pictures Shira Marek
Time is out of joint.
CONCEPT, CHOREOGRAPHY Steven Michel
SOUND COMPOSITION Raphaëlle Latini
DRAMATURGY Lynda Rahal
PERFORMERS, CREATED FOR AND WITH Erwan Ha Kyoon Larcher, Inga Huld Hakonardottir, Marina Sangra, Nathan Ooms
LIGHTING DESIGN Max Adams
INTERNSHIP LIGHTS Floris Xhenseval
COSTUMES Miguel Peñaranda Olmeda - olmedam
VOCAL COACHING Valérie Joly
SOUND ENGINEERING Jo Heijens
TOUR TECHNICIANS Valentijn Weyn (to be confirmed)
PRODUCTION GRIP (Hanne Doms, Anneleen Hermans, Rudi Meulemans, Lize Meynaerts, Klaartje Oerlemans, Jennifer Piasecki, Sylvie Svanberg, Nele Verreyken)
INTERNATIONAL DISTRIBUTION A propic – Line Rousseau, Marion Gauvent
CO-PRODUCTION Charleroi danse - centre chorégraphique de Wallonie - Bruxelles, La Comédie de Clermont-Ferrand, ICI - CCN Montpellier-Occitanie, Espace Pasolini / NEXT festival, STUK, Perpodium
RESIDENCIES Espace Pasolini laboratoire artistique Valenciennes, La Comédie de Clermont-Ferrand, STUK, ICI - CCN Montpellier-Occitanie, Charleroi danse - centre chorégraphique de Wallonie - Bruxelles, CAMPO, kunstencentrum nona
WITH THE FINANCIAL SUPPORT OF the Flemish Government, Tax Shelter of the Belgian Federal Government via Cronos Invest
CONCEPT, CHOREOGRAPHY Steven Michel
SOUND COMPOSITION Raphaëlle Latini
DRAMATURGY Lynda Rahal
PERFORMERS, CREATED FOR AND WITH Erwan Ha Kyoon Larcher, Inga Huld Hakonardottir, Marina Sangra, Nathan Ooms
LIGHTING DESIGN Max Adams
INTERNSHIP LIGHTS Floris Xhenseval
COSTUMES Miguel Peñaranda Olmeda - olmedam
VOCAL COACHING Valérie Joly
SOUND ENGINEERING Jo Heijens
TOUR TECHNICIANS Valentijn Weyn (to be confirmed)
PRODUCTION GRIP (Hanne Doms, Anneleen Hermans, Rudi Meulemans, Lize Meynaerts, Klaartje Oerlemans, Jennifer Piasecki, Sylvie Svanberg, Nele Verreyken)
INTERNATIONAL DISTRIBUTION A propic – Line Rousseau, Marion Gauvent
CO-PRODUCTION Charleroi danse - centre chorégraphique de Wallonie - Bruxelles, La Comédie de Clermont-Ferrand, ICI - CCN Montpellier-Occitanie, Espace Pasolini / NEXT festival, STUK, Perpodium
RESIDENCIES Espace Pasolini laboratoire artistique Valenciennes, La Comédie de Clermont-Ferrand, STUK, ICI - CCN Montpellier-Occitanie, Charleroi danse - centre chorégraphique de Wallonie - Bruxelles, CAMPO, kunstencentrum nona
WITH THE FINANCIAL SUPPORT OF the Flemish Government, Tax Shelter of the Belgian Federal Government via Cronos Invest
Music Hole is a performance that explores our spectral relationship to memory, time and reality. Conceived with four physical, musical and/or vocal performers, the performance is inspired by the notion of hauntology (imagined by philosopher Jacques Derrida and later developed by music critic Mark Fisher), which describes, among other things, the accumulation of ghostly traces of the past as we move into the future. Stevens aim is to translate, choreographically and musically, the idea of survival and erasure, embodiment and disappearance, delay and anticipation.
To haunt is somehow to survive, and also to return. Hence Stevens desire to work with vocal recordings, sound samples, visual loops and iterations of movement.
Questioning the idea of the ghost. Not in its figurative aspect, but in its metaphorical use. A ghost can be a trace, something perceived, a feeling of unease. Not necessarily visible, but a presence, an atmosphere. A memory that lingers, a mantra that resists.
What do these ghosts say about us? Our spirits? Our beliefs? Our fears? Our rituals?
A hybrid form combining recording sessions, dance mania and vocal mantra, the performance Music Hole is a ghost in itself. It seeks to take shape in the bodies and voices of the performers, in the theatrical space and in the lived or unlived memory of the audience. It seeks hosts in order to express itself.
Our ‘present’ moment is constantly being amused, disturbed, mocked and terrorized by memories, impressions and feelings of past events. Our ‘present’ moment is also being altered, assaulted, preoccupied,distorted and affected by future events or moments. We project the present into the past and hallucinate the future while believing we are looking at the present. We are never where we appear to be.
Immersed in belief systems, we are led to question our own experience of memory, time and reality, outside any social construct. How can we maintain our interiority and subjectivity as a force of transformation when everything pushes us to obey belief systems that normalize our bodies and psyches? Is reality a process of controlled hallucination? What are we led to remember? Isn’t memory a kind of haunting, a ghostly image of a half-remembered experience that persists inside the body and mind?
Music Hole calls for a transformation in the face of a condition up against the wall, on the edge of the abyss, in a borderline situation. Is reversibility a reactionary, conservative approach, or a political statement that gives rise to new possible scenarios, speculative fictions about what the future might be, about the need to be able to imagine and dream a possible future?
To haunt is somehow to survive, and also to return. Hence Stevens desire to work with vocal recordings, sound samples, visual loops and iterations of movement.
Questioning the idea of the ghost. Not in its figurative aspect, but in its metaphorical use. A ghost can be a trace, something perceived, a feeling of unease. Not necessarily visible, but a presence, an atmosphere. A memory that lingers, a mantra that resists.
What do these ghosts say about us? Our spirits? Our beliefs? Our fears? Our rituals?
A hybrid form combining recording sessions, dance mania and vocal mantra, the performance Music Hole is a ghost in itself. It seeks to take shape in the bodies and voices of the performers, in the theatrical space and in the lived or unlived memory of the audience. It seeks hosts in order to express itself.
Our ‘present’ moment is constantly being amused, disturbed, mocked and terrorized by memories, impressions and feelings of past events. Our ‘present’ moment is also being altered, assaulted, preoccupied,distorted and affected by future events or moments. We project the present into the past and hallucinate the future while believing we are looking at the present. We are never where we appear to be.
Immersed in belief systems, we are led to question our own experience of memory, time and reality, outside any social construct. How can we maintain our interiority and subjectivity as a force of transformation when everything pushes us to obey belief systems that normalize our bodies and psyches? Is reality a process of controlled hallucination? What are we led to remember? Isn’t memory a kind of haunting, a ghostly image of a half-remembered experience that persists inside the body and mind?
Music Hole calls for a transformation in the face of a condition up against the wall, on the edge of the abyss, in a borderline situation. Is reversibility a reactionary, conservative approach, or a political statement that gives rise to new possible scenarios, speculative fictions about what the future might be, about the need to be able to imagine and dream a possible future?
Veertig Nederlandse, Vlaamse én internationale schrijvers spreken zich in dit boek uit tegen het uitwissen van de Palestijnen. Omdat stil blijven geen optie is. Omdat woorden, ondanks alles, het enige zijn waarmee we kunnen duiden, bewaren, aanklagen en tot actie bewegen.
Toen de Commissie van Advies inzake Volkenrechtelijke Vraagstukken concludeerde dat Nederland te weinig deed om genocide in Gaza te voorkomen, schreven Teddy Tops en Lisa Weeda, samen met duizenden anderen uit de media- en cultuursector, een open brief aan de Tweede Kamer. De Kamer bleef stil.
Deze bundel is een vervolg op die oproep – een daad van verzet, een publieke aanklacht, een collectieve stem. In de traditie van schrijvers als Émile Zola die onrecht publiek maakten, spreken deze auteurs zich uit met poëzie, literaire vuistslagen, woede, actie en ook hoop.
Met bijdragen van Fatena Al-Ghorra, Haroon Ali, Ghayath Almadhoun, Asmae Amaddaou, Karin Amatmoekrim, Asmaa Azaizeh, Yousra Benfquih, Maurits de Bruijn, Saskia de Coster, Koert Debeuf, Mahmoud Darwish, Annie Ernaux, Alicja Gescinska, Nan Goldin, Isabella Hammad, Lotfi El Hamidi, Amal Helles, Malou Holshuijsen, Roxane van Iperen, Rashid Khalidi, Safae el Khannoussi, Rachida Lamrabet, Édouard Louis, Nisrine Mbarki, Benjamin Moser, Esther van der Most, Alma Mustafić, Ramsey Nasr, Joost Oomen, Max Porter, David Van Reybrouck, Aya Sabi, Salih El Saddy, Alfred Schaffer, Adania Shibli, Sheila Sitalsing, Angelo Tijssens, Teddy Tops, Manon Uphoff, Peter Verhelst, Lisa Weeda en Gijs Wilbrink.
De volledige opbrengst van dit boek gaat naar Plant een Olijfboom, een initiatief dat duurzame hoop plant op Palestijnse grond.
Toen de Commissie van Advies inzake Volkenrechtelijke Vraagstukken concludeerde dat Nederland te weinig deed om genocide in Gaza te voorkomen, schreven Teddy Tops en Lisa Weeda, samen met duizenden anderen uit de media- en cultuursector, een open brief aan de Tweede Kamer. De Kamer bleef stil.
Deze bundel is een vervolg op die oproep – een daad van verzet, een publieke aanklacht, een collectieve stem. In de traditie van schrijvers als Émile Zola die onrecht publiek maakten, spreken deze auteurs zich uit met poëzie, literaire vuistslagen, woede, actie en ook hoop.
Met bijdragen van Fatena Al-Ghorra, Haroon Ali, Ghayath Almadhoun, Asmae Amaddaou, Karin Amatmoekrim, Asmaa Azaizeh, Yousra Benfquih, Maurits de Bruijn, Saskia de Coster, Koert Debeuf, Mahmoud Darwish, Annie Ernaux, Alicja Gescinska, Nan Goldin, Isabella Hammad, Lotfi El Hamidi, Amal Helles, Malou Holshuijsen, Roxane van Iperen, Rashid Khalidi, Safae el Khannoussi, Rachida Lamrabet, Édouard Louis, Nisrine Mbarki, Benjamin Moser, Esther van der Most, Alma Mustafić, Ramsey Nasr, Joost Oomen, Max Porter, David Van Reybrouck, Aya Sabi, Salih El Saddy, Alfred Schaffer, Adania Shibli, Sheila Sitalsing, Angelo Tijssens, Teddy Tops, Manon Uphoff, Peter Verhelst, Lisa Weeda en Gijs Wilbrink.
De volledige opbrengst van dit boek gaat naar Plant een Olijfboom, een initiatief dat duurzame hoop plant op Palestijnse grond.