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.

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 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 inner darkness with five dancers, a singer-songwriter, and a cartoonist.  

During this jubilee edition, Korzo and the BNG Culture Fund present the winners of the BNG Bank Dance Prize 2018. The work of Frenchman Antonin Comestaz displays a great sense of dynamics, space, energy, and musicality. Especially for DansClick, Antonin distils a favourite phrase from Surface Image - a performance he created for 19 Codarts dancers, 40 speakers, and one pianist – and uses this for a new duet. In the grim trio Essential Rights, Fernando Troya reveals a world where there’s much to be fought for. Kim-Jomi Fischer & Marta Alstadsæter field question if they create circus or dance with a soft, flowing and sculptural play with power, balance and proportion, and everything within that description that can fly and can be hung off balance. ENGEL is inspired by the poem by Toon Tellegen. The multiple-bill program will be accompanied by introductory video portraits and an Après Danse where the public can enjoy drinks and talk with choreographers and dancers. DansClick offers ‘a delicious sampler of choreographic talent’,

‘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 surrender, desire, and sacrifice, until the purity of existence is achieved.

Dunja Jocic has gained quite a reputation as one of the most characteristic dancers of Club Guy & Roni. Over the past few years, she has been creating her own performances and directing dance films, establishing her own personal signature from the start. Jocic’s electrically charged and capriciously virtuosic dance language is immediately discernable; possibly even more characteristic is the way in which this razor sharp dance is integrated into a poetic total artistic concept. Dance, lighting, scenography and powerful texts come together in an astounding stream of images and a web of references. With this, Dunja Jocic is one of the exciting newcomers in the Dutch dance scene. She was awarded the BNG Bank Dance Prize in 2016.

In Dunja Jocic’s latest performance The Protagonist, we follow a cold, narcissistic young woman. In her compulsive computer addiction she has completely identified with the digital world. She becomes increasingly entangled in this world and has more and more difficulty sustaining herself through the various realities she shares with others. Flooded with the compelling profusion of information, she wants to take back control of her life and takes the drastic decision to go offline. Her sudden escape to the analogue world sets off a stream of surreal daydreams. As in a confused search engine, she is entangled in historic inconsistencies. The present mixes with the time of the mythic, violent, and tragic Queen Mary. The woman must fight to protect her identity.

Ryan Djojokarso makes playful, funny, and moving performances where he mixes dance with sports and games. This time we’re playing hide and seek. With Josje who likes cars and Anton who likes to dress as Cinderella, with tough girl Kim and cry-baby Seth, and with Rick who’d rather play with Frank because he’s secretly in love with him. Hiding from the other, from the rest. Because they not only do not want to be found, they are also afraid of being laughed at and being bullied. Wie niet weg is, is gezien is about wanting to be accepted. Even if you’re not cool like the others or have different feelings. Because don’t we all hide behind something? A dancing fairy-tale about being different and that it’s ok to be yourself.


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