husbands (Zurich + Amsterdam + Basel)

Artists-in-Residence

Tuesday 15 October 2024Sunday 20 October 2024

Free

Two people head and shoulders, both with red hair, one wears a cap the other a scarf. They are looking out beyond the camera. There is an effect on the image that resembles sunlight reflecting on glass.

Yasmina Haddad

A person with red hair is wearing a wedding dress leaning on a white wall. They have a bodiless head under their left arm, showing a different person’s face, also with red head.

Yasmina Haddad

As Artists-in-Residence, the duo husbands will engage in a series of micro-performances and interventions throughout the Festival.

About husbands

As trans siblings Yevheniya Kravets and Yann Slattery connected on a personal level first. They got to know each other through Ballroom in 2019 and connected deeper as they were both part of House of B. Poderosa until 2021 & 2022.

Since the end of 2022 they have been working together collectively as a duo under the name of husbands.

Yevheniya Kravets (they/them, *2000) is a Ukrainian performer and emerging choreographer based in Zurich and Amsterdam. Coming from a trained dance, battle and choreography background, Yevheniya began their movement journey at the age of seven, practicing traditional Ukrainian dance. In the summer of 2021 they graduated from the HF for Contemporary and Urban Stage Dance at Tanzwerk101 in Zurich. As a trained, versatile mover, Yevheniya is skilled in Hip-Hop, Floorwork and New-way Voguing. After graduating, they`ve been working with and for Nikima Jagudajev, Fluxcrew, Anna Chiedza Spörri, Young boy dancing group and Remidemi in Switzerland and abroad.

Yann Slattery (they/he, *1997) is an Austrian artist & stripper living and working in Basel at the intersections of performance, clothing and installation. Their praxis often moves in in-between spaces and around failure and forms of tragedy/comedy. Yann finished their Bachelor in Fashion Design in 2022 and is currently doing their Masters of Fine Arts at the Institute Art, Gender, Nature in Basel. As a performer, they’ve been working with and for artists like Isabel Lewis, Nils Amadeus Lange, Monster Chetdwyd, Young boy dancing group and DIVAS.

In their work as husbands, Yevheniya and Yann use queer fiction and game structures with the interest of mocking and tricking power dynamics. Their recent interest lies in working with intimacies of a strip club, switching between stripper, pimp and watcher, and creating a space where performers and audience can meet emotions without judgement.

 

Details

Tuesday 15 October 2024Sunday 20 October 2024

Edward George (London)

Listening to D'Angelo. Hearing Voodoo - Part 2

Tuesday 15 October 2024, 7.30pm9.30pm

Broad St
Birmingham, Birmingham B1 2EA United Kingdom
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Presented with performance, possession + automation

120 minutes

Free

D'Angelo's Voodoo contains explicit language.

A person is leaning over looking down, his torso is bare and he has white trousers on. He is wearing various jewellery items made from shells. His hair is done in cornrows.

Thierry Le Goues

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Join Edward George for the second of three live journeys into the mesmerising and troubling sound world of D’Angelo’s Voodoo. Released in 2000, this album marked the apex and perhaps limit of his musical career, and by extension, the apex of RnB, Soul, and Funk’s impact on American society since the 1960s.

This performance is included in our Bear (AKA Full Week) Pass. Click here for more information about our passes.

Listening to D’Angelo is a three part project commissioned by performance, possession + automation, a three-year project funded by the Arts and Humanities Research Council (AHRC)

Fierce Says

We’re thrilled to be partnering with performance, possession + automation to present this on the verge of the 25th Anniversary of D’Angelo’s seminal Voodoo. We can’t wait to listen along as Edward George excavates this album and expands the constellation of influences and impact.

Details

Tuesday 15 October 2024

7.30pm

Jennifer Blackwell Performance Space, Symphony Hall

Adam Kinner + Christopher Willes (Montreal)

MANUAL

Tuesday 15 October 2024Saturday 19 October 2024

Centenary Sq, Broad St
Birmingham, B1 2EA United Kingdom
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40 mins | £15/13
The back of two people’s heads looking at books open on a table showing black and white images. One person has both hands on the book.

David Wong

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MANUAL is a one-to-one performance that transforms a public library into a space of sensory encounter and heightened awareness. Staged covertly during public hours, participants arrive on site with instructions to meet a guide, and from there they are led silently through a series of tiny actions following written notes and immersive audio in headphones. They walk through the space and listen together. They look at books and read to each other. Sounds and images found in the library combine and blur. And as the piece progresses the materials they encounter come to form a manual for slowing down.

Intermingling with the daily life of the library, MANUAL proposes a performance that develops through the act of listening and reading with another person. Through a slow and careful process, this piece stages a quiet meditation on the library as a space of shared attention.

Credits

Co-created by: Christopher Willes and Adam Kinner
Dramaturgy: Hanna Sybille Müller
Performers: Adam Kinner, Hanna Sybille Müller, Christopher Willes, Sym Mendez, and Chao-Ying Rao (Betty).
Past performance contributors: Alexa Mardon, Denise Kenney, Chao-Ying Rao (Betty), and Rosa Postlethwaite.
Audio contributions: Michael Davidson, Colin Fisher, Thomas Gill, Terri Hron, Philippe Lauzier, Germaine Liu, Philippe Melanson, Karen Ng, and Felicity Williams.
Production assistance: Rosa Simonet

Developed with the support of: Take Me Somewhere (Glasgow), LA SERRE – arts vivants (Montreal), and Festival TransAmériques.

Produced with the support of: Canada Council for the Arts, Conseil des arts et des lettres du Québec, the Ontario Arts Council.

Details

MANUAL runs every 15 minutes starting at 11:15 am from Tuesday 15 October to Saturday 19 October. The last entrance is at 6pm on Tuesday 15 October and 4 pm every other day. The performance lasts 40 minutes.

Access

You will be required to move around the Library of Birmingham. You will have some control over the speed of this. You will be invited at points to read out loud, and lie down; you can say no to any of these invitations. This work involves binaural recordings listened to via headphones.

   .

“When I reopened my eyes at the start of the performance, it already felt like something had shifted, that I’d transitioned into a different way of being…”

- Elspeth Wilson, Diverse Critics, 2023.

Fierce Says

We last saw Adam and Christopher at the Festival in 2017 with Listening Choir. In the great tradition of one-on-one performances, MANUAL re-frames our relationship to the civic, democratic space of libraries and peels back the layers, opening up new worlds and sparking our imagination.

Details

Tuesday 15 October 2024Saturday 19 October 2024

Library of Birmingham

Sheila Ghelani + Sue Palmer (Hathern + Frome)

Common Salt

Wednesday 16 October 2024

3 Centenary Sq
Birmingham, BirminghamB1 2DR United Kingdom
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65 minutes £15/13

Common Salt engages with Britain's colonial history.

Two people, one in an orange dress and one in a green dress are in front of a red gallery wall with a large painting of a queen behind them. They are holding rolled up ties on the table in front of them, looking down at the ties, which are spotlight by an anglepoise lamp. There is a book on a stand and a musical instrument on the table also.

John Hunter

A close up of a table with tiny trees, buildings and a person on a horse. A musical instrument is also on the table.

John Hunter

A hand holds a coin above a box which is overflowing with salt.

Samuel White

A blue book on a stand says ‘COMMON SALT A SHOW AND TELL’. There are shells lined up in front of it and a packet of table salt is next to it.

John Hunter

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Common Salt is a performance around a table – a ‘show and tell’.

It explores the colonial, geographical history of England and India, taking an expansive and emotional time-travel, from the first Enclosure Act and the start of the East India Company in the 1600s, to 21st century narratives of trade, empire and culture.

Sue and Sheila activate insights into our shared past, laying out a ‘home museum’ of objects and stories; of the Great Hedge of India, of borders, and collections – all accompanied by original Shruti box laments.

Common Salt is a reckoning; the interconnectedness between history and global power, artefact and trade, nature and memory is hidden in plain sight.

Common Salt is included in our Bear (AKA Full Week) Pass. Click here for more information about our passes.

Credits

Common Salt is a collaborative work by artists Sheila Ghelani and Sue Palmer.

Common Salt is supported using public funds by the National Lottery through Arts Council England.

Developed with support from b-side and One Final Act by Rajni Shah Projects

Access

Audience are seated throughout but are free to move if needed. Salt, seeds and flowers are used in the performance.

Fierce Says

Give us objects on a table and we are seated. This is, of course, so much more than that: an engrossing, deeply researched dive into England’s colonial history. We can’t wait.

Details

Wednesday 16 October 2024

5.30pm

Wednesday 16 October 2024

9.00pm

UK Premiere

Harald Beharie (Oslo)

Batty Bwoy

Wednesday 16 October 2024Thursday 17 October 2024

Birmingham Hippodrome, Thorp Street
Birmingham, B5 4TB United Kingdom
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Presented with FABRIC and performance, possession + automation

75 minutes | £15/13 | 18+

The performance contains nudity and explores themes of homophobia.

A person is crouching down tongue out eyes scrunched shut in the centre of the picture wearing trainers and knee pads. Behind to the left is a low structure in red.

Julie Hrncirova

A person is curled upside down on a red surface, we see his back which is sweating.

Julie Hrncirova

A person wearing kneepads and trainers is on all fours on a raised red surface. We cannot see the person’s face whose head is hanging down.

Julie Hrncirova

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Batty Bwoy is a solo which doesn’t start with a question, or a critique, but from a place of play and desire, entangled in violence and charming cruelty. Through a reappropriation of the Jamaican term “Batty Bwoy” (literally, butt boy), slang for a queer person, the work twists and turns the myths of the black queer body, unfolding vulnerable possibilities in an interplay of consciousness and naivety. 

Scrutinizing the absurdity of a queer monstrosity, Batty Bwoy articulates through the porosity of bodies and languages, their mouths swallowing and regurgitating the corporal fictions projected onto their skins. 

In an odyssey of droning prog-rock, Batty Bwoy attacks and embraces sedimented narratives around the fear of the queer body as a perverse and deviant figure. The expression “Batty Bwoy” is used to evoke an ambivalent creature that exists in the threshold of the precarious body, liberated power, joy, and batty energy! The work has found inspiration in mythologies, disgusting stereotypes, feelings, and fantasies of the queer body and identities, homophobic dancehall lyrics, 70s Giallo films from Italy, resilient “gully queens,” and queer voices in Norway and Jamaica that have visited and taken part of the process.

The 9:30pm performance of Batty Bwoy on Thursday 17 October is included in our Bear (AKA Full Week) Pass. Click here for more information about our passes.

Credits

Choreography/Performance: Harald Beharie
Artistic collaborators/sculpture: Karoline Bakken Lund and Veronica Bruce
Composer: Ring van Möbius
Sound designer: Jassem Hindi
Outside Eye: Hooman Sharifi, Inés Belli
Producer: Mariana Suikkanen Gomes
Distribution: Damien Valette

Thanks to: Tobias Leira, Ingeborg Staxrud Olerud, Torbjørn Kolbeinsen and Phillip McLeod

Supported by: Kulturrådet, Fond for lyd og bilde, FFUK, Sandnes Municipality, Oslo Municipality and TOU.

Access

This show contains loud sounds.

   

Fierce Says

With Batty Bwoy, Harald takes his body to the extreme and brings us along for the ride. This tour de force will leave your necks, knees, tongues, and assholes vibrating long afterwards.

Details

Wednesday 16 October 2024

9.30pm

Thursday 17 October 2024

9.30pm

UK Premiere

Jeremy Nedd (Basel)

from rock to rock ...aka how magnolia was taken for granite

Thursday 17 October 2024, 7.00pm8.15pm

20 Sheepcote Street
Birmingham, B16 8AE
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Presented with performance, possession + automation

75 minutes | £15/13
5 people, 2 in grey tracksuits, 3 in white tracksuits, are facing each other dancing. There is a backdrop of snowy mountains on the right.

Philip Frowein

5 bodies are wrapped around each other in a pile. They are wearing grey and blue tracksuits. There is a backdrop of snowy mountains behind them.

Philip Frowein

5 people in blue and grey tracksuits are sat on the floor on the right side of the frame looking up at hanging microphones. There is a snowy mountain backdrop behind them.

Philip Frowein

A person is centre of the frame in a white tracksuit with the hood up. Their arms are outstretched and they’re looking down. There is a snowy mountain backdrop behind them.

Philip Frowein

We see a person’s legs. There are concrete blocks attached to their shoes. They are wearing grey tracksuit bottoms and holding a microphone lead which is also laid out across the floor behind them.

Philip Frowein

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Inspired by a rapper’s copyright lawsuit against a video game company, Basel-based choreographer Jeremy Nedd’s latest work explores a dance move known as “the Milly Rock.” Five performers (including the multi- talented Brandy Butler, Zen Jefferson, Nasheeka Nedsreal and Serge Desroches) examine the Milly Rock, a dance move inspired by the rapper 2 Milly. In doing so, they search for the hidden poetry and virtuosic freedom found in social and viral dance moves. Taking a look into the “algorhythm” of marginalized movement languages one asks: can a dance move belong to anyone? And, when yes, who actually profits from it?

from rock to rock …aka how magnolia was taken for granite is included in our Bear (AKA Full Week) Pass. Click here for more information about our passes.

Credits

Concept/Choreography/Performance: Jeremy Nedd
Performance: Brandy Butler, Nasheeka Nedsreal, Zen Jefferson, Jeremy Guyton
Technical Management & Lighting Design: Sebastian Sommer
Stage Design: Laura Knüsel, Jeremy Nedd
Sound Design: Fabrizio Di Salvo, Rej Deproc, Xzavier Stone
Dramaturgy: Anta Helena Recke
Choreographic Assistant: Kihako Narisawa
Production: Caroline Froelich (Moin Moin Productions)
Touring: Caroline Froelich (Moin Moin Productions), Arina Frölich

In coproduction with Kaserne Basel, De Singel Antwerp, DDD – Festival Dias da Dança Porto, Gessnerallee Zürich, Les Halles de Schaerbeek

With the kind support of Fachausschuss Tanz & Theater BS/BL, Ernst Göhner Stiftung, Jacqueline Spengler Stiftung

 

Fierce Says

We love Jeremy Nedd, who did a digital residency with us back in October 2023. We’re suckers for repetitive movements in performance, but from rock to rock takes variations on the viral Milly Rock dance and conjures something consciousness-altering, expansive, joyous, and irresistible.

Details

Thursday 17 October 2024

7.00pm

Crescent Theatre, Main House

UK Premiere

Alina Arshi (Lausanne)

Entepfuhl

Thursday 17 October 2024, 11.00pm11.20pm

19 Harford St
Birmingham, B19 3EB United Kingdom
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20 minutes

Free

This work contains violent imagery.

A person’s upper torso is central. They are holding their elbow up to their mouth with their left hand and biting into the forearm of their right hand.

Gregory Batardon

This is a collage of images, including: some written text in Urdu; a person standing on a blue card with large wheels with the word ‘Titanic’ painted along the side; a piece of paisley fabric; and an image of a foot hanging out of a window.

Alina Arshi

The person is kneeling down, their arms are wrapped around one another and they are biting their forearm. Their fingers are splayed out.

Gregory Batardon

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“‘Any road,’ said Carlyle, ‘this simple road to Entepfuhl, will lead you to the end of the world.’ But the road to Entepfuhl, if followed right to the end, would lead straight back to Entepfuhl, which means that Entepfuhl, where we started, is that ‘end of the world’ which we set out to find in the beginning,” lays printed on page 77 of Fernando Pessoa’s The Book of Disquiet.

Heavily influenced by her recent return trip to India with references to the mudrās, symbolic hand gestures present in Indian dance, Alina Arshi attempts to excavate her identity and capture the feeling of living between multiple cultures. Entepfuhl is a bite-sized dance performance that packs a real punch.

Entepfuhl is included in our Bear (AKA Full Week) Pass. Click here for more information about our passes.

Credits:

Created and Performed by: Alina Arshi
With thanks: Jessica Allemann, Robinson Filomé Starck, Nicole Seiler

Additional support from La Manufacture, Les Urbaines, Arsenic – Centre d’art scénique contemporain

Fierce Says

Alina’s doing something here that’s so visceral, so strange, and so utterly compelling. She’s serving Goya’s Saturn Devouring His Son-slash-ouroboros realness: a bite-sized dance performance that packs a real punch.

Details

Thursday 17 October 2024

11.00pm

Birmingham Black Box Theatre

UK Premiere

Steven Cohen (Lille)

put your heart under your feet... and walk!

Friday 18 October 2024, 8.00pm9.00pm

Midlands Arts Centre, Cannon Hill Park
Birmingham, B12 9QH United Kingdom
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60 minutes | £15/13 | 18+

The video in the performance includes graphic content partially filmed in a slaughterhouse. Please contact Fierce at contact@wearefierce.org for more information.

A close up of a person’s face and shoulders against an orange background. They have intricate and highly decorative face paint in orange, white, gold and black and exaggerated lashes.

Pierre Planchenault

A person in a tutu is standing on stilts made of small white coffins. They are bending forward leaning on large poles in either hand. Behind them on a screen we can see a pair of pointe ballet shoes. On the floor are objects light in perfect squares of white light.

Pierre Planchenault

The torso, head and shoulders of a person rises out from a bright space filled with smoke. They are wearing a corset and have elaborate face painting. Their right arm is raised and pointing to the ceiling and their left hand is outstretched.

Allan Thiebault

A person is behind a large gold chandelier lighting its candles. We can see they have highly decorative face paint on.

Pierre Planchenault

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Steven Cohen engages in a deeply moving ceremony in memory of his partner, the dancer Elu, who passed away after 20 years of life together. A cathartic gesture doubled with a brave profession of faith in art as a ritual that celebrates life. He invites the public to celebrate love with him, and to engage in dialogue with death. Everything that happens is real.

“This work is an expression of accepting my destiny in not dying alongside Elu, an experiment in how to deal with survivor guilt in an effort to keep my amputated heart still beating, in how to bear tribute to our lives so richly danced in poverty.

I will let the dead bury the dead and I will produce a vital art, in celebration of our shared life – sometimes with the wind in its sails, sometimes by crawling on “the boulevard of broken dreams”

The last wish that Elu expressed to me on his deathbed was “I want to be with you forever”. It will be so.”

Attending a work by Steven Cohen is always an indelible experience. His ability to transform his body into a work of art, his face and his skull into a landscape, seems limitless. Painted, adorned with rhinestones, butterfly wings, entirely powdered, he becomes here a magical and striking deity of timeless beauty.

put your heart under your feet… and walk! is included in our Bear (AKA Full Week) and Otter (Weekend Max) Passes. Click here for more information about our passes.

Credits

Choreography, Scenography, Costumes and Interpretation: Steven Cohen
Lights: Yvan Labasse
Videos: Richard Muller & SHU
Video Management: Baptiste Evrard
External Regard: Catherine Cossa
Stage Management: Samuel Mateu

Production: Cie Steven Cohen
Co-Production: humain Trop humain – Centre Dramatique National (Montpellier), Montpellier Danse, and Dance Umbrella (Johannesburg) with the support of DRAC Nouvelle-Aquitaine

Show created on June 24, 2017 at the Centre Dramatique National de Montpellier as part of the Montpellier Danse Festival.

Access

This performance contains haze effects. In addition, there will be a quiet space at MAC to de-compress following the performance if needed.

Fierce Says

Steven Cohen is a legend. He returns to Fierce after presenting SPHINCTEROGRAPHY in 2014 and we are honoured to present maybe the final performance of put your heart under your feet… and walk! The images he creates here are haunting, sumptuous, devastating, and undeniable. We can’t wait to talk to you about this one afterwards.

Details

Friday 18 October 2024

8.00pm

Midlands Arts Centre, Theatre

Keioui Keijaun Thomas (New York)

Come Hell or High Femmes: The Era of the Dolls

Friday 18 October 2024, 10.30pm11.50pm

19 Harford St
Birmingham, B19 3EB United Kingdom
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80 minutes | £15/13

This performance contains nudity and references violence against Black trans women.

A person stands in a sheer purple full length dress on a platform in front of a backdrop of greenery and water. They have long wavy hair and their arms are outstretched.

Christopher Sonny Martinez

A person is standing with their arms and hands raised to the sky. They wear a black belt with red lettering that says ‘FOR SALE’ and is covered in see through plastic. They have strips of gold foil stuck to their body. Behind them are long garlands hanging from the ceiling made of carrier bags.

Keioui Keijaun Thomas. Photo by Christopher Sonny Martinez

A figure is behind long garlands hanging from the ceiling made of carrier bags. The floor is littered with items which look like they are from a party - balloons, glitter, fabrics. The space is bathed in pink and blue lighting.

Christopher Sonny Martinez

A person is crouching down in front of a curtain of long garlands hanging from the ceiling made of carrier bags. There is a bright yellow / golden light shining through the garlands and onto them. There is debris littered across the floor in front of them.

Christopher Sonny Martinez

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In Thomas’s new solo project Come Hell or High Femmes: The Era of the Dolls, a three part film and multimedia performance, Thomas charts a post-apocalyptic geography. Her world is lush and verdant; the artist, bathed in a sky blue dress of tulle, wanders across babbling brooks, oceans, and atop hills of fertile land. Thomas, in landscapes across the United States, sensuously interacts with the land to establish a new relationship with the environment.

Each video includes audio of Thomas reciting her own poetry that journeys from the heart of the club, to the Middle Passage, to star-filled skies – speaking into existence a liberated future for and by trans femmes. Thomas imagines a time where the dolls — a term that means a trans femme so flawless and free they are no longer considered real — have survived a mass extinction. Why are dolls the only ones left? Perhaps, it is because trans femmes (often, but not always) are forged in nocturnality, where beauty and intelligence must learn to supersede time and space.

Thomas reclaims what it means to be black in nature, forging new ways to exist in peace, joy, and healing in relation to the American landscape. The work moves through sound, light, poetry, dance, and music as forms of resistance and healing. The choreography is based on queering landscapes, camouflage, and metamorphosis as modes of survival and transcendence for queer and trans people.

Come Hell or High Femmes is included in our Bear (AKA Full Week) and Otter (Weekend Max) Passes. Click here for more information about our passes.

Credits

Created and Performed by: Keioui Keijaun Thomas

Films: 35 mins 6 secs 

Film Credits: Come Hell or High Femmes

Act 1. She From Flurda, but Some Call Ha Florida, 2022. Filmed by Luka Carter & Malcom Thorndike Nicholson, Edited by Keioui Keijaun Thomas 

Act 2. The Last Trans Femmes on Earth: Dripping Doll Energy, 2021. Filmed by Christopher Sonny Martinez, Edited by/with Christopher Sonny Martinez & KeiouiKeijaun Thomas 

Act 3. I Looked Up at the Sky and I, Imagined All of the Stars Were My Sisters, 2020. Filmed by Charles Rice, Edited by/with Charles Rice & Keioui Keijaun Thomas 

Fierce Says

When Keioui was last at Fierce in 2019 with My Last American Dollar, she had us gathered in a now-iconic collective hug in the middle of Birmingham Museum and Art Gallery. Here, she draws together the past, present, and speculated future of Black trans women in America with video and live performance into something remarkably urgent and profound.

Details

Friday 18 October 2024

10.30pm

Birmingham Black Box Theatre

UK Premiere

Tiran Willemse (Zurich)

Untitled (Nostalgia, Act 3)

Saturday 19 October 2024Sunday 20 October 2024

54-57 Floodgate St
Birmingham, B5 5SL
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70 minutes | £15/13

This performance contains nudity.

A person wearing a t-shirt and jogging bottoms is doing an arabesque in front of a white wall. The image is in black and white.
A person is jumping or spinning, their figure is blurred in motion.
We can see a person’s head and shoulders, they have their back to the camera, and their hands raised elegantly in front of them.

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In Untitled (Nostalgia, Act 3) the South-African born, Europe-based choreographer Tiran Willemse invokes his own multiple histories of dance through a kaleidoscope of the 19th century ballet classic Giselle, the Kuduro from Angola, and the Nigerian genre Alanta. The ghost story of Giselle becomes the primary vehicle through which Willemse gives his past selves space to be as they are – ghosts, not dead, who have not left fully, though they may have been asked to. Both an exercise and an exorcism, Untitled (Nostalgia, Act 3) is an evocation of Black experience within European contexts, and a thinly veiled masquerade of its absurdities. As differently gendered bodies claim space for expression, their haunting simultaneously haunts cisnormativity.

What bubbles to the surface may be headless but it’s not shy. The emerging dance is simultaneously a solo by Willemse and an ensemble performed with the unresolved tensions that move him. In limbo between presence and absence, these bodies -rendered invisible, suppressed, (as certain histories often are) invited, or not- have nevertheless come back to reclaim Willemse’s body. These multiple consciousnesses are given the room to rehearse both as and with Willemse, a repétition (rehearsal) with a difference.

The 3:30pm performance of Untitled (Nostalgia, Act 3) on Sunday 20 October is included in our Bear (AKA Full Week) and Otter (Weekend Max) Passes. Click here for more information about our passes.

Credits

Concept, Artistic Direction & Performance: Tiran Willemse
Dramaturgy: Andros Zins-Browne
Music: Tobias Koch
Choreographic Advice: Laurent Chétouane
Light Design: Fudetani Ryoya
Light Operator: Max Windisch-Spoerk
Sound Operator: Thibault Villard
Production: Paelden Tamnyen, Rabea Grand

Co-Production: Gessnerallee Zürich, Arsenic – Contemporary Performing Arts Center, Lausanne 

Supported by: Stadt Zürich Kultur, Fachstelle Kultur Kanton Zürich, Pro Helvetia, Schweizerische Interpretenstiftung SIS, Migros-Kulturprozent

Fierce Says

Tiran is a compulsively watchable performer with an innate understanding of his body’s relationship to space. This one’s a beauty.

Details

Saturday 19 October 2024

12.00pm

Sunday 20 October 2024

3.30pm