artisti_en_2023

mignolo dance (USA)

ph. Nia Garza

Self Help

Choreography: Charly & Eriel Santagado
Dancers: Charly & Eriel Santagado
Text: Charly & Eriel Santagado
Music: Brian Curry

Self Help explores mental health through the lens of a relationship between therapist and patient using Movenglish® – an original movement language in progress that directly corresponds to English. In this language, the nuances of English (e.g. sound, meaning, connotation, tense, difficulty, part of speech etc.) are embodied in as objective a fashion as possible through both the accumulation of collective human intuitions and in-depth analyses of words and concepts. The direct translation of spoken conversations is complemented by fragmented and deconstructed phrases that represent what happens between the lines and inside the mind, embodying a ceaseless yet hopeful striving toward balance between thought and feeling, mind and body, self and other.

BIO

mignolo dance, based in USA, is a contemporary dance company founded by sisters Charly & Eriel Santagado in 2017.
They are lifelong dance and creative partners dedicated to developing new work that explores elements of various artistic mediums through movement. The company has presented work at many festivals including Come Together Dance Festival, Dance on the Lawn, Dumbo Dance Festival, KoDaFe, Making Moves Dance Festival, New Wave Dance Festival, Peridance’s APEX, SMUSH Moves, Triskelion’s SummerFest, Waxworks, and Your Move. Their work has been
produced by HERE Arts Center, Dixon Place, Jamaica Center for Arts and Learning, Gardenship Art, and The Berrie Center at Ramapo College. Their dance film work has been featured at several international festivals including Austin Dance Festival, Dance Days Chania, Leeds International Film Festival, InShadow, New Jersey Film Festival, TANZAHOi, and Utah Dance Film Festival.

www.mignolo.dance
Instagram: @mignolodance


In order to facilitate further exchange, we have asked each artist to select a quotation that has inspired their creation process

“Fragments of a vessel which are to be glued together must match one another in the smallest details, although they need not be like one another. In the same way, a translation, instead of resembling the meaning of the original, must lovingly and in detail incorporate the original’s mode of signification, thus making both the original and the translation recognisable as fragments of a greater language. […]

It is the translator’s task to release in his own language that pure language which is under the spell of another, to liberate the language imprisoned in his recreation of that work. For the sake of pure language, he breaks through decayed barriers of his own language. […]A real translation is transparent. […] This may be achieved, above all, by a literal rendering of the syntax, which proves words rather than sentences to be the primary element of the translator. For if the sentence is the wall before the language of the original, literalness is the arcade.”

The Task of the Translator by Walter Benjamin

Artemis Chrysostomidou (CYP)

ph. Artemis Chrysostomidou

Raw Eggs

Written, Directed by Artemis Chrysostomidou
Music by Lia Stavropoulou
Artistic Collaboration by Haris Tatsi
Performed by Lia Stavropoulou, Leigh Sayers

O Rumo do Fumo Residency Programme (PT), Polo Cultural Gaivotas, Boavista (PT), City Council of Lisbon (PT), Embassy of Greece in Rome (GR/IT), Embassy of the Rebublic of Cyprus in Rome (CY/IT) .

Contemporary drama · hilarious poetry · theatre of crushing. A transgender actor is interviewed to join a group, the Social Disaster Club; strange stories from the past come to light while music, polyphonic songs and a mysterious, manipulative voice interrupt the narration. RAW EGGS is a new dramaturgy about the oppression and defence of freedom and how we might subvert a domineering family environment to permit the peculiarity and uniqueness of the self to triumph and trace the poetry of bravery in the mythology of reality. It’s so tragic. So fun. “I am doing everything I can to lose all the friends I have.”

BIO

Artemis Chrysostomidou is a writer, dramaturge and theatre director from Cyprus, based in Germany. In 2018 she was awarded the State Prize for Literature, Best Young Writer (CY) for her book “Dogs Don’t Bark in France / Sculpture”. In 2023 her book “Oh, that hand of Yours” was awarded the Young Book Designers Award (GR/DE) by Goethe-Institut, HFC, EBΓE, Stiftung Buchkunst and Frankfurter Buchmesse. Her original pieces for theatre include “RawEggs” Espaço da Penha Lisbon (PT); “Manipulation & Other Romantic Stories” FrankfurtLAB (DE); “Mortality, Hooray” ExpoFestival, English Theatre Berlin (DE); “A Guide On How To Prevent DailyLife Accidents” BiosAthens (GR) etc. Her work has also been presented as site-specific or text-based at Travers, CopenhagenContemporary (DK); Temporary, MuzeumSusch (CH) etc. She received fellowships at O Rumo do Fumo; FrankfurtLAB; Art Stations Foundation Switzerland; European Theatre Convention. In 2023 her performance “Oh, that German hand of Yours” will be presented at Lettrétage Berlin (DE).

www.artemischrysostomidou.com
facebook.com/artemis.chrysostomidou
instagram.com/artemis_chrysostomidou


In order to facilitate further exchange, we have asked each artist to select a quotation that has inspired their creation process

I observe the people around me. RAW EGGS emerged after conversations with one of my precious work partners, Leigh Sayers. Elements from his life came together with those from my life and those I had observed in other people’s lives. Then I gave form to these scattered notes by composing a theatrical text. What does this mean? That inspiration comes through how we relate to and pay attention to others. And when I say others, I also mean the things they have written and created, the worldview they express. My source is also the answer on how to refocus the gaze from the bustle of the general to the quiet of precision, something that can only happen by nurturing a relationship with things. The opposite would be a deeper absence of meaning.

Each of my works is an exercise of being in the experience of a relationship. And where does a relationship exist? In the present. I create theatre trying not to traumatise the present.

Heine Avdal & Yukiko Shinozaki / fieldworks (NOR-JPN)

drawing: Orfee Schuijt

unannounced

Heine Avdal: Artistic director, performer
Yukiko Shinozaki: Artistic director, performer
Roeland Luyten: Sound designer

Produced by fieldworks, Heine Avdal
Co-produced by PACT Zollverien (Essen), BUDA (Kortrijk), BIT Teatergarasjen (Bergen), Kaaitheater (Brussels), STUK (Leuven), Teaterhuset Avantgarden (Trondheim), Black Box teater (Oslo)
with the support of Norsk Kulturråd, Vlaamse Overheid, Vlaamse Gemeenschapscommissie, apap
performing Europe 2020, co-funded by the Creative Europe Programme of the European Union

The cards are not always put on the table straightaway and the colours they show are not necessarily the true ones. Pretty often things happen unannounced, thereby possibly changing the dye of what precedes them. Unannounced focuses on the way focus shifts when appearances change out of the blue. It literally goes into detail and sheds light on the small and smallest characteristics it passes by, highlighting them as fragments and partial aspects which disappear as soon as the next one shows up. It wanders back and forth on the thin line between the ‘no longer’ and the ‘not yet’. Its journey through space also becomes a journey through time, unfolding a discontinuous, non-linear range of sensations, possibly confusing the anticipation of its future with echoes and afterglows from its past.

BIO

Heine Avdal and Yukiko Shinozaki are based between Norway and Belgium, their work is concerned with “performativity” and allow for an open interpretation of movement as a heterogeneous combination of a variety of media. Consequently, the artists draw on a broad range of disciplines and expertise: performance, dance, visual arts, video, music, and technology. Recurrent themes in the work include the relationship between performer and spectator, the non-hierarchical approach to the various elements of a performance, and the exploration of different spaces. They create projects in both theatrical and non-theatrical environments/spaces such as offices, hotels, supermarkets, etc. Through interaction with those familiar spaces and by treating them slightly differently, they suggest to rethink the notion of the everyday itself.
Roeland Luyten is a composer/sound designer active in electroacoustic music who has regularly been composing for theater and contemporary dance. Luyten’s music has been awarded several international prices.

field-works.be


In order to facilitate further exchange, we have asked each artist to select a quotation that has inspired their creation process

“With poetry, the imagination takes its place on the margin, exactly where the function of unreality comes to charm or to disturb – always to awaken – the sleeping being lost in its automatisms.

The Poetics of Space, 1969, Gaston Bachelard,

Ateliersi (ITA)

ph. Margherita Caprilli

Al cosmo

Ensemble reading of “Tra le rose e le viole”
The history and stories of transvestites and Transsexuals by Porpora Marcasciano

A project by Ateliersi
Curated by Fiorenza Menni 
Together with workshop participants

Porpora Marcasciano, a “living archive” of the Italian transsexual movement, starts from herself and her companions to pass on the history of the individual and collective struggles to claim her own identity. The intimate dimension of the memories goes hand in hand with the social denunciation of those who fight to be themselves outside the imposition of a supposed norm propagated as ‘natural’, claiming the right not to be normal.

In this choral reading – conceived and created by Fiorenza Menni/Ateliersi together with participants of the workshop – the voice transcends the animal verse, and the words, which go beyond the necessity of the call and are organised to narrate again, are placed in organic contiguity with the presence of the body on the planet.During the reading, the spectators can move freely in the space, rest in the listening, and pause according to their pleasure.

BIO

ATELIERSI operates in performing and theatrical arts, dealing with artistic creation and the curation of cultural programming at Atelier Sì in Bologna. Their hallmark is scenic writing that transfigures the data of reality through their poetic and musical recomposition.

Ateliersi’s artistic creation is composed of theatrical works with original dramaturgy and artistic actions in which the performative gesture enters into organic dialogue with anthropology, literature, musical production and the visual arts to foster a communication of thought capable of intercepting anxieties and perspectives that coagulate meaning around the subversions manifesting in the world. An attraction to otherness, a preference for cultural evolution as an object of study, the development of the contextual dimension and the experimentation with interdisciplinary practices characterise an anthropological approach to art.

FIORENZA MENNI is a theatre actress and author. Her writing aims to create original dramaturgy, the result of constant research in content and form based on philosophical studies and reflections in art. Together with Andrea Mochi Sismondi, she creates plays for Ateliersi. In addition, she is involved in actor training by proposing work paths that train the contextual and sentimental precision of interpretation using her research materials.

ateliersi.it
facebook.com/si.ateliersi (@si.ateliersi)
instagram.com/si.ateliersi/ (@si.ateliersi)


In order to facilitate further exchange, we have asked each artist to select a quotation that has inspired their creation process

This research project reconstructs through storytelling and eyewitness accounts a fragment of the transgender experience in Italy from the late 1950s, when it first became visible, to the present day. The protagonists of this historical fragment vividly report it: their testimony belongs to the past but, at the same time, it is the foundation and assumption for the future.

Alongside the acknowledged official history, that is, the one made and told by great heroes and cultural political eminences, there is a parallel one that is an invisible, silent, therefore unknown history made by ordinary people involved in significant social situations. 

This work deals thus precisely with counter-history. These biographies may be valuable material for anthropologists, sociologists and psychologists. But they are also the historical memory of an experience, its pride and its testament.

Among the roses and violets, 2002, Porpora Marcasciano.

carlaxguillermo (MEX)

ph. Nanuk Audiovisual

Atonal

Carla Patricia Segovia Flores/performer, choreographer and artistic director
Guillermo Ignacio Aguilar Vega/performer, choreographer and artistic director
Jésica Erika Elizondo Ordaz/lightning designer and technical director
Pedro Aristóteles Benítez Vallejo/ sound artist.


ATONAL was produced with the support of IBERESCENA through the artistic residencies at A Casa Vella and Laboratorio de Danza y Nuevos Medios in Spain.

a·ton·al
/āˈtōn(ə)l,aˈtōn(ə)l/

adjective
MUSIC
1.not written in any key or mode. “atonal music may be written by obscuring tonal structures or by ignoring conventional harmonies altogether”

ATONAL is a contemporary dance duet that establishes a choreographic relation between two dancing bodies and the sound of their voices when altered by AUTOTUNE and Vocoder, two of the most popular tools in contemporary music engineering.

We used these softwares as vocal distorters in order to create artificial effects and then generated isolated sounds and live compositions which became the main impulses for the way our bodies began to move.

The musical piece is composed entirely from these pre-recorded and live sounds and the dancing elements respond directly to them.

BIO

Carla Segovia and Guillermo Aguilar began collaborating in 2017 when they premiered “One Hit Wonder” for which they received an honorable mention for “Best Choreography” and won the award for “Best Original Music” for Aristóteles Benítez at the Culiacán Choreographic Award (Mexico). Later, in Costa Rica, they won the SóLODOS en Danza Award. This recognition let them tour through some of the most important festivals in Spain in 2018. That same year they traveled to Guatemala to show their work at Rambla Festival.
In 2019 they were invited to participate in SóLODOS en DANZA/Costa Rica Tour. A year later they began working on “H.A.R.L.E.M”, a short dance piece that became a finalist at the 4×4 festival in Tijuana, Mexico, and with which they toured Spain, Italy and Malta in 2022.
With the support of IBERESCENA and the Laboratorio de Danza y Nuevos Medios in Zaragoza, and A Casa Vella in Galicia, they began working on ATONAL which they showcased in Trayectos and Danza no Claustro, two of the most important street festivals in Spain. In 2021, they were part of Mexico Fashion Week at the Adolfo Domínguez fashion show “EL VACÍO” under the direction of Maruxa Salas and Erick Jiménez. In 2022 they both directed and choreographed the performance STOIC SPECIES for the event of the same brand at the Michelin Chef Querétaro event in Mexico. They have been part of the most important and prestigious performing arts festivals in Mexico.

instagram.com/guillermoxcarla

In order to facilitate further exchange, we have asked each artist to select a quotation that has inspired their creation process

Ai i a 
Temporía 
Ai ai aia 
Ululayu 
lulayu 
layu yu 
Ululayu 
ulayu 
ayu yu 
Lunatando 
Sensorida e infimento 
Ululado ululamento 
Plegasuena 
Cantasorio ululaciente 
Oraneva yu yu yo 
Tempovío 
Infilero e infinauta zurrosía 
Jaurinario ururayú
Montañendo oraranía 
Aurorasía ululacente 
Semperiva 
ivarisa tarirá 
Campanudio lalalí 
Auriciento auronida 
Lalalí 
Io ia 
i i i o 
Ai a i ai a i i i i o ia

Alcazor – Canto VII, by Vicente Huidobro

Babirusa Danza + Alessandra Cozzolino (ESP – ITA)

Brea y Plumas (Tar and feathers) / a phygital experiment between Santander and Naples

Original Version
Creation and interpretation: Beatriz Palenzuela Martinez
Direction Assistant: Rafael de la Lastra
Lighting Design: Sergio García
Set and Wardrobe Design: Marta Llorente Pascual
Music: Collage
Production: Inés Gutiérrez Arciniega – IMPULSARTS
First Prize at DeUnaPieza Contest2013 Universidad Carlos III de Madrid
Technical Residence at Centro de Creación La Nave del Duende in Cáceres
Artist in Residence Grant Program. March 2014.
Temporary Residence at Centro de Danza Canal Madrid. May-June 2014
Creation Laboratory at Coreógrafos en Comunidad Madrid. 2013-14.
Coreographic Production Support by Comunidad de Madrid 2014.

Version for Altofest 2023
Creation: Beatriz Palenzuela Martinez

Direction Assistant: Rafael de la Lastra
With Beatriz Palenzuela Martinez and Alessandra Cozzolino
Spatial design: Valeria Iozzi

A brand new experimentation between Santander and Naples: a “hybrid” residency in collaboration with Alessandra Cozzolino, a performer based in Naples, to whom Beatriz Palenzuela Martinez and Rafael de la Lastra will “transmit” their performance remotely. During the residency days, they will be connected via zoom with the Neapolitan artist to “transmit” the performance “Brea y Plumas (Tar and Feathers).” Together, Beatriz, Rafael and Alessandra will reconstruct the performance, looking for a way for Beatriz to be present during the performances open to the public. The experiment is thus based on the possibility of being present even if at a distance. In this experiment, the concept of hospitality also extends to the body of the local artist, who will “host” the performance, lending Beatriz her body, voice, skills, and presence in the domestic space. Her mouth will host her tongue; her body will host her choreography and dramaturgy; the domestic space will host a new way of meeting, a “phygital” (physical-digital) way. Beatriz’s “digital” presence at a distance, live (and not recorded), will be essential during the performance; it may reduce the geographical distance between Italy and Spain.

The project builds on the experiences during the social movements of 15M in Madrid and makes us rethink the expression “you are a chicken”. In these times of crisis we all get carried away by the flow of events. We are all responsible for what happens.
Oppression, fear and manipulation are installed throughout society. In this very dark picture the possibility of finding another path to hope arises.
The choreographer engages in a solo where her mask is identified with that of a man, a dance through repressive gestures identified with patriarchy, characters like Hitler and Mussolini with his arm raised. Memories of those dictatorships of the past and present. Patriarchy was the first structure of domination and subordination of history and even today remains a basic system of domination, the most powerful and
enduring inequality and the least perceived as such.
The body reflects on these times so hard and also of infinite possibilities. From here comes Brea y Plumas (Brea and Feathers), a song of hope, a reflection on the being and its complex paths, generating a change where to find and allow ourselves a space to be free.

BIO

Babirusa Danza
Founded by Beatriz Palenzuela and Rafael de la Lastra in 2006 Babirusa Danza has premiered a wide range of productions for theaters and unconventional spaces. The company understands the stage event as a complex artifact where all parts are fundamental. The contemporary dance, the cinematographic aesthetic, the poetry and beauty merge in its works, with a prominent physicality full of nuances. The emotional drive of their compositions move the audience into the very artwork, allowing them to sympathyse and take part as the engine of communication.
BABIRUSA DANZA has been able to present their artistic Works at various national and international festivals such as the Düsselford Tanzmesse Fair , in Germany, AlfoFest European City of Cultura in Matera, Italy 2019, Madrid en Danza or FIT in Cádiz, among others.
Beatriz Palenzuela is the company ́s coreographer, having received different awards such as First Award AD at the Molina de Segura 2014 festival; Winner of the:One Piece, Universidad Carlos III, Madrid 2013; 2nd prize Videodance II Capturadanza, Madrid 2010 and AISGE Award, as Excellent dancer 2006, at he Coreographic Contest in Madrid enabling her to attend the American Dance Festival in the United States.

Alessandra Cozzolino
Researcher of movement in the artistic and therapeutic fields.
She studies contemporary dance, butoh dance, improvisation, contact and choreographic composition with many artists including Carolyn Carlson, Raffaella Giordano, Masaki Iwana, Silvia Rampelli, Gey Pin Ang, Dominique Dupuy, Frey Faust. She has worked as a dancer with the Balletto 90, La Vertigine and DanzaFlux companies. She is the author of several performative projects presented in urban and theatrical contexts in Italy.
She has taught contemporary dance in various dance schools in Naples.
Physiotherapy graduate. She trained in Shiatsu with Nunzia Caronte and Guglielmo Grillone; Mezieres with Jean Marie Druard; Bones for Life with Lea Monzo and Sensitive Dance with Claude Coldy.
She is currently attending the Osteopathy School “Aemo” in Aversa and “Rhizoma” Somatic Movement training with Cinzia De Lorenzi.

babirusadanza.com
facebook.com/babirusa.danza
instagram.com/babirusadanza/
twitter.com/babirusadanza

In order to facilitate further exchange, we have asked each artist to select a quotation that has inspired their creation process

“What is the story? We must distinguish between the unwritten record of the past (all the events of the past that human beings remember) and History (the record and interpretation of the past). Like men, women are and always have been actors of agents in history. Since women represent half of humanity and sometimes more than half, they have shared the world and worked with men in the same way. Women are not and have not been on the margins; they are and have been in the centre of the formation of society and the building of civilisation.”

The Origin of patriarchy, 1986, Gerda Lerner.

Joe Snape (UK)

ph. Joe Snape with Rea River Films

You Are The Mole

created and performed by Joe Snape
Co-produced by Sound and Music’s Composer-Curator Programme, Help Musicians’ Fusion Fund, Arts Council England, the Royal Academy of Art in The Hague, and Sage Gateshead’s 2020-21 artist-in-residence programme.

Exploring themes including privacy rights, post-truth and freedom from algorithmic surveillance online, You Are The Mole is a darkly upbeat look at 2018-19’s Cambridge Analytica data scandal.
After a musical tour of the case’s most significant details and their implications for social media companies and their users, the work joins scholar of Critical Media Practice Dr. Lucy Oeiss in considering if this part of our lives has to be this way. Specifically, what is the role of Facebook users today? Are they really the authors of their actions online, or merely tracked and indexed flotsam sent swirling along in currents-for-hire to advertisers with deep pockets, clicking now here, and a day later elsewhere, at the pleasure of a Zuckerbergian empire? And could it have been any different? Dr. Oeiss thinks so, and shares a poem written half a century ago that predicted a brighter future free of the surveillance and falsehoods so common to in today’s online world.

BIO

Joe Snape mixes conventional and homemade instruments with light, text and video to make unusual and emotive performances. His work has been presented at places like The Kitchen (New York), Café Oto (London), and Wonder Site (Tokyo), and also at places like the Elbphilharmonie (Hamburg) and Aldeburgh Music. The Quietus calls Joe’s music ‘goofy, melancholy, irreverent fun – very, very singularly itself.’ Fluid Radio thinks it’s ‘joyous and beautiful’, and one time in The Guardian Nico Muhly called it ‘organized, disorganized fun’. Joe is a former UK Young Artist, has been nominated for the Arts Foundation’s Creative Producer fellowship, and has helped commission new work from dozens of artists on both sides of the Atlantic. He is a recipient of the 2021-22 Paul Hamlyn Foundation’s Award for Artists in Composition and was a 2020-21 composer-in-residence at the beautiful Sage Gateshead.

joesna.pe

In order to facilitate further exchange, we have asked each artist to select a quotation that has inspired their creation process

‘In [advanced industrial society], the productive apparatus tends to become totalitarian to the extent to which it determines not only the socially needed occupations, skills and attitudes but also individual needs and aspirations. It thus obliterates the opposition between private and public existence and between individual and social needs. Technology serves to institute new, more effective, and more pleasant forms of social control and social cohesion. The totalitarian tendency of these controls seems to assert itself in still another sense by spreading to the less developed and even to the preindustrial areas of the world, and by creating similarities in the development of capitalism and communism.”

One-Dimensional Man. ‘Introduction to the first edition’, 1964/2022, Herbert Marcuse.

Alina Belyagina (UKR)

ph. Anna Todich

Oбiйми / Hold me hold me hold

Choreography: Alina Belyagina
Performers,co-creators: Eva Julliere and Annika Sonja Havlicek (Veronika Tikhonova)
Music: Symphocat
Visuals: Polina Zinziver
Costume: Dima Magny
Light: Lena Perelmann
Outside eye: Eugenia Safonova


Support: CHANEL Culture Fund and V-A-C foundation, Kulturreferat München, gefördert vom Fonds Darstellende Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen von NEUSTART KULTUR, Tanztendez München, Goethe Institut, National Performance Netz.

Merging the real and the imaginary, two dancers with the moving images and with a soundscape that amalgamates together the electronic frequencies of the reality of a videogame with church singing with house music create a space for a transgressive experience that holds the potential for becoming a imaginary, making the imaginary palpable. Indefinable as either human or animal bodies transmute into monstrous, animalistic beasts extending into technological devices like microphones and fog machines. The transformational ecology of the space created by the performance holds together the dichotomy of various contradictions: the simultaneity of the somatic experience of the real and the virtual empowerment that originates from vulnerability. This confusion also manifests itself in the relationship between the performers that cannot be grasped with any particular verbal equivalent.

It is a work inspired by the director’s research on transgenderism in shamanism, the book Can the monster speak by P. Preciado, and the metaphoric imagery in the film Stalker by Tarkovsky. The work was produced during the initial wartime of her country of origin (Ukraine). It seeks to put forward the idea of fragility—boundaries and borders of nations and bodies. The migrant has lost the nation-state. The refugee has lost their house. The trans person loses their body. They all cross borders. The border is part of them and cuts through them—the bestiary of sensual, delirious, and rebellious bodies.

BIO

Alina Belyagina is a nomadic choreographer who works between dance and theatre with extensive use of video and text. Born in Ukraine, based in Germany, between Hamburg and Munich. Alina is educated at the Moscow State University of Culture and Arts (Journalism). She spent three years learning ancient Greek and Latin in Poland and working as a classic ballet teacher in Silesian Dance Theater and Rozbark Dance and Movement Theater. After moving to Germany, she started her choreographic career by participating in Soltunatu Tantsu Lava, The PREMIERE’18 residency in Tallinn and then started working with Freies Theater München. She continued to study dance while doing projects in Tel Aviv. As a dancer, Alina worked with, among others, United-C, Hege Haagenrud, Isabelle Schad, Claudia Castellucci, Helena Waldmann, Alexandra Pirici Choreographic internship with Sharon Eyal, Yasmeen Godder Company (dance for Parkinson).

Alina’s projects are related to the urban area, cyber anthropology, transhumanism and xenofeminism. She is inspired by digital visualization and pieces of art dealing with complex questions. Alina created video and movement installations for Baltic Contemporary Art Gallery (PL), Dance Atelier Reykjavik, and performance IMAGO.

From 2018 to this day, she has been a guest choreographer for Gesher Theater. In addition, she is an artist resident at the TanzFabrik Linz(A) and Tanztendenz Munich. She has created the award-winning solos Pure. Image and Firebot.

Alina’s works are presented internationally on platforms such as LAOS Contemporary Dance Festival, Open Look Festival Saint-Petersburg, Tanzwerkstatt Europa Munich, Euro-Scene Leipzig, International Solo Tanz Theater Stuttgart, Process/Talk Tel-Aviv Suzanne Dellal, Soar Festival Kristiansand, Sommerwerft Frankfurt.

Since 2022 Alina Belyagina has been supported by Kulturreferat Munich, V-A-C Foundation and Chanel Culture Fund, and Goethe Institut Dänemark. In collaboration with Dance Atelier Reykjavik, Tanzhaus Zürich, in 2018, she was a guest choreographer for Gesher Theater Tel Aviv.

Annika Sonja Havlicek is a dancer and performer born in Berlin. She has worked mainly with Horacio Macuacua dance company and created and presented her works, collaborating with performers Ivelice Brown, Rosa Maria Herrador, Janeth Mulapha, etc.

Eva Julliere is a choreographer and performer with an intuitive and poetic approach. Constantly searching for movement in the depths of our flesh and how far the body can go.

alinabelyagina

In order to facilitate further exchange, we have asked each artist to select a quotation that has inspired their creation process

“It is no more than an epistemology of the living, an anatomical mapping, a political economy of the body, and a collective administration of reproductive energies. “…“Far from being a representation of reality, this epistemology is, in fact, a performative engine that produces and legitimises a specific political and economic order: The hetero-colonial patriarchy.”…“A paradigm that determines an order of the visible and the invisible.”…“Western epistemology was the “one-sex model” in which only the male body was recognised as anatomically perfect.”…“People spoke of men and women, but also of angels and demons, monsters and chimaeras. But in this epistemology, men and angels had greater ontological and political reality than women and chimaeras.”

Can the monster speak, Paul B. Preciado

“And as for my job, I m a reality creator”

SNUFF, Chuck Palahniuk

EXTRAFEST

Antonino Talamo

Beat-Bang

Led by Antonino Talamo

A collective rhythm explosion! Antonino Talamo leads us in a morning, participatory drum circle. A rhythmic journey created for the People of Altofest, awakening collective energy through bodily percussion, activating our musical body. A performance workshop inspired by ‘Batuque Na Mao’, the Body Percussion Workshop that Antonino Talamo has summarised in a methodological publication. The method aims to foster the development of creative and expressive musical possibilities through the use of one’s body as a percussion instrument. Finding yourself in sound, in a collective ritual of a rhythmic explosion, becoming a world that plays, strikes and releases music.

BIO

Musician, Percussionist, Instrumentalist for live and studio recordings, Teacher, and Pedagogue. He studied with Maestro Peppe Sannino, to perfect his skill in the Afro-Cuban musical styles (Mambo, Rumba, Mozambique, etc.) with instruments such as the congas, timbani, bongo, Guiro, Maracas and keyboards. He later perfects the Rumba style with Maestro Giovanni Imparato. In 1999 he studies the music of the Brazilian capoeira (with emphasis on the study of the berimbau), in order then to widen his skills in Afro-Brazilian percussions and in the characteristic styles of the Samba schools as well as the typical rhythms of the North West of Brazil (Samba Enredo, Samba Pagode, Samba Reggae, Timbalada, Maracatù de Baque Virado, and the more famous rhythms of the Candomblè etc. Played on all the traditional instruments with the typical techniques and pronunciation. He then starts to perform regularly on the stages of the reputed and famed clubs of Naples and its province and participates in the main jam sessions of the most significant musical events. He perfects the Pandeiro by playing and corresponding with Giovanni Coraggio, Gilson Silveira, Nicola Russo and more recently Nunzio Toscano. Studies and plays the Darbuka (Turkish and Arabic technique) as well as the Riq with Francesco Manna, Michele Maione, Luca Cioffi. He collaborates with the most noted belly dancers of Naples (Samara Flora de Caro, Sandy D’aly, Klemcy Salza).

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