xesca Salvà
Light Designer: Fabiana Piccoli
Dramaturgy: Jordi Oriol Canals
Director: Lali Ayguadé
Co-produced by Mercat de les Flors, Temporada Alta and Festival Bolzano Danza/Tanz Bozen
Executive Production: Elclimamola
Booking-Company Production: Big Story Performing Arts
With the support of Generalitat de Catalunya
Collaborators: Sismògraf d’Olot, Nunart, Graner – Fàbrica de creació, KLAP Maison pour la danse
The performance iU an Mi is presented at 25th Kalamata International Dance Festival with the support of Acción Cultural Española (AC/E) through the Programme for the Internationalisation of Spanish Culture (PICE), in the framework of the Mobility grants.
Lali Ayguadé (Barcelona, 1980) is a Catalan performer and choreographer. She trained at the Liceu Conservatory (Barcelona), the Institut del Teatre (Barcelona), and PARTS (Brussels), where she created her first solo Silence, coached by Wim Vandekeybus. She has since worked with the Publik Eye Company (under Carmen Mehnert), the Akram Khan Company, Hofesh Shechter, Marcos Morau, Roberto Olivan, and Baró d’Evel, among others. Her own short creations include Twice Read (in collaboration with Anton Lachky), Little Me (with Young Jin Kim and Joan Català), Encontre (with Joan Català and Jordi Molina), Incognito, and Saba. Ayguadé founded her own company in 2013 and has since created full-evening pieces, such as Kokoro and iU Mi, which are the two first parts of a trilogy. Her performance Incognito inspired part of the award-winning (Palme d’Or at Cannes, Goya Award, Gaudi Award) and Oscar-nominated short film Timecode.
Kalamata Dance Megaron - Studio | 19:30 | 45΄
BSTRD (an abbreviation for ‘bastard’) is a solo performance, based on the notions of impurity and hybridisation: what if the idea of purity is an illusion, and everything is made of a much more complex material, so that the question focuses not on the origin (or originality), but on the final function or/and impact on the rest? Inspired primarily by House culture’s practice of amalgamation, Katerina Andreou dances her own manifesto, in an almost vain attempt to avoid any easy dichotomy between ‘what is’ and ‘what is not’. But how does one remain free, anonymous, without necessarily ending up alone?
Andreou is interested in developing a physicality that can carefully serve the concept of pure impurity. BSTRD uses the deep bass of a vinyl record as scenography and tool for the political and poetic discourse of a bastardised figure, free of all enclosure and codification, but respectful to its reality, balancing between the desire to avoid convention and the desire to belong, between anonymity and identification, adulteration and authenticity.
Choreography-Performance: Katerina Andreou
Sound Design: Katerina Andreou in collaboration with Eric Yvelin
Light Design: Yannick Fouassier
Outside Eye: Myrto Katsiki & Lynda Rahal
Sound Engineering: Tal Agam or Eric Yvelin
Production: Mi-Maï / Bark
Production-Bookings: Élodie Perrin
Co-production: Atelier de Paris/CDCN, Onassis Stegi, Centre Chorégraphique National d’Orléans, Centre Chorégraphique National de Caen en Normandie, La place de la danse CDC de Toulouse, Ballet de Marseille.
Partners: Ménagerie de verre Studiolab, Kunstencentrum BUDA, Réservoir Danse Rennes, ImpulsTanz Festival (residency Jardin D’Europe Award )/CND Pantin (résidence augmentée)/La CABINE (PAD), Réservoir Danse Rennes, MonitorFest Heraklion.
With the support of ARCADI and DRAC Ile de France
Born in Athens (1982) and based in France, Katerina Andreou is a dancer, musician, and choreographer. A graduate of the University of Athens Law School and the National School of Dance (Athens), she obtained a Masters degree in dance studies and choreography from Université Paris 8 after completing the ESSAIS programme of the CNDC d’Angers (2011), under the direction of Emmanuelle Huyhn, with a scholarship from the K. Pratsika Foundation. In 2015, she was a Danceweb scholar at the Impulstanz Festival in Vienna. As a dancer, she has collaborated with DD Dorvillier, Lenio Kaklea, Bryan Campbell, Dinis Machado, Emmanuelle Huynh, and Ana Rita Teodoro among others.
In her work, Andreou is interested in developing states of presence, constantly negotiating between contrasted tasks, fictions, and universes, often questioning ideas such as authority and autonomy, communication and censorship. She often designs the music for her own pieces.
Andreou was awarded the Prix Jardin d’Europe choreography prize at the ImpulsTanz Festival in 2016 for her solo dance piece A kind of fierce,which was co-produced by the Athens Festival. For her solo BSTRD, which premiered at the Onasis Stegi in 2018, she is part of Aerowaves Twenty19. She is also a Panorama Artist of the Departures and Arrivals (DNA) network.
AKRAM KHAN COMPANY
UNTIL THE LIONS
27 & 28.7.2018
Kalamata Dance Megaron - Main Stage | 22:00 | 60΄
What defines gender? What makes us male or female? Is it the body? Could it be deeper, unnamed impulses that drive desire or expression? Or is it an identity bracelet society hands out? How permanent and unchanging do these labels remain? And what part does Time, master sorcerer, play in our perceptions?
Keenly aware of the complex demands of the body across time, of the transition from power to endurance, Akram Khan turns his gaze on these questions through the prism of one of his best-loved epics, the Mahabharata.
Until the Lions* revisits the great epic, but through the eyes of a compelling female character, Amba, who questions the definitions of manhood and womanhood, and challenges Time. Princess Amba is abducted on her wedding day by Bheeshma and offered as bride to his brother. Though she regains her liberty, Amba’s life is destroyed: she is rejected by her family, her betrothed, later by her abductor, and all of society. Amba then invokes the gods.
Until the Lions looks at what happens when society’s rules for each gender destroy rather than protect. What does a woman do when she loses ownership of her body? To what lengths can she go to regain control over her life, to gain justice? When the quest for justice swerves towards revenge, what price would the body have to pay? And what price would humanity have to pay?
*A partial adaptation of the book Until the Lions: Echoes from the Mahabharata by Karthika Naïr.
Artistic Director-Choreographer: Akram Khan
Narrative Concept-Scenario-Text: Karthika Naïr
Visual Design: Tim Yip
Lighting Design: Michael Hulls
Original Music Score: Vincenzo Lamagna in collaboration with Sohini Alam, David Azurza, Yaron Engler, Akram Khan, Joy Alpuerto Ritter
Dramaturg: Ruth Little
Assistant Director: Sasha Milavic Davies
Assistant Choreographer: Jose Agudo
Voice-over: Kathryn Hunter
Dancers: Ching-Ying Chien, Joy Alpuerto Ritter, Rianto
Musicians: Sohini Alam, Joseph Ashwin, David Azurza, Yaron Engler
Producer: Farooq Chaudhry
Technical Director: Richard Fagan
Technical Coordinator: Peter Swikker
Stage Manager: Lara Davidson
Lighting Technician: Zak Macro
Sound Technician: Phil Wood
Technician: Sam Holland
Assistant to the Costume Designer-Costume Maker: Peggy Housset
Model head designed and made by Blind Summit
Project/Tour Manager: Mashitah Omar
Production Manager: Florian Stagliano
Tour Assistant: Mai Saroh Tassinari
This production is a partial adaptation of Until the Lions: Echoes from the Mahabharata, a retelling in verse of the Mahabharata by Karthika Naïr (Harper Collins India, 2015 & Arc Publications UK, 2016).
Production initiated by The 360° Project. International Network of Round Arts Venues.
Produced during residency at Sadler’s Wells London and Curve Leicester.
Co-production: Roundhouse/Sadler’s Wells London, MC2: Grenoble, La Comète Châlons-en-Champagne, Théâtre de la Ville/La Villette Paris, Danse Danse/TOHU Montréal, Les Théâtres de la Ville de Luxembourg, New Vision Arts Festival Hong Kong, Taipei Performing Arts Center, Movimentos Festwochen der Autostadt in Wolfsburg, Brighton Festival 2016, Maison de la Culture d’Amiens, Concertgebouw Brugge, Manège, scène nationale – Reims, Holland Festival Amsterdam, Romaeuropa Festival, Curve Leicester
Sponsored by COLAS
With generous support from Quercus Trust
Supported by Arts Council England
Akram Khan is an Associate Artist of Sadler’s Wells London and Curve Leicester.
The performance Until the Lions is presented at 25th Kalamata International Dance Festival with the support of the British Council.
Akram Khan is one of the most celebrated dance artists today, building his reputation on the success of imaginative and relevant productions, such as Kaash, iTMOi (in the mind of igor), DESH, Vertical Road, Gnosis, and zero degrees. His work is recognized as being profoundly moving, and his intelligently crafted storytelling as effortlessly intimate and epic. Khan was described by the Financial Times as an artist “who speaks tremendously of tremendous things”.
As an instinctive and natural collaborator, Khan has been a magnet to world-class artists from other cultures and disciplines such as the National Ballet of China, actress Juliette Binoche, ballerina Sylvie Guillem, choreographers/dancers Sidi Larbi Cherkaoui and Israel Galván, singer Kylie Minogue, visual artists Anish Kapoor, Antony Gormley and Tim Yip, writer Hanif Kureishi and composers Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost. During his close collaboration with the English National Ballet and its Artistic Director Tamara Rojo, Khan created the short piece Dust and his own critically acclaimed version of the iconic romantic ballet Giselle. A highlight of Khan’s career was the creation of a section of the London 2012 Olympic Games Opening Ceremony, which was received with unanimous acclaim.
Khan has been the recipient of numerous awards throughout his career including the Laurence Olivier Award, the Bessie Award (New York Dance and Performance Award), the prestigious ISPA (International Society for the Performing Arts) Distinguished Artist Award, the Fred and Adele Astaire Award, the Herald Archangel Award at the Edinburgh International Festival, the South Bank Sky Arts Award, and six Critics’ Circle National Dance Awards. Khan was awarded an MBE for services to dance in 2005.
Khan is an Associate Artist of Sadler’s Wells, London and Curve, Leicester.