For a few seconds you maybe really were yourself

Dance and choreography: Adva Zakai
Advice: Marijke Hoogenboom
Research assistants: Katja Dreyer, David Hendrickx
Light: Peter Castelijn
Production: DWA/Dans Werkplaats Amsterdam, Melkweg , October 2005

When I laugh it looks like this

Dance and choreography :Adva Zakai
Advice: Shila Anaraki, Andrea Bozic
Light: Mijke van der Drift
Production: DWA/Dans Werkplaats Amsterdam, Melkweg Amsterdam, October 2006

For a few seconds you maybe really were yourself (2005) and When I laugh it looks like this (2006) are a part of a series of works that deal with the search for physical representation of changes in self-perception and body-image in different contexts. In her explorations of "human camouflage", Zakai explores the tension between the seemingly contradicting needs of the self: on one hand, the need to conserve ones’ individuality and on the other, the need to blend into the accepted definitions of the human landscape. She attempts to lose and redo her physical form and plays with controlled and spontaneous unfolding of movements wherein the stage becomes an imaginary landscape of basic actions, situations and feelings. The relations between seeing, seeming, believing and being are thecommon threads of the two solos.

Adva Zakai (Israel, 1975) has lived and worked in Holland since 1998 both as dance maker
and performer. She has produced her own work since 2002 and took part in ACE – two year
residency for choreographers at DWA/Dans Werkplaats Amsterdam. Her work is presented in
festivals and theatres in many countries. She studied at the Mime School Amsterdam.

For a few seconds you maybe really were yourself

Dance and choreography: Adva Zakai
Advice: Marijke Hoogenboom
Research assistants: Katja Dreyer, David Hendrickx
Light: Peter Castelijn
Production: DWA/Dans Werkplaats Amsterdam, Melkweg , October 2005

When I laugh it looks like this

Dance and choreography :Adva Zakai
Advice: Shila Anaraki, Andrea Bozic
Light: Mijke van der Drift
Production: DWA/Dans Werkplaats Amsterdam, Melkweg Amsterdam, October 2006

For a few seconds you maybe really were yourself (2005) and When I laugh it looks like this (2006) are a part of a series of works that deal with the search for physical representation of changes in self-perception and body-image in different contexts. In her explorations of "human camouflage", Zakai explores the tension between the seemingly contradicting needs of the self: on one hand, the need to conserve ones’ individuality and on the other, the need to blend into the accepted definitions of the human landscape. She attempts to lose and redo her physical form and plays with controlled and spontaneous unfolding of movements wherein the stage becomes an imaginary landscape of basic actions, situations and feelings. The relations between seeing, seeming, believing and being are thecommon threads of the two solos.

Adva Zakai (Israel, 1975) has lived and worked in Holland since 1998 both as dance maker
and performer. She has produced her own work since 2002 and took part in ACE – two year
residency for choreographers at DWA/Dans Werkplaats Amsterdam. Her work is presented in
festivals and theatres in many countries. She studied at the Mime School Amsterdam.

Dance and choreography: Pichet Klunchun
Video editor: Puttpong Wongsawang
Translation: Associate Professor Pornrat Damrhung
Original interview clip: TheatreWorks Singapoure
Premiere: Bangkok 2005

I Am a Demon is an innovative performance by Pichet Klunchun that highlights the essence of
traditional Khon dancing for audiences of contemporary dance. It explores different facets and
searches for the wisdom that is hidden behind the dance structures and movements of the “Demon”
character, one of the four characters in classical Thai Khon dance. It presents the commanding
styles as well as applying scientific theories to show the vitality of what lies behind each portrayal.
This is meant to take the audience to the core of the movements and convey their actual meanings
as Klunchun combines the language of classical Thai dance with a contemporary sensibility, while
retaining the heart of the tradition.

Concept and Choreography: Aydın Teker
With: Serap Meriç, Emre Olcay, Ayşe Orhon, Şebnem Yüksel
Sound design: Manuel Mota, Margarida Garcia
Light design: Jiv Wagner
Costume: Ayşegül Alev
Shoes: Ahmet İnceel
Premier: 18.11.2005, Haus der Berliner Festspiele, Berlin
Co-production: Bimeras (İstanbul), Alkantara (Lizbon) and Spielzeiteuropa | Berliner Festspiele (Berlin)

Aydın Teker’s 2005 creation aKabı which has been presented and acclaimed at many international
festivals and venues is the product of an intense movement research, a thorough exploration of the
relations between body-artifice-architecture, and months of uncompromising work discipline. In this
piece, the boundaries of the body extend beyond that of the skin through the employment of
especially designed shoes which become part of the perceptive and experiential extensions of the
body and carry our imagination to unexpected journeys.

Concept and Choreography: Aydın Teker
With: Serap Meriç, Emre Olcay, Ayşe Orhon, Şebnem Yüksel
Sound design: Manuel Mota, Margarida Garcia
Light design: Jiv Wagner
Costume: Ayşegül Alev
Shoes: Ahmet İnceel
Premier: 18.11.2005, Haus der Berliner Festspiele, Berlin
Co-production: Bimeras (İstanbul), Alkantara (Lizbon) and Spielzeiteuropa | Berliner Festspiele (Berlin)

Aydın Teker’s 2005 creation aKabı which has been presented and acclaimed at many international
festivals and venues is the product of an intense movement research, a thorough exploration of the
relations between body-artifice-architecture, and months of uncompromising work discipline. In this
piece, the boundaries of the body extend beyond that of the skin through the employment of
especially designed shoes which become part of the perceptive and experiential extensions of the
body and carry our imagination to unexpected journeys.

Scenography and costume: Sallahdyn Khatir
Technical direction: Erik Houllier
Assistant: Boris Charmatz
Communications: Laura Beurdeley and Angèle Le Grand
Direction: Sandra Neuveut
Production assistant: Cécile Tonizzo
Production: Edna
Co-production:Tanz im August (Berlin); Centre national de la danse (Pantin); Festival d’Automne – (Paris) ; Réseau des Centres de Développement Chorégraphique; Centre Chorégraphique National de Franche-Comté.
Support: Cinémathèque de la Danse (Paris), Théâtre de la Cité internationale (Paris), and Chaufferie (Saint-Denis)
Thanks: Anne Abeille, Catherine Bazin, Laura Beurdeley, Annie Bozzini, Marie Collin, Sophie Couineau, Merce Cunningham, Christian Dumais-Lvowski, Julie Georges, Gilles Grand, Philippe Ivernel, Dalila Khatir, Sophie Laly, Isabelle Launay, Catherine Legrand, Françoise Malfroid, Cécile Mathieu, Deborah Menrath, Bénédicte Pesle, Claire Rousier, Guillaume Sintes, Jeannie Steele, Robert Swinston, Sébastien Thiery, Thibault Vancraenenbroek, Claire Verlet, Anne Wuilleret.
Premiere : Visitations was created on the 12th of August 2005 for the Festival Tanz im August – Internationales Tanzfest Berlin.

Specters of the milestones of modern dance become alive in Julia Cima’s interpretative
appropriations of their movement language. In these series of solos resurrecting choreographers
like Dominique Baguet, Isadora Duncan, Valeska Gert, Merce Cunningham, Vaslav Nijinsky and
Tatsumi Hijikata, Cima performs several historical ref(v)erences: She shows how texts, gestures and
movements are historically constituted and how understanding is based on being part of a
particular tradition. The work also depicts simultaneously that each reconstruction is inevitably an
interpretive reading, thus a new work bearing the touches of its appropriator; and that each
production is, in a way, a reproduction. In other words, the work hints at how history does not
belong to us, but we belong to history.

Scenography and costume: Sallahdyn Khatir
Technical direction: Erik Houllier
Assistant: Boris Charmatz
Communications: Laura Beurdeley and Angèle Le Grand
Direction: Sandra Neuveut
Production assistant: Cécile Tonizzo
Production: Edna
Co-production:Tanz im August (Berlin); Centre national de la danse (Pantin); Festival d’Automne – (Paris) ; Réseau des Centres de Développement Chorégraphique; Centre Chorégraphique Nationalde Franche-Comté.
Support: Cinémathèque de la Danse (Paris), Théâtre de la Cité internationale (Paris), and Chaufferie (Saint-Denis)
Thanks: Anne Abeille, Catherine Bazin, Laura Beurdeley, Annie Bozzini, Marie Collin, Sophie Couineau, Merce Cunningham, Christian Dumais-Lvowski, Julie Georges, Gilles Grand, Philippe Ivernel, Dalila Khatir, Sophie Laly, Isabelle Launay, Catherine Legrand, Françoise Malfroid, Cécile Mathieu, Deborah Menrath, Bénédicte Pesle, Claire Rousier, Guillaume Sintes, Jeannie Steele,Robert Swinston, Sébastien Thiery, Thibault Vancraenenbroek, Claire Verlet, Anne Wuilleret.
Premiere : Visitations was created on the 12th of August 2005 for the Festival Tanz im August – Internationales Tanzfest Berlin.

Specters of the milestones of modern dance become alive in Julia Cima’s interpretative
appropriations of their movement language. In these series of solos resurrecting choreographers
like Dominique Baguet, Isadora Duncan, Valeska Gert, Merce Cunningham, Vaslav Nijinsky and
Tatsumi Hijikata, Cima performs several historical ref(v)erences: She shows how texts, gestures and
movements are historically constituted and how understanding is based on being part of a
particular tradition. The work also depicts simultaneously that each reconstruction is inevitably an
interpretive reading, thus a new work bearing the touches of its appropriator; and that each
production is, in a way, a reproduction. In other words, the work hints at how history does not
belong to us, but we belong to history.

Ibrahim Qurashi

AOI: Afraid of I //

Concept and choreography: Ibrahim Quraishi
Performance: Diegonante
Voice & Guitar: Divalastik
Costumes: Aziz
Lighting: Stephen Arnhold
Production: Cie. Faim de Siècle
Special thanks to: SNDO School for New Dance
Development Amsterdam,
The Masters Program in Choreography of
New Media Dance Unlimited Amsterdam

World Premiere!

Afraid of I, is a performative analysis of the structures that influence how we see the performer, his
codes and the dance. It is a solo for a male performer on the last remains of cowboy-ism.

Watching a performing man executing the codes of a lost profession… Watching the iconography of a male icon in his coded sphere… Men in uniform engaged with violence, (however), cannot afford to be constricted (wıth these codes) or spend time, drifting elaborately. The willingness to live on the edge requires the eagerness to cultivate for its own sake an erotic enhancing acuity, a new physicality (of neighbouring death). “If only there would be fighting again, If I only could face
dangers now, If only I could risk my life, could fight forever, it would be an eternal relief.” What if the endless violence, the cows and horses disappear? What is left of the codes when other norms of violence take over? What is left of the melancholy songs and those legendary lonely nights? Farewell cowboys, the world doesn't need you anymore. Let’s dance! (IQ)

Ibrahim QURAISHI is conceptual artist, writer, choreographer and artistic director of Compagnie Faim de Siecle (NY/Paris). His work is based on the transformation of space, an immersive narrative and a pro-active performative dialogue through digital and human interface. His pieces consciously examine the dynamics of “migration,” dispossession and cohabitation within the highly rigid socio- political spheres of our imagined communities. Graduate of Middle East Languages and Literature from Columbia University, New York and a former student of Edward W. Said, over the past 10 years, Quraishi has been collaborating with internationally diverse artists.. Quraishi has won a number of prestigious awards including the National Endowment for the Arts Grant (2005), a Rockefeller Fellowship (2000, 2004 & 2005), the Islamic World Arts Initiative (2004) among others. He created a controversial interpretation of Mozart´s "The Abduction from the Seraglio" under the title Saray // Mozart alla turca celebrating Mozart's 250th anniversary in Vienna with young Turkish artists. He presented the new version of 5 Streams at Springdance 2007, Utrecht. Quraishi has een teaching at SNDO (The Dutch School for New Dance Development in Amsterdam) and is based in Lahore, Pakistan and Europe.

Özlem Alkış

Neverland*

27. and 28. September
Garajistanbul
20:30


Performance: Ozlem Alkis
Sound montage and costume: Ozlem Alkis
Technical support: Ekmel Ertan

Thanks to Taldans and Çatı studio


This project is the second part of a series of works in which Alkış seeks to form a self-portrait via a
pictorial sketch of the body in a particular state in relation to objects, meanings, and tasks, which is
wiling to offer itself with its gaps and hesitations to the viewer.

(*) Neverland is the fictional island and dream world featured in the play Peter Pan


After graduating from the Statistics Department of Mimar Sinan University in İstanbul, Özlem Alkış received her dance education in “ex.e.r.ce” program of Centre Choréographique National de Montpellier in 2003. She continued her explorations in choreography between 2005-2006 in Centre National de Danse Contemporaine-Angers with support granted by the French State. She worked with Loïc Touzé and Deborah Hay as a dancer. She is one of the co-founders of amber, body-process arts association and Çatı Association of Independent Dancers, İstanbul. I am hanging around for another round (2007); Taureau, in search of a self
portrait (2006); Under the blue sky…, (2005); Just marking (with Pep Garrigues and Ekmel Ertan 2003-2004); and Breakfast wit you (with Chris Elam, 2002) can be cited among her works.

Ibrahim Qurashi

AOI: Afraid of I //

Concept and choreography: Ibrahim Quraishi
Performance: Diegonante
Voice & Guitar: Divalastik
Costumes: Aziz
Lighting: Stephen Arnhold
Production: Cie. Faim de Siècle
Special thanks to: SNDO School for New Dance
Development Amsterdam,
The Masters Program in Choreography of
New Media Dance Unlimited Amsterdam

World Premiere!

Afraid of I, is a performative analysis of the structures that influence how we see the performer, his
codes and the dance. It is a solo for a male performer on the last remains of cowboy-ism.

Watching a performing man executing the codes of a lost profession… Watching the iconography
of a male icon in his coded sphere… Men in uniform engaged with violence, (however), cannot
afford to be constricted (wıth these codes) or spend time, drifting elaborately. The willingness to live
on the edge requires the eagerness to cultivate for its own sake an erotic enhancing acuity, a new
physicality (of neighbouring death). “If only there would be fighting again, If I only could face
dangers now, If only I could risk my life, could fight forever, it would be an eternal relief.” What if the
endless violence, the cows and horses disappear? What is left of the codes when other norms of
violence take over? What is left of the melancholy songs and those legendary lonely nights?
Farewell cowboys, the world doesn't need you anymore. Let’s dance! (IQ)

Ibrahim QURAISHI is conceptual artist, writer, choreographer and artistic director of Compagnie Faim de Siecle (NY/Paris). His work is based on the transformation of space, an immersive narrative and a pro-active performative dialogue through digital and human interface. His pieces consciously examine the dynamics of “migration,” dispossession and cohabitation within the highly rigid socio- political spheres of our imagined communities. Graduate of Middle East Languages and Literature from Columbia University, New York and a former student of Edward W. Said, over the past 10 years, Quraishi has been collaborating with internationally diverse artists.. Quraishi has won a number of prestigious awards including the National Endowment for the Arts Grant (2005), a Rockefeller Fellowship (2000, 2004 & 2005), the Islamic World Arts Initiative (2004) among others. He created a controversial interpretation of Mozart´s "The Abduction from the Seraglio" under the title Saray // Mozart alla turca celebrating Mozart's 250th anniversary in Vienna with young Turkish artists. He presented the new version of 5 Streams at Springdance 2007, Utrecht. Quraishi has een teaching at SNDO (The Dutch School for New Dance Development in Amsterdam) and is based in Lahore, Pakistan and Europe.

Özlem Alkış

Neverland*

27. and 28. September
Garajistanbul
20:30


Performance: Ozlem Alkis
Sound montage and costume: Ozlem Alkis
Technical support: Ekmel Ertan

Thanks to Taldans and Çatı studio


This project is the second part of a series of works in which Alkış seeks to form a self-portrait via a
pictorial sketch of the body in a particular state in relation to objects, meanings, and tasks, which is
wiling to offer itself with its gaps and hesitations to the viewer.

(*) Neverland is the fictional island and dream world featured in the play Peter Pan


After graduating from the Statistics Department of Mimar Sinan University in İstanbul, Özlem Alkış received her dance education in “ex.e.r.ce” program of Centre Choréographique National de Montpellier in 2003. She continued her explorations in choreography between 2005-2006 in Centre National de Danse Contemporaine-Angers with support granted by the French State. She worked with Loïc Touzé and Deborah Hay as a dancer. She is one of the co-founders of amber, body-process arts association and Çatı Association of Independent Dancers, İstanbul. I am hanging around for another round (2007); Taureau, in search of a self
portrait (2006); Under the blue sky…, (2005); Just marking (with Pep Garrigues and Ekmel Ertan 2003-2004); and Breakfast wit you (with Chris Elam, 2002) can be cited among her works.

Jéôme Bel

Shirtologie

Premier: Centro Cultural de Belem (Lisbon), 1997
Dancer: Frédéric Seguette
Production: Centro Cultural de Belem (Lisbon),
Victoria (Ghent), R.B. Jerome Bel (Paris)
Support: R.B. Jerome Bel is supported by the Direction
regionale des affaires culturelles d’Ile-de-France
(French Ministry of Culture and Communication)
and by Cultures France (French Ministry for Foreign Affairs) for its international tours
Producer: Sandro Grando

A given language is a social institution, which does not depend on individuals ; it is a normative
reserve out of which individuals draw their speech, in other words, it is “ a virtual system which only
actualises itself within and through speech ”. Speech is an individual act, “ the actualised
expression of the function of language ”, THE LANGUAGE being a generic term which
encompasses given languages and speech. It appears most useful to distinguish between two
analogical realities within the notion of clothing : the first one is an essentially social and institutional
reality, not depending on individuals and operating like a systematic, normative reserve, out of
which the individuals draw their own outfits ; we suggest calling this reality THE COSTUME, which in
Saussure corresponds to a given language ; and a second individual reality, which is a real act of “
clothing ” by which individuals, in endorsing it, actualise the general institution of the costume ; we
suggest calling this second reality CLOTHES, which in Saussure corresponds to speech. Costume
and clothes form a generic whole, which we suggest calling from now on CLOTHING.

Roland Barthes in Annales, "Histoire et sociologie du vêtement", July-September 1957

Jérôme Bel (1964), lives in Paris and Rio de Janeiro, and works worldwide. After graduating from the
Centre National de Danse Contemporaine of Angers (France) in 1985, he danced for many choreographers
in France and in Italy until 1991. In 1992, he was assistant to the director and choreographer Philippe
Découflé for the ceremonies of the XVIth Winter Olympic Games of Albertville and Savoie (France). His
first piece, a choreography of objects, is entitled nom donné par l'auteur (1994). The second one
Jerome Bel (1995) is based on the identity and the total nudity of the four performers. The third one,
Shirtology (1997) was a commission by the Centro Cultural de Belem (Lisbon) and Victoria (Ghent), put on
again in 2000 with Japanese performers in Kyoto and Tokyo. Then comes The last performance (1998),
which quoting several times a solo by the German choreographer Susanne Linke, and also Hamlet or André
Agassi, tries to define an ontology of the performance. The piece Xavier Le Roy (1999) is claimed by Jérôme
Bel as his own, but is actually choreographed by the French choreographer living in Berlin : Xavier Le Roy.
The show must go on (2001) gathers a cast of twenty performers, nineteen pop songs and one DJ.
The piece was in the repertory of the Deutsches Schauspielhaus in Hamburg between 2000 and 2005.
In 2003, Jerome Bel takes a sabbatical year. In October, he is the curator with Alain Platel of the Klapstuk
Festival in Leuven (Belgium). In 2004, he is invited to produce a piece for the Paris Opera ballet : The piece
turns out to be Veronique Doisneau (2004), a theatrical documentary solo on the work of the “corps de ballet”
dancer of that company, Veronique Doisneau. The same year, he produces The show must go on 2 (2004),
a piece which will appear to be a failure for him and that he takes out of the company’s repertory after the
performances in Brussels, Paris, Berlin and Singapore. The next year, invited in Bangkok by the curator
Tang Fu Kuen, he produces Pichet Klunchun & myself (2005) with the Thai traditional dancer Pichet Klunchun.
This production stages Pichet Klunchun and Jerome Bel discoursing on their own artistic practices despite the
abyssal cultural gap dividing them. Isabel Torres (2005) for the ballet of the Teatro Municipal of Rio de Janeiro
is the Brazilian version of the production for the Paris Opera. Jérôme Bel received a Bessie Award for the
performances of The show must go on in New York in 2005.

Ayşe Orhon

Tekrar Edebilir misin?

Duration: 20' 

Dance and choreography: Ayse Orhon

Tekrar edebilir misin? [Can you repeat?] exposes a body (or a mind?) in/on the rehearsal process
depicting why and how language is an inevitable part of movement. The force of the “choreographic
speech act” is manifest as movement/work.

Dance and choreography: Ziya Azazi
Music: Uwe Felchle (part 1) Mercan Dede (part 2)
Costume: Ischiko

In this internationally acclaimed work, Ziya Azazi re-interprets the traditional sufi dance and transforms it
in relation to his personal history while maintaining its mentally and physically challenging vertiginous
trance. This work is the integration of the solo Dervish in Progress (premiere 2004, Barcelona) and
Azab (premiere 2005, Sao Paulo/Brazil) into a full-length performance.

Ziya Azazi (1969, Antakya) became a self-taught gymnast after graduating as a mining engineer in
1986. He made his first choreographic works as he was working at the State Theater of Istanbul
between 1990-94. He moved to Vienna in 1994, and continued his work in contemporary dance and
gymnastics. In 1999 he won the dance scholarship danceweb (Vienna) and received honorable
mention as “the most outstanding dancer of the year for Austria,” after his full evening solo Unterwegs
Tabula Rasa. Since 1999, in order to reduce and crystallize his dance vocabulary and to find his own
physical and mental limits, he has been studying the traditional dance of the sufis (dervish whirlers),
and has been choreographing his own interpretations of this dance. He performed in many continents
of the world. Azazi has been holding workshops in many cities where explores classical oriental,
ritualistic sufi dance with the aid of western improvisational dance.

Ziya Azazi (1969, Antakya) became a self-taught gymnast after graduating as a mining engineer in
1986. He made his first choreographic works as he was working at the State Theater of Istanbul
between 1990-94. He moved to Vienna in 1994, and continued his work in contemporary dance and
gymnastics. In 1999 he won the dance scholarship danceweb (Vienna) and received honorable
mention as “the most outstanding dancer of the year for Austria,” after his full evening solo Unterwegs
Tabula Rasa. Since 1999, in order to reduce and crystallize his dance vocabulary and to find his own
physical and mental limits, he has been studying the traditional dance of the sufis (dervish whirlers),
and has been choreographing his own interpretations of this dance. He performed in many continents
of the world. Azazi has been holding workshops in many cities where explores classical oriental,
ritualistic sufi dance with the aid of western improvisational dance.

Concept and direction: Ivana Müller
Collaboration: Bill Aitchison, Nils de Coster
Co-production: Künstlerhaus Mouson Turm Frankfurt and Gasthuis Theater Amsterdam
Premiere: Plateaux Festival 2003
Participants: Prof. F. Siemsen (physicist - D), Prof. Bojana Kunst (philosopher – SLO), Prof. W.A.
Wagenaar (psychologist – NL), Dr.Christian Röder (psychiatrist – D), Alexandra Thiel (trampoline
instructor -D) and I.M’s 50 friends.

How Heavy Are My Thoughts is the third part in the trilogy of solos based on themes of innocence
(Indivisible View, 1999), heroism (Lovely Performance, 2002) and knowledge (How Heavy Are My
Thoughts).The project is based on the fascination with the language expression “heavy thoughts”, a
metaphor relating a physical, bodily quality of the adjective “heavy” to the mental concept of the noun
“thoughts”. In most of the literature it is stated that the weight of an adult human brain varies between
1,300 –1,500 g, depending on age and gender. The weight of a human head is between 4 and 6 kg.
But those statistics were made on the account of a single measurement per person. Is it possible that
our head weights differently depending on our mental, physical, emotional or physiological state?

Ivana Müller is a performance artist/choreographer/theater director. In her artistic work she develops
defined performative concepts that use twists in perception or logic as a starting point, creating pieces
that are poetic and scientific, philosophical and humorous, intimate and political at the same time. In her
recent work she explores the notions of self-invention and story-telling, often working on the borders
between fiction and reality. Most of her work is made for theaters, although she also creates
installations for galleries and museums or publishes texts. She studied literature in Zagreb, dance and
choreography in Amsterdam, and fine arts in Berlin.
She won the Charlotte Köhler Prize in Netherlands this year, issued by the Prins Bernhard Cultuur
Fonds, and her latest piece While We Were Holding It Together is nominated for the VSCD Mime Price.

Choreography and dance: Eszter Salamon
Production: Le Kwatt, in situ productions 2001
Organization: Alexandra Wellensiek
Support: TanzWerkstatt-Berlin, Podewil-Berlin and Senatsverwaltung für Wissenschaft, Forschung
und Kultur- Berlin, Centre Choréographique National de Montpellier
Thanks: Sylvie Guiresse, Brenda Edwards

This a-gendered body without face and without behind, performs a series of movements which are
seemingly unlimited to organic body matters. It is a kind of multidimensional flexible whiteness,
distinct from the white surface where it came from only by its agile bendings, that display an
astonishing reversibility of the body's front and back. Revealing gradually its many skins, there is no
other truth than different moving entities. [...] It is strange beings such as a sci-fi bubble or this hairy
vibrating membrane, which triggers some fleshy-colored twitching extremities on the surface or this
image of a nude body on a duvet-cloud, faceless angel or soap advertisement, an image, whose
gaze back to us weighs a whole history of perceiving gender.

Petra Sabisch

After studying classical dance at the National Academy of Dance in Budapest, Eszter Salamon moved to
France in 1992, and worked with choreographers such as Sidonie Rochon, Mathilde Monnier and Francois
Verret. She presented the duo Où Sont Les Femmes? (2000) and Giszelle (2001- in collaboration with Xavier
le Roy); created the solo What A Body You Have, Honey (2001), Répétition d’Un Travail En Cours (2002 -
in collaboration with Herman Diephuis and Simone Verde). In 2004 she presented Reproduction for the
“Körperstimmen n° 9” festival at Podewil Berlin where she was artist-in-residence. She is a laureate of the
“Villa Medici Hors les Murs” scholarship. In May 2005, E. Salamon presented during the festival “Les
Intranquilles”, Lyon Magyar Tàncok and staged the music of Karim Haddad in the frame of the project
Seven attempted excapes from Silence at the Staatsoper Unter den Linden, Berlin. In 2006 she presented ;
Nvsbl and her latest work AND THEN premiered at Les Subistances, Lyon, in April 2007.

in English,with Turkish simultaneous translation

Concept & performance: Tarek Halaby
Co-production: P.A.R.T.S.
Thanks to: Jan Ritsema, Sandra Iché, Rabia Aghrib, my uncles Jean and Samir Halaby, Dr.
Mahmoud Ashour and the many other Palestinians who shared their personal experiences with me
and further educated me about the history of the Palestinian situation. Lastly, a big thanks to my
family and friends for their love, support, and interest in this project.

This work, title of which resembles an academic paper, is the outcome of Palestinian-American
artist Tarek Halaby’s research that seeks the points of divergence and convergence of personal
and collective histories within the process of dance creation. Constructing this work as an
unfinished product, as an ongoing and unresolved situation just like the Palestinian problem,
Halaby finds out about the difficulty of translating an historical and social problem to the level of
physical body with the aid of available languages of dance, and distances himself from personal
affectations via humor. He thus highlights the ironies and paradoxes of creating works of
deliberately political content.

Tarek Halaby, (Riyad 1980), is a Palestinian-American performer based in Brussels. He is a graduate of
The University of Iowa where he received his Bachelor of Fine Arts in Dance Performance. For three years
he lived and worked in New York, dancing with various companies and independent choreographers.
Tarek completed the two year Research Cycle at P.A.R.T.S. in 2006. He got noticed through his sometimes
confrontational, hilarious, disruptive and often bizarre performances. Together with Sujata Goel he is aiming
to develop the duet Disco Dancer into a full-length performance with working title: Night Life.

By and with: Xavier Le Roy
From a collaboration: Laurent Goldring
Music: Diana Ross
Production: in situ productions, Le Kwatt (1998)
Co-production: Substanz-Cottbus, TIF Staatsschauspiel Dresden, Fonds Darstellende Künste
e.v. aus Mitteln des Bundesministeriums des Innern.
Support: TanzWerkstatt-Berlin, Podewil-Berlin, the Berlin Senatsverwaltung für Wissenschaft,
Forschung und Kultur.

The brightly lit performing area gives no clues to "how to read" and the mechanical-man
beginning is offset with a return to ordinary task-like activity: walk, sit, turn off tape machine. By
the time you're into the contortions with the dress, we're given this extraordinary hybrid
creature which confronts us with a multiplicity of interpretations. We must sit with our attention
riveted, waiting for the next stirring. Like watching a spider or snail. Your timing in this piece is
exquisite: no pandering to short attention spans here. Yvonne Rainer (e-mail 22.12.1999)

Xavier Le Roy studied molecular biology at the University of Montpellier and has worked as a dancer and
choreographer since 1991. From 1997 to 2003 he was artist in residence at the Podewil, Berlin where he
choreographed solo performances Self Unfinished (1998), Product of Circumstances (1999), was invited
by Tanz im August Festival to work with Yvonne Rainer “Meetings” (2000), realized a piece from Jérôme
Bel Xavier le Roy (2000); choreographed Giszelle (2001) in collaboration with Eszter Salamon; and Project
(2003) a piece for 15 performers. He also staged Das Theater der Wiederholungen (2003) an opera from
Bernhard Lang and Mouvements für Lachenmann (2005) an evening concert with music from Helmut
Lachenmann. With the Berliner Philharmoniker Educational Project he choreographed Ionisation from
Edgar Varèse with 40 children. In 2004 and 2006, he was involved in various educational programs within
different contexts and institutions. In 2007 he choreographed a solo on the music of Igor Stravinsky
« Le Sacre du Printemps ». In 2007-2008 he is “associated artist” at Centre Chorégraphique National de
Montpellier, France.

By and with: Xavier Le Roy
From a collaboration: Laurent Goldring
Music: Diana Ross
Production: in situ productions, Le Kwatt (1998)
Co-production: Substanz-Cottbus, TIF Staatsschauspiel Dresden, Fonds Darstellende Künste
e.v. aus Mitteln des Bundesministeriums des Innern.
Support: TanzWerkstatt-Berlin, Podewil-Berlin, the Berlin Senatsverwaltung für Wissenschaft,
Forschung und Kultur.

The brightly lit performing area gives no clues to "how to read" and the mechanical-man
beginning is offset with a return to ordinary task-like activity: walk, sit, turn off tape machine. By
the time you're into the contortions with the dress, we're given this extraordinary hybrid
creature which confronts us with a multiplicity of interpretations. We must sit with our attention
riveted, waiting for the next stirring. Like watching a spider or snail. Your timing in this piece is
exquisite: no pandering to short attention spans here. Yvonne Rainer (e-mail 22.12.1999)

Xavier Le Roy studied molecular biology at the University of Montpellier and has worked as a dancer and
choreographer since 1991. From 1997 to 2003 he was artist in residence at the Podewil, Berlin where he
choreographed solo performances Self Unfinished (1998), Product of Circumstances (1999), was invited
by Tanz im August Festival to work with Yvonne Rainer “Meetings” (2000), realized a piece from Jérôme
Bel Xavier le Roy (2000); choreographed Giszelle (2001) in collaboration with Eszter Salamon; and Project
(2003) a piece for 15 performers. He also staged Das Theater der Wiederholungen (2003) an opera from
Bernhard Lang and Mouvements für Lachenmann (2005) an evening concert with music from Helmut
Lachenmann. With the Berliner Philharmoniker Educational Project he choreographed Ionisation from
Edgar Varèse with 40 children. In 2004 and 2006, he was involved in various educational programs within
different contexts and institutions. In 2007 he choreographed a solo on the music of Igor Stravinsky
« Le Sacre du Printemps ». In 2007-2008 he is “associated artist” at Centre Chorégraphique National de
Montpellier, France.

Xavier Le Roy studied molecular biology at the University of Montpellier and has worked as a dancer and
choreographer since 1991. From 1997 to 2003 he was artist in residence at the Podewil, Berlin where he
choreographed solo performances Self Unfinished (1998), Product of Circumstances (1999), was invited
by Tanz im August Festival to work with Yvonne Rainer “Meetings” (2000), realized a piece from Jérôme
Bel Xavier le Roy (2000); choreographed Giszelle (2001) in collaboration with Eszter Salamon; and Project
(2003) a piece for 15 performers. He also staged Das Theater der Wiederholungen (2003) an opera from
Bernhard Lang and Mouvements für Lachenmann (2005) an evening concert with music from Helmut
Lachenmann. With the Berliner Philharmoniker Educational Project he choreographed Ionisation from
Edgar Varèse with 40 children. In 2004 and 2006, he was involved in various educational programs within
different contexts and institutions. In 2007 he choreographed a solo on the music of Igor Stravinsky
« Le Sacre du Printemps ». In 2007-2008 he is “associated artist” at Centre Chorégraphique National de
Montpellier, France.