๐๏ธ ๐๐๐๐๐๐๐ ๐๐๐ ๐๐๐ ๐๏ธ
๐๐๐๐๐๐ก๐ ๐๐ข๐๐โ๐๐ ๐๐ ๐๐๐ ๐ท๐๐ฆ 2๐ถ ๐๐๐ก๐๐ก๐๐ ๐ก๐๐๐๐๐ก โ๐๐๐๐๐๐ ๐ก๐ ๐ฃ๐๐๐ค ๐๐๐ ๐๐๐๐๐๐๐๐๐๐๐๐ ๐ค๐๐กโ๐๐ ๐กโ๐ ๐ท๐๐ฆ 2๐ถ ๐๐๐๐๐๐๐๐๐ ๐๐๐๐ฆ.
๐๐๐ซ๐ญ๐ข๐๐ข๐ฉ๐๐ญ๐ข๐ง๐ ๐๐ซ๐ญ๐ข๐ฌ๐ญ๐ฌ: Marc Brew Company (Australia/Scotland) - Catarina & Tiago (Portugal) - Thomas Noone (Spain) - Andrea Costanzo Martini (Italy/Israel) - Ching-Ying Chien (Taiwan) - Dr Paula Guzzanti (Q&R Session)
โณ ๐๐๐๐๐๐๐๐ - ๐๐๐ซ๐ ๐๐ซ๐๐ฐ ๐๐จ๐ฆ๐ฉ๐๐ง๐ฒ (๐๐ฎ๐ฌ๐ญ๐ซ๐๐ฅ๐ข๐/๐๐๐จ๐ญ๐ฅ๐๐ง๐)
Commissioned by Sadlerโs Wells for Liberty Festival in 2016, Uchronia uses nostalgia as a starting point to tell a story with multiple endings, exploring what might have beenโฆ An international co-creation between Brazilian artists Natalia Mallo and Giselle Calazans and Marc Brew Uchronia explores how re-inventing the past can shape an alternative future. The presentation at Dance Festival Malta features award winning dancers Marc Brew and Hayley Earlam.
Supported by: La Falconeria
๐ธ ๐
๐๐๐๐๐ ๐๐ ๐๐๐ - ๐๐๐ญ๐๐ซ๐ข๐ง๐ & ๐๐ข๐๐ ๐จ (๐๐จ๐ซ๐ญ๐ฎ๐ ๐๐ฅ)
Taken on a journey where two performers delve into the recesses of the human mind and its connection to the body, immersing themselves in the intersection between remembering and forgetting, exploring the ephemerality of memory and the duality of consciousness. In this choreographic narrative, we explore the depths of the mind and the intrinsic connection between lucidity and identity, exposing the notion that without the mind, the body is merely a void. But in truth, what remains when memory fades? โForget Me Notโ is a work in progress, an emotional and subjective journey through the complexity of human consciousness, allowing space for the transience of our own thoughts and memories. It questions where we can find meaning and connection in a world where the mind can be lost.
Supported by: EFFEA - European Festivals Fund for Emerging Artists, European Festivals Association and Quinzena de Danรงa de Almada
๐ช ๐๐๐๐๐๐๐ - ๐๐ก๐จ๐ฆ๐๐ฌ ๐๐จ๐จ๐ง๐ (๐๐ฉ๐๐ข๐ง)
In 2019 Thomas Noone premiered โAfter the Partyโ a solo that combined puppetry and. Since then, Noone has been constantly discovering the infinite movement possibilities, and how delicate and subtle variation in manipulation can trigger surprising and beautiful responses from the audience. The solo Usurper was the second step down this road, born of the desire to continue investigating, and with the acquired knowledge, create a more abstract world. โAn internal dialogue, examining who the alter ego that we address is, and how it interacts with our perception of ourself. A consideration or acknowledgement of ones flaws or the darker side of self, an illustration or portrait, an observation without judgement, and a journey to find equilibrium or even peace.โ Usurper was created in residencies in Dance House Lefkosia and The Roxy, Ulm.
Supported by: Embajada De Espaรฑa En Malta
๐คธโโ๏ธ ๐๐๐
๐ ๐๐ ๐๐๐๐๐ - ๐๐ง๐๐ซ๐๐ ๐๐จ๐ฌ๐ญ๐๐ง๐ณ๐จ ๐๐๐ซ๐ญ๐ข๐ง๐ข (๐๐ญ๐๐ฅ๐ฒ/๐๐ฌ๐ซ๐๐๐ฅ)
A short duel between a dancer and a choreographer. Both dressed in outrageously tight Lycra outfits two characters fight for the attention of the audience leaning on their own peculiar and quirky strengths and exposing how silly dance can become when taken too seriously.
Supported by: Istituto Italiano Di Cultura La Valletta
๐ชถ ๐๐๐๐๐๐๐ - ๐๐ก๐ข๐ง๐ -๐๐ข๐ง๐ ๐๐ก๐ข๐๐ง (๐๐๐ข๐ฐ๐๐ง)
Initial inspiration for this piece came from an old Tibetan myth about vultures. It is said that nobody ever sees the body of a deceased vulture. When a vulture knows that its life is close to ending it will fly high up towards the sun and melt away into nothing. It ties in a little with the Greek myth of Icarus and Daedalus. Man imitating nature and failing. The vast sky of freedom motivates Icarus to soar high till his wings melted, and causes his downfall. Both characters are approaching the sun. The vulture is controlling the end of its own life, while the man losing life for the craving of freedom. Chien also gained inspiration from her life. Witnessing the death of her family member or friend, she learns the uncontrollable nature of human life, and exclaims man's various limitations. As a dancer, she can break free from the human frame and wilfully transforms herself. On the stage she is at times animal and at times human. By interpreting the possibility, impossibility, madness and control of a free spirit inside a human body, she explores the limitation and freedom of life.
๐ฌ ๐๐จ๐ง๐ฏ๐๐ซ๐ฌ๐๐ญ๐ข๐จ๐ง๐ฌ ๐ฐ๐ข๐ญ๐ก ๐ญ๐ก๐ ๐๐ซ๐ญ๐ข๐ฌ๐ญ๐ฌ ๐ฐ๐ข๐ญ๐ก ๐๐ซ ๐๐๐ฎ๐ฅ๐ ๐๐ฎ๐ณ๐ณ๐๐ง๐ญ๐ข
Dr Paula Guzzanti is a dance artist, scholar, somatic movement practitioner, and tango dancer and teacher. She specialises in artistic and embodied research practices. In her research, Paula explores the role of the sensorial body in fostering responsible decision-making when designing urban landscapes that connect us to the natural environment. She is particularly interested in developing methodologies to deepen our interaction with the world, including the use of digital technologies to document sensory connections to places. She began her dance training in Buenos Aires, Argentina, and later continued in Ireland, where she earned a practice-based PhD in Dance Improvisation and Collaborative Performance Making at Queenโs University Belfast. She now resides in Malta, where she is the Head of the Dance Studies Department at the University of Malta.
Dance Festival Malta is organised by Festivals Malta with the support of the Ministry for the National Heritage, the Arts and Local Government, and sponsored by APS Bank, GSD Marketing Ltd. & Visit Malta.
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