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.

SIMEON brings together compositions by Simeon ten Holt and contemporary Indian dance with surprising results. Choreographer Kalpana Raghuraman works together with the Matangi Quartet from The Hague and created a diptych based on the famous works Canto Ostinato and Lemniscaat. Kalpana was deeply moved by the passion and sense of perseverance that permeates Ten Holt’s music. In 2014, she created the hit performance Kandam Ostinato at Korzo. In 2017, the musicians and dancers created a new perspective on Simeon ten Holt’s work with, as a subject, the collective versus the individual and the pressures of everyday life.

'The longer you listen to Simeon ten Holt’s music, the more you hear. I draw this as an analogy through to daily life. The more consciously you look at your own life, the more you see, and the easier it is then to move towards change.' (Kalpana Raghuraman)

Dunja Jocic, for years an eye-catching performer with Club Guy & Roni, surprises as a choreographer with startlingly original dance projects and films. Don't talk to me in my sleep premiered at the 2015 Noorderzon Festival in Groningen, the Netherlands.

The light of passing hours and bygone days moves over small walls, past mirrors, plastic flowers and teacups of the house where a man still lives together with his mother and their cat. Though time passes outside, inside it seems the vacuum of their synchronized schizophrenic relationship made it stop. As the repetition of daily patterns creates soil for mutual irritations, driving them both to the edge of sanity, dreams of breaking free into his own independent life emerge in the mind of the man. Standing at the footsteps of where dreams can be turned into reality both start to wonder, can one be without the other? Loosely based on the relationship between Andy Warhol and Julia Warhola.

In Vestige, Astrid Boons creates an environment in which the body is emptied of its humanness. What is left is but a trace of its being. The body is searching in its own traces, it is trying to grasp what it was and what it is becoming; it is longing to find its humanness.

‘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.

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!

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)

The opera Satyagraha by the world renowned composer Philip Glass is inspired by Mahatma Gandhi's philosophy of peaceful resistance. The composer gave permission to Korzo and Kwekers in de Kunst to perform this opera in a new setting with Indian contemporary dance. The audience was already surprised in 2015 and 2016 with the first two acts. In the year of Glass his 80th birthday, this musical happening will be completed in a performance with 60 choir singers, opera singers, Indian and contemporary dancers and musicians.

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.

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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