The choreographers duo Jérôme Meyer and Isabelle Chaffaud are currently working on the second part of their SOUL series, in which they search for the true nature of humanity. In 2017 they devoted SOUL #1 Audience to the soul of the public. That did not go unnoticed. The performance enjoyed a successful premiere and subsequent performances at the CaDance festival, where the ‘fourth wall’ – the boundary between the stage and the audience - went up in smoke.

With the new creation SOUL #2 Performers, you descend with the dance makers into the internal world of the performers. What would they be without you, the audience? Why do they do what they do? What is it like to take up challenges and push your own limits in the service of a choreographer and the arts? You will discover all this and more in this multi-disciplinary performance where you will meet with dancers of different generations, such as David Krugel (formerly of the Nederlands Dans Theater 3) and Claire Hermans (nominee for the Piket Kunstprijzen 2017).

‘In revenge and in love woman is more barbaric than man is’ From Friedrich Nietzsche’s Beyond Good and Evil (Jenseits von Gut und Böse)

In previous years, Samir Calixto has made quite an impression with his adaptations of Winterreise (after Schubert), 4 Seasons (after Vivaldi), Paradise Lost (after Milton), and Summa (after Arvo Pärt). With a resolute cross between pure musicality and intense physicality, he digs deeply into the subject matter of his performances until they achieve a timeless quality.

After the impressive M, where five male dancers submit themselves totally, mentally and physically, the Brazilian choreographer has now created W. Samir revisits the intriguing cross-fertilization of dance and the philosophy of Nietzsche. W is in all respects a mirror image of M: a piece where five women make tangible the power, anger, and voluptuousness so clearly manifest in myths and archetypes connected with women. Wagner is for W what Mahler was for M. Wagner’s Tristan und Isolde is a polemic work about the extremes of human instinct unleashed by the irrationality of romantic love. Set to a modern adaptation of Wagner’s music, Calixto’s W trains the spotlight on our obsessive search for truth, now from a feminine perspective. Through Calixto’s ruthless physicality, layers are peeled off the dancers to reveal their vulnerabilities and barbarity. The women undergo a ritual of submission, voluptuousness, and sacrifice, until the purity of existence is achieved.

The Russian cellist Maya Fridman is a young music pioneer who created a self-styled performance featuring the enchanting music of her countryman Alfred Schnittke. He created a supernatural sound world for Peer Gynt, a ballet about a stubborn, dreamy world traveler from Norway who traverses the realm of the trolls. Fridman is ‘musician in residence’ with Gaudeamus, the Dutch organization for new music. With the iconic Japanese pianist Tomoko Mukaiyama, she made a cross-disciplinary adaptation of Schnittke’s original and breathes new life into this orchestral work. Invisible voices haunt this unearthly music where lighting and stage sets create an entirely new and original world around it. Fridman, who plays classical music as easily as rock with her ‘cello, draws her audience into the fairy-tale world of this vagabond where dream and reality imperceptibly merge. His visits to existing countries and mythical realms are given shape with sublime music in surroundings that transcend the imagination in light and image.

Conny Janssen Danst provides opportunities for young talent through DANSLOKAAL, the talent development project, where young artists are invited to develop new work together with the dancers of Conny Janssen Danst. For each event artistic director Conny Janssen, one of the leading choreographers in the Netherlands, collaborates with a variety of partners and selects promising choreographers with diverse backgrounds. For the 6th edition these are: Dunja Jocic (Korzo), Ingrid Berger Myhre (Dansateliers) and Tu Hoang (Conny Janssen Danst). They get the opportunity to work on the development of their own signature within the professional context of the company. The result is a surprising dance evening with three new pieces, created for and with the dancers of Conny Janssen Danst.

After a series of performances in Rotterdam, Conny Janssen Danst provides a nationwide platform to the young choreographers. Wondering what the results of this collaboration look like? Come and find out during DANSLOKAAL on tour!

Dunja Jocic, for years an eye-catching performer with Club Guy & Roni, surprises as a choreographer with startlingly original dance projects and films. Terra Incognita is a physical and interdisciplinary duet, based on the short story of the same name by Vladimir Nabokov. Friends who have escaped to the tropical hell of Badonia try to reach the unknown land of Gurano Hills. The mission, however, proves fatal. Hallucinations blend with the harsh surroundings and the quest pushes the travelers to their limits. Illness and death are just around the corner and friendships burst apart. This visual performance is complemented with the short film Bird by Jocic, in which a young boy is confronted with death for the first time in his life.

Ryan Djojokarso inspired by a James Baldwin book.

As one of the leading authors of the 20th century, James Baldwin denounced important racial and sexual misdeeds. Choreographer Ryan Djojokarso sought inspiration for his new performance in his book Giovanni’s Room (1956). The American David is about to marry Hella, but falls deeply in love with the Italian Giovanni in Paris. We follow David through the night leading up to the most horrible morning of his life, when his lover will be gone forever. A dance unfolds where soft intimacy, masculine camaraderie, sexual tension, and an all-consuming self-hatred struggle to prevail. What happens to you, when you are so afraid that you can no longer love?

'His touch could never fail to make me feel desire; yet his hot, sweet breath also made me want to vomit.' uit: Giovanni’s Room, James Baldwin (1956)

Five dancers enthusiastically chase each other around and get lost in rules that tumble over each other and keep changing. A playful game ensues where they go together in search of the rules. When are you ‘it’? How many people can ‘tag’? Do you help someone in need? Jij bent 'm! (you’re it!) is a sportive and dynamic performance by choreographer Ryan Djojokarso and theatre maker Bram Jansen where rules of behaviour are slowly revealed. But in the end, they have to agree on these rules so that the real game can begin. But watch out! You’ll get caught up in this game of tag before you know it.

Actress, dancer, and choreographer Rukmini Vijayakumar has achieved star status in her homeland, India. At the festival in Korzo last year she made a great impression with her own take on Bharatanatyam. With her athletic body and surprising perspective on space, dynamics, and emotion, she manages to place this age-old dance form in a contemporary context. This year she was selected for the coveted international residence, supported by the Kylián Foundation. Rukmini presents an evening’s program in three parts with love as the central theme. Two traditional Bharatanatyam dances are the entry point to the world premiere of a totally original new creation.

The monumental opera Satyagraha by the world-renowned composer Philip Glass was inspired by Mahatma Gandhi's philosophy of peaceful resistance. The opera is not performed often, though it is seen as a key work in the composer’s output. Satyagraha is also the one opera where the influence of Indian music in Glass’ work is most clearly manifest. The composer gave permission to Korzo and Kwekers in de kunst to perform this opera in a new setting with Indian contemporary dance. Sixty choir singers specialized in classical and Indian music, opera singers, Indian dancers, contemporary dancers, and musicians bring this musical happening on tour.

Satyagraha translates as “truth force”. The opera is sung in Sanskrit, does not have a linear storyline and covers three acts. Each of the three parts represents a period of time overshadowed by war and violence. Where, in Act 1, the call to violence and its effects become tangible, Act 2 focuses on the inanity and destructive power of violence. Act 3 refers back to Act 1 and questions how the endless cycle of violence can be broken. The gods are silent. Man himself must bring to life the hope of a new beginning from his own convictions.

Good or evil. Angel or devil. Superhero or villain. What is good and what is evil? And who decides? These days, religion and mythology have less of an influence on us. The search for role models and the adoration of politicians, Hollywood stars and pop singers, however, is still as pervasive as ever. Growing up in an Indian family, choreographer Kalpana Raghuraman heard many Indian mythological stories. These stories portray good and evil differently than the social norm: heroes can also be ‘bad’ and villains can be ‘good’. Fascinated by the open-mindedness, Kalpana explores the image of the perfect superhero in Superhuman: Our Darkness with five dancers, a singer-songwriter, and a cartoonist.  


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