Exodos 19 - Future Archives: Focus Africa

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Future Archives: An Africa Focus

Bodoči arhivi: Fokus Afrika Mislec Achille Mbembe (Kamerun, Južna Afrika) opozarja: »Prepletanje svetov je že dolgo afriški način pripadanja svetu.« Umetnik Boyzie Cekwana (Južna Afrika) pa o medkulturnih umetniških festivalih razmišlja: »‘Sodobno‘ je izrazito evropocentričen fenomen; sporen, kot si tudi zasluži. Obstoj (takih festivalov) nekako razblinja mit o edinstveni evropski definiciji sveta oz. svetov.« Zdi se, da mnoge umetnike z našega programa ne druži veliko. Ustvarjalno se razvijajo v zelo različnih kontekstih, na afriški celini in zunaj nje. Iskati povezave med njihovimi stvaritvami, ki se ukvarjajo s tako raznolikimi vsebinami, preobraženimi v tako raznovrstne oblike in jezike, ni najbolj smiselno. V Bodočih arhivih sodeluje večstranski umetnik Nástio Mosquito (Angola, Belgija), ki v svojem poetičnem performansu preiskuje pojme sebstva, identitete, vere in državljanstva v močno nabitem geopolitičnem kontekstu. Koreograf Faustin Linyekula (DR Kongo) koplje po lastni preteklosti in prete-

Thinker Achille Mbembe (Cameroon, South Africa) has pointed out: “The interweaving of worlds has long been an African way of belonging to the world.” While artist Boyzie Cekwana (South Africa) reflected upon the existence of intercultural arts festivals: “Contemporary is a singularly Eurocentric phenomenon, contentious as that deserves to be. The existence (of such festivals) goes some way in exploding the myth of a singular European definition of the world, or worlds.” Many of the artists shown in this program seem to have little in common. They develop work in very different contexts, both on the continent and away from it. Their artistic creations deal with such diverse contents, transformed in forms and languages that are so divergent, that it is somewhat nonsensical to find affinities between them. The Future Archives program includes multifaceted artist Nástio Mosquito (Angola, Belgium) whose poetical performance explores notions of selfhood, identity, faith and citizenship, within a highly charged geopolitical context. Choreographer Faustin Linyekula (DRC) digs into his own and his country’s past, in order to prepare for a future that must also include intense exchanges – in his Dialogue Series – with fellow-African artists such as Moya Michael (South Africa). The sophisticated persona of Josephine Baker inspires Marlene Montero Freitas’ (Cabo Verde, Portugal) attempts to reverse the European gaze and its persistent imposition upon African

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klosti svoje dežele, da bi se (v Dialogih) z drugimi afriškimi umetniki, kot je Moya Michael (Južna Afrika), pripravil na prihodnost, ki mora prinesti tudi temeljite spremembe. Pretanjena osebnost Josephine Baker navdihuje Marlene Montero Freitas (Kapverdski otoki, Portugalska), da skuša evropski pogled, ki vztrajno bremeni afriške umetnike, preusmeriti v njihovo delovanje in identiteto. Kinshasa Electric (DR Kongo, Kanada, Nemčija, Belgija) nam prek plesov mlade prihajajoče generacije kaže, da imajo globalni pop in lokalni kongovski ritmi več skupnega, kot smo si kdajkoli mislili. Boyzie Cekwana (Južna Afrika) nadaljuje dekonstrukcijo in dekolonizacijo evropsko-afriških odnosov. Kapwani Kiwanga (Tanzanija, Kanada, Francija) nas, opremljena z viri od ZF kulture do protikolonialističnih zgodb, vabi v afro-futuristični univerzum. Fotograf Sammy Baloji (DR Kongo, Belgija) raziskuje vpliv globalizacije in afriško-kitajskih izmenjav na imaginarij kongovskih rudarjev. Mamela Nyamza (Južna Afrika) se provokativno poigrava s pričakovanji, na katere je kot ženska in plesalka naletela med odraščanjem v Cape Townu. Navezujoč se na svoje bogate severnoafriške in evropske plesne izkušnje, Radouan Mriziga (Maroko, Belgija) preiskuje dinamiko med izvajalcem in gledalcem. In glasbenik Neo Muyanga (Južna Afrika) s pomočjo zakladnice glasbenih tradicij svetovnega juga na novo izumlja pop in klasiko. Omenjeni umetniki očitno svoja dela plemenitijo zelo osebno, s povezavami, ki so jih stkali z Afriko. A na osnovi tega sklepati o skupni afriški umetniški identiteti, bi bilo najbrž pretirano. Naj bom torej provokativen: Zakaj naj bi se evropski festival uprizoritvenih umetnosti osredotočil na določeno regijo? Na podlagi opisanega programa bi zlahka sklepali: Afrika ne obstaja. Ali vsaj: Afrika ni dežela – četudi se zdi, da tako številni imaginariji zrcalijo nasprotno. To je morda najpomembnejše, kar lahko potegnemo iz tega fokusa na Afriko:

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artists’ agency and identity. Global pop and local Congolese rhythms turn out to have more things in common than we ever thought in the dances of the young upcoming generation of Kinshasa Electric (DRC, Canada, Germany, Belgium). Boyzie Cekwana (South Africa) continues to deconstruct and decolonize the relations between Europe and Africa. Kapwani Kiwanga (Tanzania, Canada, France) invites the spectators to immerse themselves in an Afro-futurist universe, drawing from sci-fi culture to anti-colonial narratives. Photographer Sammy Baloji (DRC, Belgium) explores the impact of globalization and African exchanges with China on the imaginaries of Congolese miners. In her provocative work Mamela Nyamza (South Africa) plays around with the expectations that she has faced as a woman and a dancer growing up in Cape Town. Radouan Mriziga (Morocco, Belgium) explores the dynamics between performer and audience, drawing from his rich dance experiences in North-Africa and in Europe. And musician Neo Muyanga (South Africa) has been reinventing pop and classical music drawing from a wide range of musical traditions from the global South. Obviously, the connection that all these artists have with Africa feeds into their work in highly personal ways. However, from there to draw conclusions about a common African artistic identity is probably a bridge too far. So let me be provocative: why should a European performing arts festival have a regionally specific focus? One could, on the basis of the above-explained program, easily come to the conclusion: Africa does not exist. Or at least, even though so many imaginaries seem to reflect the opposite: Africa is not a country. That might be a crucial point to get from this Africa focus: it is time to move beyond the essentialist and ultimately ideological umbrella. Let’s face the heterogeneous reality of today’s African-ness. It reaches beyond the boundaries of the continent and


čas je, da se premaknemo izpod esencialističnega in skrajno ideološkega krova. Soočimo se s heterogeno realnostjo današnje »afriškosti«, ki sega onkraj meja kontinenta. Namesto da jo poenostavimo v formulo ali festival, jo lahko resno jemljemo le takó, da priznavamo njeno kompleksnost. Kljub tem razlogom, ki postavljajo legitimnost Fokusa Afrika pod vprašaj, je mogoče razviti par argumentov za naložbo vanj. Afrika je ogromna celina, a tudi razdrobljena. Tvorijo jo številne, tudi umetniško nepovezane enklave. Ne le zaradi velikanskih razdalj in pomanjkanja infrastrukture, temveč tudi zaradi vseh državnih mej, podedovanih iz kolonialnih časov. Te so preprečile, kar je bilo od nekdaj bistveno za ustvarjanje in širjenje afriške umetnosti: mobilnost in izmenjavo. Mobilnost med deželami in regijami, med podeželjem in mestom, med raznovrstnimi umetniškimi praksami, med umetniki in njihovimi občinstvi: vse to je bilo v zadnjih desetletjih na afriški celini težavno. Toda v zadnjih letih se stanje v afriških globalizirajočih se mestih neverjetno hitro obrača. Fokus Afrika v osnovi nima namena ustvariti posnetek stanja današnje afriške uprizoritvene umetnosti. Prej mu je bistvo začasno vzpostaviti nekakšen »afropolitanski« kontekst, kakršnega najdemo danes v velikanskih, vrvečih, multikulturnih in večjezičnih afriških metropolah. Kinšasa, Nairobi, Adis Abeba, Johannesburg, Lagos, Dakar – v svojem naročju imajo ves svet. V njih se porajajo novi in v prihodnost usmerjeni umetniški arhivi, ki se napajajo iz hibridnih mešanic kultur, tesno povezanih tudi z diasporo. Življenje in ustvarjanje v teh mestih postaneta način bivanja v svetu. Prav to bi rad (na mikroravni) dosegel naš festival: ustvariti začasen uprizoritveni prostor, z vso kompleksnostjo in raznovrstnostjo današnjih afriških umetnikov, njihovih praks,

can only be taken seriously by testifying to its complexity, rather than simplifying it into a formula or a festival. Despite these reasons to call into question the legitimacy of an Africa Focus, a few arguments could be developed to invest in such an endeavor. Africa is an immense continent, but also fragmented. It consists of a number of disconnected enclaves, also artistically. Not only because of the huge distances and the lack of infrastructure, but also because of all the national borders, inherited from the colonial times. These have inhibited what has always been essential for the creation and distribution of African art: mobility and exchange. Mobility between countries and regions, between countryside and city, between diverse artistic practices, between artists and their audiences: it has all been difficult on the African continent over the past decades. However, in Africa’s globalizing cities this trend has started to reverse, at an astonishing pace, in recent years. The aim of this Africa Focus is, therefore, not so much to create a summary of what the African performing arts are like today. The point is rather to temporarily create the kind of Afropolitan context that can be found today in Africa’s huge, vibrant, multicultural and multilingual metropolises. Kinshasa, Nairobi, Addis Ababa, Johannesburg, Lagos, Dakar: they hold the entire world within their embrace. In these cities, new and future-oriented artistic archives are emerging that draw from hybrid inter-cultures, which are also intimately linked with their diasporas. Living and creating in those cities becomes a way of being in the world. That is exactly what this festival, on a micro-scale, would like to accomplish. To create a temporary performance space that shows the complexity and diversity of African artists today, their practices, their connections with the continent, the impact of the diasporic experience, as well as the

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povezav s celino, vpliva diasporske izkušnje in mnogoterih vezi, ki jih imajo z ostalim svetom. Festival, ki omogoča evropskim in drugim občinstvom udeležbo v iskrenih umetniških in človeških izmenjavah ter odziv nanje, ne pa udeležbe v ohranjanju evropocentričnih ali eksotičnih mnenj, kakšne da so uprizoritvene umetnosti ali kakšen sod smodnika da je afriška celina. Fokus Afrika naj bi nam omogočil raziskati bodoče arhive – odprte, hibridne, kompleksne. In vanje vlagati.

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multiple ties they have with the rest of the world. A festival that allows for audiences, European or other, to witness and respond to concrete artistic and human exchanges, rather than be party to the preservation of Euro-centric or exotic notions of what the contemporary performing arts are like, or of what an exploding continent like Africa is like. This Africa Focus should allow us to explore and invest in the archives of the future: open, hybrid, and complex.

Očitno je torej, da je glavni namen tega programa igrivo pričevanje o lastni nemožnosti. Da bi pokril raznovrstne umetnike, ki živijo in ustvarjajo na celini s 53. državami in z več kot milijardo ljudi, … je obsojeno na nejasnost, celo popačenje. Prav tako še zahtevnejše, da bi skušal odgovoriti na vprašanja, kot so: Kaj je Afrika in kdo so današnji afriški umetniki? Kaj jih povezuje in kaj afriškega jim je skupno? Mar biti Afričan nujno pomeni bivati na tej celini, biti črn? In kakšen je vpliv diaspore? Nástio Mosquito, Elvira Dyangani Ose, Faustin Linyekula, Moya Michael, Boyzie Cekwana, Marlene Montero Freitas, Radouan Mriziga, Mamela Nyamza, umetniki v Kinshasa Electric, Kapwani Kiwanga, Sammy Baloji in Neo Muyanga nam ponujajo svoja navdihujoča dela in morda kakšen odgovor.

Clearly, therefore, the main ambition of this program is to playfully testify to its impossibility. Covering the diversity of the artists living and working on a continent consisting of 53 countries and more than a billion people: it is bound to end in confusion, even caricature. And, even more complex, trying to answer questions such as: what is Africa and who are African artists today? What connects them and what do they share that is African? Does being African necessarily mean living on the continent or being black and what is the impact of the diaspora? Nástio Mosquito, Elvira Dyangani Ose, Faustin Linyekula, Moya Michael, Boyzie Cekwana, Marlene Montero Freitas, Radouan Mriziga, Mamela Nyamza, the artists of Kinshasa Electric, Kapwani Kiwanga, Sammy Baloji, Neo Muyanga: they will offer you their inspiring work, and maybe some answers.

Jan Goossens, kurator

Jan Goossens, curator


NĂĄstio Mosquito: S.E.F.A. Neo Muyanga: Pesmi odpora Revolting Songs Faustin Linyekula: Le Cargo Marlene Monteiro Freitas: Guintche Radouan Mriziga: 55 Boyzie Cekwana: Hej, bog!! Poslal sem ti proĹĄnjo za klepet ... Hey Gawd!! I sent a Skype chat request... Faustin Linyekula: Dialog IV: Moya The Dialogue Series: IV Moya Kapwani Kiwanga: Afrogalactica: Kratka zgodovina prihodnosti Afrogalactica: A Brief History of the Future Ula Sickle, Popaul Amisi, Jeannot Kumbonyeki Deba, Joel Makabi Tenda & Daniela Bershan: Kinshasa Electric Mamela Nyamza: Wena Mamela Sammy Baloji: Kolwezi Izmenjave z umetniki Exchanges with Artist Shared Spaces

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17. 4. ★ 20:00 ★ ŠB Nástio Mosquito: S.E.F.A. ao, be ★ performans live performance ★ 60 min

Poetična predstava raziskuje pojme svojskosti, identitete, prepričanja in državljanstva v naelektrenem geopolitičnem okviru. Se Eu Fosse Angolano (Če bi bil Angolec) je konceptualno avdiovizualno/živo delo, ki na primeru sodobne družbe jasno opozarja na (ne)ustreznost in (ne)uporabnost identitete. Naslavlja vse člane »sodobnih družb« na svetu, še posebej tiste iz občestev, ki si po desetletjih notranjih nasprotij ali državljanske zaslepljenosti želijo preobrazbe. Vsebinsko ni ravno veselo, vzbuja pa upanje, da lahko zgradimo boljšo, lepšo prihodnost. Prihodnost, ki bo segla prek narodov k ljudem, posameznikom. Nástio Mosquito si dovoli sprejemati vplive od vseh in vsega iz svoje okolice, od popkulture do biologije. Vizualni umetnik, performer, glasbenik, pisatelj, pesnik in izzivalec pripada generaciji neuklonljivih umetnikov mislecev. Vsebine, kot so identiteta, družba, narodi, vera, državljanstvo, obravnava strastno, silovito, tudi s humorjem, upanjem.

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This poetical performance explores notions of selfhood, identity, faith and citizenship, within a highly charged geopolitical context. Se Eu Fosse Angolano (If I Were Angolan) is a conceptual performance that, using contemporary society, draws a distinct tone when approaching, questioning and repositioning the usefulness of identity. All citizens part of “modern societies” on planet Earth, especially those living in communities that seek to reinvent themselves after decades of either inner individual conflict or civil blindness, are the target of this project. While this topic is rather unpleasant, the performance is full of hope and ambition for a better and greater future. A future that reaches beyond nations to the people that inhabit them. Nástio Mosquito allows himself to be influenced by everything that surrounds him, from pop culture to biology. The visual artist, performer, musician, writer, poet and provocateur, belongs to a generation of thinkers and non-conformist artists. He addresses issues such as identity, society, nations, faith and citizenship and he does it fiercely, but also with hope and humour.

avtor, izvajalec written & performed by NÁSTIO MOSQUITÒ; vizualije visuals by VIC PEREIRÓ; organizacija management ZZZZZ


Foto/Photo: Margaux Kolly

Foto/Photo: Margaux Kolly

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17. 4. ★ 22:00 ★ ŠB Neo Muyanga: Pesmi odpora Revolting Songs za ★ koncert predavanje concert-lecture ★ 60 min Koncertno predavanje o zgodovini glasbe kot orodju osvoboditve in boja Južnoafričanov. Neo raziskuje in odkriva arhive južnoafriške protestne pesmi; hvalnice iz kolonialne zapuščine in žalostinke dolgoletnega oboroženega upora členi in prenareja v svež zvočni zapis časa od srditosti in vojne do sklenitve miru. Stari napevi se prevračajo v nove revolucionarne ljubezenske pesmi, kajti – kakšen smisel pa ima revolucija, če se ne konča z ljubeznijo? Sladatelj, libretist, glasbenik, pesnik in kritik, matematik in ideolog Neo Muyanga se rodi v Sowetu, od otroštva prepeva v pevskih zborih, študira italijanski madrigal v Trstu ... Avtor operete in dveh oper sodeluje s kopico umetniških skupin in ikon, kot so Royal Shakespeare Company, Paco Pena, William Kentridge. Neo je gostujoči umetnik pri WISER-ju in Franklinovem inštitutu za humanistiko na Univerzi Duke v Severni Karolini ter raziskovalec na UCHRI pa tudi član upravnih odborov Artscapa, Teatra Magnet in Fundacije Samro.

The concert-lecture exploring the history of music as an instrument of liberation and struggle in South Africa. Neo dissects the hymns that populated the colonial narrative, the laments that consoled a movement engaged in a protracted armed struggle, and reconstitutes a fresh soundtrack moving from anger and war to a negotiated peace. Neo turns the old chants into new revolutionary love songs, for what good is a revolution without mad love at the end of it all! A composer, a librettist, a musician, poet and critic, mathematician and ideologue: Born in Soweto, Neo Muyanga grew up singing in local choirs before choosing to study the Italian madrigal tradition in Trieste (it). Neo has collaborated with a broad range of arts companies and iconic institutions such as the Royal Shakespeare Company, Paco Pena and William Kentridge. He has to date composed one operetta and two operas. He is an artist-in-residence at WISER and the Franklin Humanities Institute, Duke University, North Carolina (us) and also a research fellow in the Humanities research institute at the University of California, Irvine (UCHRI). Neo serves on the boards of Artscape, Magnet Theatre and the Samro foundation.

http://neosong.net

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18. 4. ★ 18:00 ★ PTL Faustin Linyekula: Le Cargo cd ★ ples dance ★ 55 min Spomini, pozaba, potlačitev spominov … Linyekula pripoveduje zgodbe že več desetletij. Zgodbe o Kongu. O Demokratični republiki Kongo; o Zairu, Belgijskem Kongu ... kot se je pač menjalo ime države skozi zgodovino. Zgodbe o telesih, ki jih je ta zgodovina obtesala, o življenjih, zaznamovanih z nasiljem. V predstavi Le Cargo (Tovor) Faustin obuja svoje prve spomine na umetnost in obredje. Da bi se »ponovno naučil plesati«, želi te obredne izkušnje prek gibanja, pripovedovanja, petja, … deliti z nami. Plesalec in koreograf Faustin Linyekula živi in dela v Kinsanganiju. Po študiju književnosti in gledališča se preseli v Nairobi, kjer soustanovi prvo sodobnoplesno skupino v Keniji, The Gàara Company. Ko se vrne v Kongo, odpre v Kinšasi in Kinsanganiju Studios Kabako, prostor plesa in vizualnega gledališča, ki izobražuje, spodbuja raziskovanje in ustvarjanje. V okviru Studiev je doslej pripravil 12 predstav z odmevnimi gostovanji po Evropi, ZDA in Afriki. Je dobitnik glavne nagrade Sklada princa Clausa za kulturo in razvoj (2007), deluje tudi kot sodelavec KVS Teatra. Studios Kabako je dobitnik Curry Stone Design Prize (2014) za razvojno delo v Kisanganiju.

Memory, forgetting and the suppression of memory... Linyekula has spent over a decade telling stories. Stories of the Congo. Of the Democratic Republic of Congo; of Zaire, of the Belgian Congo. For the country has been called all of these names throughout its history. In these stories, the bodies are marked by history and the lives within are marked by violence. Le Cargo is a performance recalling Linyekula’s first memories of art and ritual. In order to “learn how to dance again” Linyekyla felt as though he needed to make this a shared experience, to bring the audience into his ritual, as he moves, narrates, sings... The dancer and choreographer Faustin Linyekula lives and works in Kisangani. Following literature and theatre studies, he sattled in Nairobi and co-founded the first contemporary dance company in Kenya, the Gàara Company. Returning to Congo, he created, first in Kinshasa and later in Kisangani the Studios Kabako, a space dedicated to dance and visual theatre, providing training programmes, as well as supporting research and creation. With the Studio, he has presented 12 pieces that have been extensively touring in Europe, the United States and Africa. He is the associate artist of the KVS Theater. In 2007 Faustin received the Principal Award of the Prince Claus Fund for Culture and Development. In 2014 the Studios Kabako and Faustin Linyekula received the Grand Prize of the Curry Stone Foundation for the work developed in Kisangani. koreografija, izvedba choreography & performance FAUSTIN LINYEKULA; glasba music FLAMME KAPAYA, OBILO DRUMMERS; produkcija production STUDIOS KABAKO/Virgine Dupray; koprodukcija co-production CENTRE NATIONAL DE LA DANSE Studios Kabako podpira DRAC Ile-de-France / Francosko ministrstvo za kulturo in komunikacije. Studios Kabako are supported by the DRAC Ile-de-France / French Ministry of Culture and Communication.

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www.kabako.org


Foto/Photo: Aghate Poupeney


18. 4. ★ 20:00 ★ SME-EL Marlene Monteiro Freitas: Guintche cv, pt ★ performans performance ★ 50 min Ura čiste energije, skrajne intenzivnosti, zamaknjene telesnosti. Med nekim koncertom si je Marlene za spomin skicirala pojavo in ji nadela ime Guintche. »Rasla je in rasla, postajala vse bolj neodvisna. Nič več le bergla misli, preden ta zapleše. Med skico s koncerta in Guintche ni podobnosti, druži pa ju intenzivnost.« Ginche se ne veže niti na preteklosti niti na prihodnosti; je bitje oz. stanje sedanjosti. Isto velja za performerja in risarja. Guintche se s svojo nerazpoznavno zgradbo odziva kot voščeni kip. Topi se, strjuje, polomi, spreminja obliko ... Ohranja pa svojo naravo, ostaja »isti vosek«. Marlene Monteiro Freitas se rodi na Kapverdskih otokih, kjer soustanovi plesno skupino Compass in sodeluje z glasbenikom Vascom Martinsom. Ko se izmojstri pri PARTS -u, ESD-ju, Fundaciji Calousta Gulbenkiana, razvije v skupnosti Cova da Moura plesni projekt »ne bomo imeli učenja, ampak vadbo plesa«. Skupni imenovalec vseh njenih del so odprtost, neprečiščenost, intenzivnost. Med drugim sodeluje tudi z Emmanuelle Huynn, Loïcom Touzéjem, Tânio Carvalho in Borisom Charmatzem.

One hour of pure energy, utmost intensity and ecstatic physicality. While attending a concert, Marlene drew a sketch of a person as a memento and called it Guintche. “It became bigger and bigger, acquired greater and greater independence. No longer prosthesis of thought, before it danced. Between Guintche the drawing and the concert, there is no resemblance, but a common denominator, intensity.” Guintche is neither attached to the past nor to the future; is it a being or a condition of the present. The same goes with the present of the performer and of the drawer. Through its counter-intuitive structure, Guintche responds as a wax sculpture: it melts, it solidifies, it brakes, changes form… Yet, it keeps the same nature, that is to say, it remains the same wax. Marlene Monteiro Freitas was born in Cabo Verde where she was co-founder and member of the dance group Compass, and collaborated with the musician Vasco Martins. After her dance studies at P.A.R.T.S., at E.S.D. and at the Calouste Gulbenkian Foundation, she developed a dance project with the community of Cova da Moura, entitled “we will not have dance classes, we will rehearse”. The common denominators of all her works are openness, impurity and intensity. Marlene has collaborated with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, amongst others. koreografija, izvedba choreography & performance MARLENE MONTERO FREITAS; luč light design YANNICK FOUASSIER; glasba music JOHANNES KRIEGER, AMANDIO CABRAL: Rotcha Scribida, COOKIE, OTOMO YOSHIHIDE, ANATOL WASCHKE; posnetki shorts CATARINA VARATOJO; produkcija production P.OR.K; distribucija distribution KEY PERFORMANCE; koprodukcija co-production ZDB-NEGÓCIO; umetniški rezidenci artistic residencies O ESPAÇO DO TEMPO, ALKANTARA FESTIVAL; podpora supporting RE.AL, FORUM DANÇA, BOMBA SUICIDA; zahvala acknowledgements AVELINO CHANTRE, PEDRO LACERDA, JOÃO FRANCISCO FIGUEIRA, ANATOL WASCHK

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http://cargocollective.com/marlenefreitas


Foto/Photo: Joao Figueira

Foto/Photo: Laurent Paillier


19. 4. ★ 17:00 ★ PTL Radouan Mriziga: 55 ma, be ★ ples dance ★ 55 min

Navezujoč se na svoje bogate severnoafriške in evropske plesne izkušnje, Radouan preiskuje dinamiko med izvajalcem in gledalcem. Katere podatke želi plesalec deliti z gledalcem? Naj jih bo veliko ali malo? In kaj skuša s tem doseči? Bi rad sporočilo predstave prenesel ali pustil nedorečeno? Mriziga se v svojem solo plesu ves čas poigrava s pogledom in pričakovanji gledalca. Zada si več osnovnih nalog. Ko jih izpeljuje, ustvarja »šablone«, sebe pa potiska v vse bolj zahtevne položaje. 55 je prvo avtorsko delo maroškega koreografa in plesalca Raduana Mrizige. Ples študira v Maroku, Franciji in pri PARTS-u, kar pomeni, da nanj vpliva tako magrebska šola (z geometričnim pristopom) kot zahodni minimalizem. Pleše tudi v Half elf zomeravond (Bart Meuleman, Toneelhuis) in Re: Zeitung (Anne Teresa De Keersmaeker). Prav tako je stalni sodelavec »nomadskega« umetniškega centra Moussem, ki se ukvarja z vplivi globalizacije starih in novih migracijskih tokov.

An exploration of the dynamics between performer and audience, drawing from Radouan’s rich dance experiences in North-Africa and Europe. What information does the artist wish to share with the spectator? Do you provide a lot or a little information? And what are you trying to achieve by this: do you want to convey the meaning of the work or in fact keep it vague? In his solo, the choreographer and dancer Radouan Mriziga constantly plays with the perspective and expectations of the spectator. He sets himself several basic tasks. By carrying them out, he creates “forms”, but he also puts himself in an increasingly complex situation. 55 is Moroccan choreographer and dancer Radouan Mriziga’s first creation. He studied dance in Morocco, France, and also at P.A.R.T.S. in Brussel, so he is influenced by the Maghrebian school (the geometric approach) and Western minimalism. He has also danced in Half elf zomeravond (Bart Meuleman, Toneelhuis) and Re: Zeitung (Anne Teresa De Keersmaeker). Radouan is artist in residence at the Moussem “nomadic” arts centre exploring the impacts of globalization caused by old and new migratory paths.

zamisel, izvedba concept & performance RADOUAN MRIZIGA; produkcija production MOUSSEM NOMADIC ARTS CENTRE; koprodukcija co-production C-MINE, WP ZIMMER: sodelovanje in collaboration with CULTUURCENTRUM BERCHEM/Pianofabriek, O ESPAÇO DO TEMPO, STUK

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www.moussem.be/en/radouan-mriziga


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19. 4. ★ 19:00 ★ SMG Boyzie Cekwana: Hej, bog!! Poslal sem ti prošnjo za klepet ... Hey Gawd!! I sent a Skype chat request... za ★ performans performance ★ 45 min Nadaljevanje dekonstrukcije in dekolonizacije evropsko-afriških odnosov. Ne glede na to, ali verjamemo v kakšno božanstvo ali ne … Zgolj hipotetično. Bi se pogovorili z njim, če bi se lahko? Pa je sploh pomembno, ali bog obstaja? Komu to mar? Kako pa bi bilo, če bi se prav zares lahko pomenili z njim/njo v katerikoli že njegovi/njeni možni pojavni obliki? Recimo tako, kot se pogovarjamo po skajpu? S kamero ali samo v pisnem klepetu. Tule je seznam želja, pritožb, obljub, dogovorov, odločitev, kesanj, možnih neuspehov itd. Boyzie Cekwana, čudežni otrok južnoafriškega plesa, nekdanji glavni koreograf Plesne zasedbe Playhouse in tudi umetniški vodja Festivala sodobnega plesa Jomba! v Durbanu, je ključna figura regionalnega južnoafriškega plesnega laboratorija z umetniki iz Mozambika, DR Konga in Južne Afrike. Klasičnobaletno izobražen ustvarja dela, v katera vpleta izročilo svoje dežele. Ukvarja se z identiteto in zgodovino, politiko cepi s prevladujočo umetnostjo, v klasične forme vnaša lastni južnoafriški plesni izraz. Njegova dela bogatijo plesne repertoarje od Škotske, ZDA do Francije. Je tudi umetniški vodja in soustanovitelj plesno-produkcijske hiše The Floating Outfit.

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Boyzie continues to deconstruct and decolonize the relations between Europe and Africa. Notwithstanding whether one believes in deities or not… If hypothetically, we could speak to one, would we? Does it matter really if there is a deity? Does anyone care? What if we could really have a conversation with one, in all its possible manifestations, male, female or other? How about a Skype conversation then or a Skype chat? Here is a wish list, a list of gripes, a list of promises, deals, resolutions, promises of repentance, threats of relapse, etc… Often referred to as the “Wonderkind” of South African dance, Boyzie Cekwana is a key player in the creation of a regional, southern African collaborative laboratory with artists in Mozambique, the DRC and South Africa. Formerly the main choreographer for the Playhouse Dance Company, Cekwana was also Artistic Director of Jomba! The Contemporary Dance Festival in Durban. Trained in classical ballet, he has found his own way of blending the heritage of his country with his work. His pieces have been shown on platforms around the world and are featured in the repertoires of dance companies as far as Scotland, the USA and France. He is the artistic director and co-founder of The Floating Outfit Project.

zamisel, izvedba, luč, kostumi concept, performance, light & costume design BOYZIE CEKWANA; glasba music BARRY WHITE, TERRENCE TRENT D’ARBY; produkcija production THE FLOATING OUTFIT


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19. 4. ★ 21:00 ★ ŠB Faustin Linyekula: Dialog IV: Moya The Dialogue Series: IV Moya cd, za ★ performans performance ★ 60 min Ko je v Kinšasi videla Le Cargo, si je Moya zaželela sodelovanja s Faustinom. Rezultat je četrta v nizu predstav, osnovanih na Linyekulovih pogovorih s prijatelji, umetniki, plesalci koregrafi in drugimi o njihovem odnosu do zgodovine in okolja, v katerem živijo, ... seveda pa tudi o vlogi, ki jo ima pri vsem tem umetnost. Moya se je rodila kot temnopolta Johannesburžanka, v režimu, kjer je barva kože določala človekov položaj v družbi in obseg njegovih pravic. Z namišljenim džuboksom nam svoje misli, vprašanja, izbire in dvome predstavi na odru. Moya Michael se sprva uči balet pri Diane Sparks. Na Univerzi Tswhane v Pretorii diplomira iz sodobnega in ameriškega plesa, nato pa dobi polno triletno štipendijo pri PARTS-u. Leta 2000 spozna Akrama Khana, se preseli v London in postane soustanoviteljica njegove skupine. Leta 2005 jo Anne Teresa de Keersmaeker povabi v svojo skupino Rosas, s katero še danes sodeluje kot svobodna umetnica. Leta 2011 ustvari svojo prvo avtorsko delo. Moya živi in dela v Bruslju. Plesalec in koreograf Faustin Linyekula živi in dela v Kinsanganiju. gl. str. 10

When Moya saw Linyekula’s solo Le Cargo in Kinshasa, she asked him to work with her. Their encounter resulted in the fourth in a series of performances based on discussions that Faustin is having with friends, artists, dancer-choreographers, etc. about their relationship to their history and the environment they live in, and about the place that art inhabits in all of this. Moya was born as a “coloured” person in Johannesburg, under a regime where the colour of your skin determined your place in society and your rights. With an imaginary juke-box, she sets out her questions, choices and doubts on the stage. Moya Michael was first trained in ballet under the direction of Dianne Sparks in Johannesburg. In Pretoria she received a national diploma in Contemporary and African dance at the Tswhane University and was awarded a full three-year scholarship at P.A.R.T.S. In 2000 Moya met Akram Khan and moved to London where she became a founding member of his company. In 2005 she was invited by Anne Teresa de Keersmaeker to become a member of The ROSAS Dance Company, whom she stayed and still free-landes with. In 2011 she performed her first piece together with musician Fritz Welch. Moya lives and works in Brussels. The dancer and choreographer Faustin Linyekula lives and works in Kisangani. see p 10

umetniško vodenje artistic direction FAUSTIN LINYEKULA; izvedba performance MOYA MICHAEL; glasba music MAHLATHINI AND THE MAHOTELLA QUEENS, FRANCO, ABDULLAH IBRAHIM; luč light MARGARETA ANDERSEN; produkcija production STUDIOS KABAKO; koprodukcija co-production KVS THEATER

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Foto/Photo: Aghate Poupeney


20. 4. ★ 18:00 ★ PTL Kapwani Kiwanga: Afrogalactica: Kratka zgodovina prihodnosti Afrogalactica: A Brief History of the Future tz, ca, fr ★ performans performance ★ 45 min 8. 12. 2058, ob 100-letnici prve panafriške konference iz Akre, so zaživele Združene države Afrike.* *Odlomek iz besedila performansa.

Kapwani nam na osnovi arhiva preteklosti ustvarja vizijo ZF bodočnosti. Kot antropologinja iz prihodnosti nam prikaže ustanovitev Združenih držav Afrike in Afriške vesoljske agencije, ki v vesolje pošilja afronavte. Afrika je bila skozi vse moderno zgodovinsko obdobje žrtev časovno-političnih projekcij; evropska kolonizacija v imenu napredka je iz Afrike naredila nezgodovinsko celoto. Afrofuturizem kot filozofija zgodovine si za prostor historične akcije namenoma izbere prihodnost. Že Sun Ra je Afričanom in temnopoltim Američanom predlagal prostorsko-časovno utopijo Space Is The Place (Vesolje je tisti kraj). Delo Kapwani Kiwanga temelji na antropoloških literarnih in arhivskih raziskavah, afrofuturizmu, boju proti kolonializmu in spominu nanj, na sistemih vrednot, na ljudski in popularni kulturi. Namenoma briše mejo med resničnostjo in izmišljijo, saj hoče spodkopati nadvlado naracij in ustvariti nov prostor za razcvet obrobnih diskurzov.

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On December 8, 2058 the United States of Africa came into being. The date was chosen to commemorate the 100th anniversary of the first Pan-African Conference, which took place in Accra.* *From Afrogalactica text.

Kapwani draws on archives from the past while projecting a sci-fi future. Posing as an anthropologist from the future, she looks back at the creation of the United States of Africa and the African Space Agency, sending Afronauts into space. Throughout modern history, Africa has been subjected to chronopolitical projections: European colonization, acting in the name of progress, which constructed Africa as an a-historical entity. Afrofuturism, as a philosophy of history, deliberately chooses the future as a site for historical action. In 1974, the jazz musician Sun Ra proposed with “Space Is The Place”, a spatial and temporal utopia advocating space adventure and intergalactic escape as an alternative for Africans and African Americans. Research in anthropology, literature and archives lies at the heart of Kapwani Kiwanga’s work, which is informed by Afrofuturism, the anti-colonial struggle and its memory, belief systems, vernacular and popular culture. She intentionally confuses truth and fiction in order to unsettle hegemonic narratives, and to create spaces in which marginal discourses can flourish.


Foto/Photo: Charlotte Walker

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20. 4. ★ 20:00 ★ SME-EL Ula Sickle, Popaul Amisi, Jeannot Kumbonyeki Deba, Joel Makabi Tenda & Daniela Bershan: Kinshasa Electric cd, ca, de, be ★ glasbeni performans music performance ★ 60 min Kako se poistovetiti s kulturo, ki ni izvorno tvoja, in z množično kulturo, ki pripada vsem in nikomur? Kinšasa, velemesto ob reki Kongo, je humus za umetnike in ena najpomembnejših kulturnih osi v Afriki. Ula, kanadska koreografinja in plesalka, se je za Kinshasa Electric povezala s tremi plesalci iz kongovske prestolnice. Raziskujejo najbolj priljubljene plese, začenši na koncertih in v klubih, kjer pač plesi nastajajo oz. se spreminjajo. Daniela kot DJ Baba Electronica v živo ustvarja nove posnetke, mešanico globalnih ritmov in lokalnih utripov. Ne zanima jih razdalja med Kinšaso in Ljubljano ali Afriko in preostalim svetom, temveč kako znotraj svetovnih povezav in izmenjav razviti svojski prepoznavni glas. Ula Sickle razvija sodelovanja z umetniki, da spodkopavajo normo sodobnega plesa in utelešajo druge gibalne zgodbe. Popol Amisi Popaul, Joel Makabi Tenda in Jeannot Kumbonyeki Deba so uveljavljena imena kongovskega sodobnega plesa. Daniela Bershan ustvarja na področju kiparstva, slikarstva, performansa in glasbe.

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How can you make your own the aspects of a culture that were not originally yours and the elements of a mass culture that is both no one’s and everyone’s? Kinshasa, a megacity on the banks of the Congo River, is a hotbed of artists and one of the most important cultural axes in Africa. In Kinshasa Electric, the Canadian choreographer and dancer Ula teams up with three dancers of the Congolese capital. Together they explore the most popular dances of the moment, from local concert stages to nightclub dance floors, where dances are invented and reinvented. Artist and DJ Baba Electronica (Daniela Bershan) performs live, creates a new soundtrack that mixes international rhythms and local beats. Instead of focusing on the distance between Kinshasa and Ljubljana, or between Africa and the rest of the world, Kinshasa Electric explores the numerous links and exchanges in a globalized context. Over the past few years, Ula Sickle has developed a series of collaborations with artists, who challenge the canon of contemporary dance and embody other movement histories. Popol Amisi Popaul, Jeannot Kumbonyeki Deba and Joel Makabi Tenda are dancers and performers. Daniela Bershan roams around different media, from sculpture and paintings to performance and music.

zamisel, vodenje concept & direction ULA SICKLE; izvedba, slog creation, performance, style POPAUL AMISI, DANIELA BERSHAN, JEANNOT KUMBONYEKI DEBA, JOEL MAKABI TENDA; zasnova, izvedba glasbe music concept & live sound BABA ELECTRONICA (Daniela Bershan); domači umetnik featuring local guest artist MAŠA KAGAO KNEZ; scena scenography ULA SICKLE, DANIELA BERSHAN; luč lighting GWEN LAROCHE; zvok sound XAVIER MEEUS; dramaturgija dramaturgy SÉBASTIEN HENDRICKX; tehnica technician GWEN LAROCHE; izvršna produkcija executive production CARAVAN PRODUCTION; pomoč pri produkciji production assistant Kinshasa Dada Kahindo Siku; koprodukcija co-production KUNSTENFESTIVALDESARTS, KVS, NOORDERZON


PERFORMING ARTS FESTIVAL, SPRING PERFORMING ARTS FESTIVAL NXTSTP & DÉPARTS; podpora EU KULTURA, FLAMSKA VLADA – MEDNARODNI PROJEKTI, KOMISIJA FLAMSKE SKUPNOSTI ZA BRUSELJSKO REGIJO; supporting EU CULTURE PROGRAMME, THE FLEMISH AUTHORITIES - INTERNATIONAL PROJECTS, THE FLEMISH COMMUNITY COMMISSION OF THE BRUSSELS CAPITAL REGION zahvala special thanks to MOHAMED BOUROUISSA, TALE DOLVEN, DAVID HELBICH in and PAUL KERSTENS

Foto/Photo: Bart Grietens

www.ulasickle.com; www.facebook.com/kinelectric; www.facebook.com/baba.electronica


21. 4. ★ 19:00 ★ PTL Mamela Nyamza: Wena Mamela za ★ ples dance ★ 50 min

»Umetniško vedno izražam svoj družbeni, kulturni in ekonomski položaj med apartheidom in po njem. Vsa moja dela nosijo v sebi del moje osebne zgodovine temnopolte Južnoafričanke.« Motika, orodje, namenjeno ženskam. Baletni špici, obuvalo, tudi namenjeno ženskam. Moški vendar ne plešejo po prstih ali odstranjujejo plevela. Wena koplje, da bi našla povezavo med motiko in špici, da izkoplje način, kako zaplesati, odplesti stran. Mamela v osupljivih slikah razčlenjuje tradicionalne vloge ženske, baletke. Spodbuja razmislek. Humor prepleta z nelagodjem, surovost s pretanjenostjo. O identiteti in kolonializmu govori odprto, a ne podučuje. Čisto v ospredju pa je ranljivost – solo plesalke na odru. Koreografinja in plesalka Mamela Nyamza se rodi v naselju blizu Cape Towna, šola pa v Ameriškem plesnem centru Alvina Aileyja. Pleše v številnih znanih mednarodnih produkcijah, poučuje ples in umetniško sodeluje v boju za spoštovanje človekovih pravic, pravic žensk, homoseksualcev ter drugih političnih in družbenih subjektov. Od leta 2006 si sama koreografira predstave, sprejete in nagrajevane po vsem svetu.

“My artistic vision is always informed by my socio-cultural-economic background during both the apartheid and post-apartheid era in South Africa. Therefore, my work always has a message that reflects this personal history as a black South African woman.” A hoe, the ultimate female tool of agriculture and pointe shoes, the attribute of each ballerina – with these references Mamela Nyamza in dazzling pictures dissects the shackles of traditional role attributions. This work, Wena Mamela is engaging while it’s thought provoking; it blends visual humour with discomfort; and crudity with sophistication. And in posing very pertinent issues around identity and colonialism, it never slips into didactic a mold. Above all, it focuses on a vulnerability of sole performer onstage. The choreographer and dancer Mamela Nyamza was born in a township near Cape Town and studied at the Alvin Ailey American Dance Center in New York. She has danced in numerous internationally well-known productions, taught dance and is involved in and with art for human rights, women’s rights, homosexuality, and other political and social issues. Since 2006 she choreographed her own pieces, which have received responses and was honored worldwide.

zamisel, koreografija, izvedba concept, choreography, dance MAMELA NYAMZA; kostumografija costumography JANNI YOUNGE; vodja gostovanja tour manager GEORGINA THOMSON; produkcija production THEATRE IN PFALZBAU ter and STEPTEXT DANCE PROJECT z with MAMELO NYAMZO; koprodukcija co-production DANSART TANZNETWORKS/Biennale Passages 14; sodelovanje in cooperation with DORKY PARK STUDIO 44, ÉCOLE DES SABLES & ASSOCIATION JANT-BI, ECOLE DES SABLES & JANT-BI ASSOCIATION, ACACIA PARK; podpora supporting INSTITUT FRANÇAIS; zahvala acknowledgements GERMAINE ACOGNY, ROBYN ORLIN

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Foto/Photo: Zanele Muholi


17. 4. ★ 19:00 ★ ŠB Sammy Baloji: Kolwezi cd, be ★ fotografska razstava, otvoritev photography exhibition, opening Sammy raziskuje vpliv globalizacije in afriško-kitajskih izmenjav na imaginarij kongovskih rudarjev. Mednarodno priznani in nagrajeni kongovski fotograf Sammy Baloji živi in dela v Lubumbaši in v Bruslju. Ustvarjalno se osredinja na preizpraševanje kongovske družbe in identitete v zapletenem predivu časa in prostora med preteklostjo in prihodnostjo, resničnim in namišljenim. Od leta 2009 beleži življenja kitajskih rudarjev v Kolveziju.

Sammy explores the impact of globalization and the African exchanges with China through the imagination of Congolese miners. The internationally-acclaimed and award-winning Congolese photographer Sammy Baloji lives and works in Lubumbashi and Brussels. The essence of his work lies in its questioning of Congolese identity and society amid a tangled skein of times and spaces between past and present, the real and the imaginary. Since 2009, Baloji has documented artisanal mining by Chinese companies in Kolwezi.

Foto/Photo: Sammy Baloji

Foto/Photo: Sammy Baloji


18. 4. ★ 10:00 + 19. 4. ★ 11:00 ★ SEM Shared Spaces ★ mednarodno srečanje international meeting Neformalno, medcelinsko gverilsko omrežje organizatorjev kulture, mednarodnih umetnikov in kustosov iz Latinske Amerike, Afrike, Azije, Bližnjega vzhoda in Evrope se posveča gledališču, plesu in predstavam s svetovnega juga in si prizadeva za njihovo produkcijo, koprodukcijo, trženje, promocijo. Po Kinšasi (junij 2013), Ramali (april 2014) in Zürichu (avgust 2014), zdaj Ljubljana! Pomemben del srečanja je namenjen zagonu projekta One Space, ki povezuje partnerje Alkantara (pt), Exodos Ljubljana (si) ter KSV (be) in se osredinja na multimedijsko ustvarjanje žive umetnosti med Evropo, Bližnjim vzhodom (Palestino) in Afriko. Onse Space podpira EU program Ustvarjalna Evropa. Shared Spaces is an informal, intercontinental guerilla network of cultural organizers, festivals, international artists and curators from Latin America, Africa, Asia, the Middle-East and Europe. It focuses on theatre, dance and performance productions from the Southern parts of the world, with the aim to manage, co-produce, market and promote them. After meetings in Kinshasa (June 2013), Ramallah (April 2014), and Zürich (August 2014) now in Ljubljana! An important part of this meeting in Ljubljana is the launch of Open Space project, a collaboration between Alkantara (pt), Exodos Ljubljana (si) and KVS (be), focusing on colllusion in multidisciplinary creation of live arts between artists from Europe, Middle east (Palestine) and Africa. Open Space is supported by the EU program Creative Europe.

18. 4. ★ 14:30 ★ SEM Izmenjave z umetniki Exchanges with the Artists ★ razprava discussion Elvira Dyangani Ose, samostojna kustosinja in predavateljica na londonskem koledžu Goldsmith, in Jan Goossens, kustos Fokusa Afrika, s festivalskimi umetniki izmenjujeta misli o njihovih delih, medsebojnih odnosih ter vezeh z Afriko in Evropo. Elvira Dyangani Ose, independent curator and lecturer at Goldsmith’s College in London, and Jan Goossens, curator of the Africa Focus, enter into a conversation with the festival artists about their own work, their relationship with each other and their connections with Africa and Europe.

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18. 4. ★ 13:00 ★ SEM

18. 4. ★ 10:00 ★ SB

Borut Bučinel: Fotografiranje prepovedano No Photo

Afrokidz

si ★ fotografska razstava, otvoritev photography exhibition, opening Borut Bučinel se ukvarja s koreografijo, plesom, scenografijo in lučnim oblikovanjem. Raziskovanje svetlobe, scene, giba in prostora ga je pripeljalo še na eno ustvarjalno polje – fotografijo. Razstava je izbor vtisov, zabeleženih v Kinšasi junija 2013. Borut Bučinel works in the fields of choreography, dance, scenography and lighting design. His research of light, scene, motion and space brought him closer to yet another field of interest – photography. This exhibition is a selection of photos from Kinshasa, taken in June 2013.

★ delavnica afriških plesov za otroke African dance workshop for children Raziskujmo Afriko prek glasbe, ritma, giba, plesa! Vabljeni vsi, starejši od 5 let. Vstop prost. Let’s explore Africa trought music, rythm, movements, dances! The workshop is suitable for children older than 5 years. Admission free. Vodi Mentor: Ermina Baj/Baobab

19. 4. ★ 11:00 ★ SEM Ašantska lutka The Ashanti Doll ★ delavnica za otroke children’s workshop Ašantske ženske figure, izdelane v verske in ceremonialne namene, so danes najbolj znana ganska igrača. Spoznajte originalno ašantsko lutko, izdelajte si svojo. Vstop prost. The Ashanti female figurines, used in religious and ceremonial rites, are today the best-known toys from Ghana. Get to know the original Ashanti doll, make it your own. Admission free. Vodita Mentors: Urška Boljkovac, Katarina Toman Kracina

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Foto/Photo: Urška Boljkovac

Foto/Photo: Borut Bučinel


19. 4. ★ 11:00 ★ SEM

21. 4. ★ 17:00 ★ THL

Afriški sejem African Market

Zgodbe iz Afrike Stories from Africa

Drugi največji kontinent slovi po bogastvu barv, okusov, vonjev, obrtnih in ustvarjalnih spretnosti. Vabljeni na priložnostni sejem, k ogledu, pokušini, nakupu! The second largest continent is well-known for its richness of colours, tastes, smells, arts and crafts. You are cordially invited at the occasional fair to take a look, taste or buy something!

★ pogovor talk

Foto/Photo: Urška Boljkovac

Osebne zgodbe nam odpirajo živahno in živopisno celino s precej bolj vitalistične plati, Afriko, o kateri nam mediji ne povedo veliko, pa vendarle takšna Afrika (tudi) je. Made up of personal narratives, Stories will present the variegated and multiple worlds that make up the continent. Presented from a much more compelling point of view, an Africa we don’t know from the media, the way it (also) actually is. Sodelujejo Participants: Ibrahimi/Slovenska Filantropija Slovene Philanthropy, Darja Koščak/Voluntariat, Max Zimani/Global, Michel Obenga, Eyachew Tefera/Inštitut za afriške študije Institute for African Studies, Ibrahim Nouhoum/Humanitas.

Druženje z … After with… 18. + 20. 4. ★ 22:30 ★ SEM 19. 4. ★ 22:30 ★ ŠB AFRIŠKO GLASBO AFRICAN MUSIC

AFRIŠKIM FILMOM AFRICAN FILM

Vabljeni na večerna druženja, popestrena z muziko tako gostujočih umetnikov kot domorodnih poznavalcev in sukalcev, morda pa tudi kakšnega ad-hock jama. The evening gatherings will feature guest artists, local connoisseurs and DJs, as well as some impromptu jam session, hopefully.

Le President (Predsednik) je alegorija o afriških voditeljih, ki se imajo za vsemogočne, če ne celo bogove, ter malih ljudeh, ki morajo s tem živeti. Kamerunski režiser Jean-Pierre Bekolo nam v tej mešanici mockumentaryja in drame predstavi čisto drugačno, nežanrsko zgodbo Afrike ... Le President is an allegory about the men who run Africa, who would like to see themselves as omnipotent if not as Gods, and about ordinary people who have to live with the consequences. In this mix of dockumentary and drama, the Cameron director Jean-Pierre Bekolo presents a very different African narrative...

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17. 4.

19:00 Sammy Baloji: Kolwezi ★ fotografska razstava, otvoritev photography exhibition, opening ★ ŠB 20:00 Nástio Mosquito: S.E.F.A. ★ performans performance ★ ŠB 22:00 Neo Muyanga: Pesmi odpora Revolting Songs ★ koncert concert ★ ŠB

18. 4.

10:00 Shared Spaces ★ mednarodno srečanje international meeting ★ SEM 10:00 Afrokidz ★ delavnica afriških plesov za otroke African dance workshop for children ★ SB 13:00 Borut Bučinel: Fotografiranje prepovedano No Photo ★ fotografska razstava, otvoritev photography exhibition, opening ★ SEM 15:00 Elvira Dyangani, Jan Goossens: Izmenjave z umetniki Exchanges with the Artists ★ pogovor discussion ★ SEM 18:00 Faustin Linyekula: Le Cargo ★ ples dance ★ PTL 20:00 Marlene Monteiro Freitas: Guintche ★ performans performance ★ SME-EL 21:30 Druženje z afriško glasbo After with African music ★ SEM

19. 4.

11:00 Shared Spaces ★ mednarodno srečanje international meeting ★ SEM 11:00 Ašantska lutka Ashanti Doll ★ ustvarjalna delavnica za otroke creative workshop for children ★ SEM 11:00 Afriški sejem African Market ★ SEM 17:00 Radouan Mriziga: 55 ★ ples dance ★ PTL 19:00 Boyzie Cekwana: Hej, bog!! Poslal sem ti prošnjo za klepet ... Hey Gawd!! I sent a Skype chat request... ★ performans performance ★ SMG 21:00 Faustin Linyekula: Dialog IV: Moya The Dialogue Series: IV Moya ★ performans performance ★ ŠB 22:30 Druženje z afriškim filmom After with African movie ★ ŠB

INFO Exodos Ljubljana exodos@exodosljubljana.si http://festival.exodosljubljana.si

INFO MEDIJI PRESS mediji@exodosljubljana.si


20. 4.

18:00 Kapwani Kiwanga: Afrogalaktika: Kratka zgodovina prihodnosti Afrogalactica: A Brief History of the Future ★ performans performance ★ PTL 20:00 Ula Sickle, Popaul Amisi, Jeannot Kumbonyeki Deba, Joel Makabi Tenda & Daniela Bershan: Kinshasa Electric ★ plesni performans dance performance ★ SME-EL 21:30 Druženje z afriško glasbo After with African music ★ SEM

21. 4.

17:00 Zgodbe iz Afrike Stories from Africa ★ pogovor talk ★ THL 19:00 Mamela Nyamza: Wena Mamela ★ performans performance ★ PTL

PRIZORIŠČA VENUES ŠB = Španski Borci Cultural Centre, Zaloška 61, www.spanskiborci.si PTL = Dance Theatre Ljubljana, Prijateljeva 2, www.ptl.si SME-EL = Old Power Plant, Slomškova 18, www.bunker.si SEM = Slovene Ethnographical Museum, Metelkova 2, upravna hiša, kavarna in ploščad, administration building, coffe shop & platform, www.etno-muzej.si SMG = Mladinsko Theatre Vilharjeva 11, www.mladinsko.com SB = Studio Baobab, Parmova 25, www.baobab.si THL = Trubar Literature House, Stritarjeva 7, www.trubarjevahisaliterature.si

VSTOPNICE

TICKETS

predprodaja: 30. 3.–16. 4. Festivalski paket (5 različnih vstopnic): 45 eur CK Španski borci, blagajna, Zaloška 1, pon.–pet. 17:00–19:00; www.mojekarte.si

advance booking: from March 30 to April 4 Festival Package (5 different shows): 45 eur CK Španski borci, Box Office, Zaloška 1, Monday-Friday 17:00-19:00; www.mojekarte.si

redna prodaja: 17.–21. 4. uro pred prireditvijo na prizorišču enotna cena: 10 eur

regular sales: from April 17 to April 21 one hour before the performance at the event venue fixed admission: 10 eur

Od vsake prodane vstopnice gre 1 evro Unicefovi akciji pomoči osirotelim otrokom v Čadu. Dobrodelni ste lahko tudi, če pošljete SMS s ključno besedo: OTROCI5 na 1919 in/ali na Afriškem sejmu posvojite Unicefovo punčko iz cunj.

1 eur from each ticket sold goes to Unicef campaign to help orphas in Chad. For the same good cause you can buy an Unicef dool at our African Market.

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produkcija production

partnerji partners

sponzor sponsor

sodelovanje in cooperation with

medijski sponzorji media sponsors

podpora supported by

Consulate of the Republic of South Africa

air pop

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travel agency


Exodos Ljubljana je član mednarodnih združenj Shared Spaces, Corners, IETM, Kooperativa in Asociacija. Exodos Ljubljana is a member of Shared Spaces, Corners, IETM, Kooperativa and Asociacija. produkcija production EXODOS Ljubljana direktorica in producentka festivala festival director & producer NATAŠA ZAVOLOVŠEK; kurator curator JAN GOOSSENS; organizacija, koordinacija organisation, coordination TINA LANIŠEK, TINA VATIČ, Urška Boljkovac, TJAŠA ŠTRUKELJ; administracija administration IZTOK MAJHENIČ; odnosi z javnostmi, marketing public relations, marketing: SAŠA KEJŽAR; odnosi z javnostmi public relations JEDRT JEŽ FURLAN; tehnično vodenje technical director BORUT CAJNKO; tehnika technical crew TEH. SKUPINE TECH. TEAMS SME-EL, PTL, SMG, ŠB in and BORUT BUČINEL, MARTIN LOVŠIN, GREGA MOHORČIČ, JANKO OVEN, DAMIR REPIČ, MIHA ZUPAN; podoba visual identity Škart; znak logotype J.E.S.U.S AJAX/Studio Ajax; spletno mesto web CJN; foto photo NADA ŽGANK; video GREGOR GOBEC, URŠKA BOLJKOVAC; prevod translation BORUT CAJNKO, ANA BOHTE; angleška lektura english proofreading ULA SICKLE; uredništvo, tekstopisje editor, copywriting INGE PANGOS; založnik publisher EXODOS LJUBLJANA; naklada print run 2000; tisk print PRIMA; Ljubljana. April 2015.


www.exodosljubljana.si