TRAJAL HARRELL, NEW YORK CITY:
CAEN AMOUR
(AVANTPREMIÈRE)
EIN TANZFONDS ERBE
PROJEKT
[Fr] 05.02. und [Sa] 06.02. / 19:00 und 21:00 und [So] 07.02. / 19:00
k2 / Dauer ca. 60 Min.
Publikumsgespräch am Samstag nach der 2. Vorstellung
Unser Tipp für Sie:
Die Ausstellung »Jugendstil. Die große Utopie« läuft noch bis zum 28.02. im Museum für Kunst und Gewerbe (Steintorplatz am Hauptbahnhof/ZOB) [Di] – [So] 10 – 18 Uhr / [Do] 10 – 21 Uhr
Choreographer’s Note:
Little Egypt, who came to the Chicago World’s Fair in 1893, spawned a number of imitators with her “oriental” style of dance. Not unlike many of the early modern dancers who looked to Asia, North Africa, and the Middle East for inspiration, one off-shoot of these vast imitators were the hoochie-koochie shows traveling across the United States from the early twentieth century into the early 1980s. I posit that from its beginning these performances should also be linked to the burgeoning artistic field of dance which, as of yet, had no name. Looking back at the hoochie koochie shows, we employ our sexist, orientalist, and post-colonialist readings fixed to the male gaze, gender and racial inequality, exoticism, and sexual objectification. However, CAEN AMOUR takes place in the historical imagination. Though the work itself is not a recreation nor a historical reconstruction. This work follows the strategy of my former works, where the imagination is speculative and floating through temporalities and historicity. Though, here in this personal rendering of a hoochie-koochie show--- most of the historical sexism and other -ism’s remain in place to imagine as close as possible to what might have been possible performativities at stake. We perform as the all-female shows, though we are mixed gender. With my recurring mix of vogueing runway realness and postmodern authenticity, all gender here is performed and constructed. Between the now and then, in the imagination; we thus hope you will join us.
Looking through our historical lens we cannot overlook discriminatory practices, as well as social and public policies; here in front of the many daddies, casanovas, marlboro men, peeping toms, pimps, pip squeaks, sharks, playboys, thugs, salamis, good ‘ole boys, hunks, sailors, meatloafs, and whistlers, we might find some agency in imagining minimal yet probable possibilities and forms of creative resistance between the cracks of history. At a time when the boundaries between expressionist dancing, erotic dancing, social dancing, religious dancing, folk dancing, and entertainment dancing were yet to be fully carved out making a way for a canonical field of artistic dancing; what kind of liminal experiments could we imagine taking place amongst the women who were dancing and making dance (or as we like to say “shaking and baking it”) in these contexts? I imagine that what was to later become known as modern dance surely had some of it’s beginnings here too, in the so-called cleavage as well as booty and vagina cracks, where history has surely looked but rarely written or spoken and where herstory knowing where feminisms and femininity were well up for debate and in the here and now performing that debate (via what writer Alice Walker calls) in search of our mother’s gardens.
Trajal
Harrell, Hamburg, 31 Januar 2016
Sylvain Rausa, der in Marseille lebt, ist ein Lichtdesigner im Bereich Theater, Konzert und Tanz. Zuletzt arbeitet er u.a. mit Philippe Quesne, Erna Ómarsdottir, der Rap Gruppe I AM oder den französischen Folksängern
Maxime Leforestier und Alain Souchon zusammen. Seit sieben Jahren ist er zudem künstlerischer Mitarbeiter von Trajal Harrel. Sara Jansen lebt in Brüssel und arbeitet vornehmlich als Tanz- und Performancedramaturgin. Sie gilt als Expertin für japanische darstellende Künste und hat Stücke von Oriza Hirata, Toshiki Okada und Takeshi Kawamura übersetzt. Zurückliegende Projekte sind u.a. Kuratorische Asistenz für Rosas XX (Palais des Beaux-Arts, Brüssel, 2002), Edition von Rosas/Anne Teresa De Keersmaeker, bzw. Regieassistenz bei „pieces“ (2009) von Fumiyo Ikeda und Tim Etchells.
CREDITS
CHOREOGRAFIE Trajal Harrell
TANZ Trajal Harrell, Thibault Lac, Perle Palombe, Ondrej Vidlar
GASTPERFORMERIN Verena Brakonier
LICHTDESIGN Sylvain Rausa
BÜHNE Jean Stephan Kiss, Trajal Harrell
SOUNDDESIGN Trajal Harrell
KOSTÜME Comme des Garcons, Junya Watanabe, Dries van Noten, Rick Owens und private Kostüme der Tänzer*innen
STYLING Trajal Harrell in Zusammenarbeit mit den Tänzer*innen
DRAMATURGIE Sara Jansen
TECHNISCHE LEITUNG & TON Bob Bellerue
BAUTEN Spiros Doukeris
KOMPANIE MANAGEMENT Nadja Drakoula
LEITUNG PROJEKTENTWICKLUNG Hans Beenhakker MANAGEMENT LEITUNG Catherine Leveine
Koproduziert von Kampnagel Hamburg, Theater Freiburg, Arsenic Lausanne, Rotterdamse Schouwburg und Gessnerallee Zürich. Mit herzlichem Dank an das Museum für Kunst und Gewerbe in Hamburg. Gefördert von TANZFONDS ERBE, eine Initiative der Kulturstiftung des Bundes.
