Friday, February 15, 2019



Seoul, South Korea
Created and Performed by> Soo Dong Jung
Music> Ezio Bosso “Sunrise on a Clear Day”
Lighting Design> Ryu Baik Hee
Photography> Sinae Choi

“El hombre pensativo observando el sufrimiento humano…Movimiento angustioso del cuerpo…la forma de un hombre fuerte…Esta pieza ha sido motivada por la escultura de Auguste Rodin “El Pensador”, cuya intención es mostrar a Dante a las puertas del Infierno…”Canto III: Por mí se va hasta la ciudad doliente / Por mí se va al eterno sufrimiento / Por mí se va a la gente condenada / La Justicia movió a mi alto arquitecto / Hízome la Divina Potestad el Saber sumo y el Amor primero / Antes de mí no fue cosa creada sino lo eterno, y duro eternamente / ¡Dejad los que aquí entráis toda esperanza!” – Dante ‘La Divina Comedia’ Infierno, 1-9 No.3”.

Winner of the MASDANZA-M1 CONTACT Award 2015 at The M1 CONTACT OPEN STAGE Festival. Singapore.

FEMALE (12’)
Kaunas, Lithuania – Madrid, Spain
Created and Performed by> Ugne Dievaityte
Original Music> Vidal “Female”
Costumes> Auste Kuliesiute
Lighting Design> Pablo Seoane
Voice> Rosa Miranda
Production> Artscape

“I spin around, breathe and get lost in the spin, in the absurd vortex of repetition, in the repetition of life that overcomes me and makes me collapse. I show up dressed in red, as a circus woman of infinite legs, with high-heeled shoes that harm me, feeling uncomfortable and stereotyped. Jaded and worn out I dazzle in a nude simplicity, my real home”.

TIAN (10’)
Potsdam, Germany
Created and Performed by> Sebastian Abarbanell
Music> Parov Stelar “Booty Swing” / Ben Frost “Theory of Machines” /
Francois Couperin “La Couperin”
Costumes> Sebastian Abarbanell

“This piece was created by Sebastian Abarbanell hoping to be able to share his passion to dance with the audience. All he needed to create his solo ‘Tian’ was his body that carries with it a set of experience, knowledge, abilities as well as restrictions, and his passion to move. During the piece Sebastian plays with different proximities and relationships between him and the audience, testing both his and the audience’s comfort and the notion of a fourth wall between the stage and the auditorium. Sebastian encourages the audience to connect to their imagination while watching ‘Tian’. What they see is a valid interpretation of the piece”.

Bologna, Italy
Created and Performed by> Caterina Basso
Music> Matmos “Mental Radio”
Lighting Design> Roberto Passuti

“Il volume com’era” follows the evolution of a body that moves invisible objects, disseminating sketches, games and silent noises throughout the space. A body which acts with a hesitant decision, like if it was in a room which is no more as it remembered it, in a surge of activity that becomes at times insistent, compulsive. The search for self-discipline, for instructions to follow, for a mechanical task. A body which does not find the right place, the comfort of being welcomed in the details of time and space, the relief of a relationship. A space made out of presences that are missing”.

Kanagawa, Japan
Created and Performed by> Haruka Kajimoto
Original Music> Haruka Kajimoto & Naoyuki Takeda “No Title”
Aiha Higurashi “I Feel My Heart Move”
Costumes> Chiyo Sakamoto
Lighting Design> Megumi Shimoda
Sound Design> Naoyuki Takeda

“From here, I consider ‘then and after that’…I draw a straight line…It’s getting smaller, blurred and unstable…I become anxious…to overcome the fear, I extend my arm and hold your hand. People like categorizing everything. They prefer to draw a line between things and distinguish one thing from another: country, gender…but I love ambiguity and believing that something beautiful and important is hidden in the boundary area. In this work, I try to express the ambiguity.

Winner of the MASDANZA-EU Award 2015 at The Yokohama Dance Collection EX Festival. Yokohama, Japan.

Santa Cruz de Tenerife, Spain.
Created and Performed by> Daniel Morales Navarro
Music> Ólafur Arnalds “Sudden Throw”, “For Now I Am Winter”

“Using movement as a language, the most interesting thing for the dancer is the ability of the body to become whatever his imagination wants. Being able of being a tree, to be the leaves that it holds, to be the water that gives it life or to be the wind that moves it. Even being able to be Winter”.

ĐẸP (11’)
London, United Kingdom
Created by> Dam Van Huynh
Performed by> Ieva Navickaite
Original Music> Martyna Poznańska

“The living need light and the dead need music”- Vietnamese Proverb.

“Taking as a starting point the classic solo ‘The Dying Swan’ by Michel Fokine, Đẹp – Vietnamese word for “beautiful” – questions cultures and their relation with death. Infused with Vietnamese funeral chants, the work explores traditional ideas of rebirth. In Vietnam the family and community help the dead to pass into the other world. Đẹp depicts this emotional journey through stages of grief from initial resistance to final surrender. The purpose is not to bury the deceased, but to send them off on their journey to the immortal world”.

Winner of the MASDANZA-ZAWIROWANIA 2015 Award at The warsawZAWIROWANIAdance Festival. Warsaw, Poland.

Turin, Italy – Tel Aviv, Israel
Created and Performed by> Andrea Costanzo Martini
Original Music> Arvo Part “Missa Sillabica”, “De Profundis”
Moondog “Rare Material”, “Logrund XV b major”
Lighting Design> Yoav Barel
Texts> Texts manipulated and re-enacted from a collection of TV commercials of the ‘90s from Italian TV.

“The piece deals with the idea of exposure as a performer. What would happen if every cell of my body could sense every molecule around me in the room? This is the driving question of the movement research inside this work…the first part is a virtuoso collection of movements dictated by the feeling of being observed on a microscopical level not only by the audience but by presences all around me. The second part introduces a new character (through a voice over) inspired by a very famous TV-sales icon from the 90s on Italian television, famous for her unusually powerful ability to convince poor people to buy things they didn’t need. The third part is a celebration of the pleasure of being watched and exposed, exploring the limit between the desire of giving oneself to the other and the fear that comes from it. The animal element is very present during the whole performance in order to introduce an element that is not only human and that has to do more with the instinct of behavior rather than with rational thoughts”.