http://www.dansit.no/residens/river-being/http://www.dansit.no/residens/propellart1-butoh-solo-in-progress/http://www.dansit.no/residens/revisiting-solo/http://www.dansit.no/hjem/om-dansit/http://www.dansit.no/aktiviteter/sommerkurs-i-trondheim-2022/
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Mia Habib Produksjoner – How to. A Score

Uke 11 / 2022

how to walk, how to touch, how to fall, how to rise, how to trust,

how to hope, how to dream, how to fight, how to change

fra scoret How to. A score

How to. A score er en makro-solo bestående av flere enkeltstående soloer basert på et koreografisk community partitur utviklet av Mia Habib i samarbeid med Janne-Camilla Lyster. Seks dansekunstnere er valgt ut til å jobbe med lokalsamfunn i sine respektive land og deretter utvikle dette til hver sin solo. Under Multiplié presenter vi urpremieren til to av disse; Thami Hector Manekehla (Soweto, Sør-Afrika) og Filiz Sizanli (Eskişehir i Tyrkia).

Partituret bygger på det tidligere stykket How to die – inopiné som er en transdisiplinær undersøkelse av økologisk sorg, kulturell panikk og følelsen av kollaps.

«Asking as individuals, asking as couples, asking as a group, asking as citizens, asking as humanity, asking as the people, asking as the elite, asking as the oppressor, asking as the oppressed, asking as dancers, asking as bodies, asking as the other, asking as if dead. Asking through voice, asking through silence, asking through movements, asking through stillness, asking through roaring, asking through ourselves, asking through each other, asking through the other, asking through our death.»
– fra scoret How to. A score.

Thami Hector Manekehla utvikler arbeidet med dansere han har vokst opp med i Soweto. Filiz Sizanli arbeider med eldre mennesker i den lille byen Eskişehir hvor de som en del av arbeidet har inntatt byrommet på ulike måter.

Residens DansiT: Svartlamon uke 11 + Rosendal Teater m. premiere uke 12 under Multiplié dansefestival 2022

Medvirkende

Kunstnerisk konsept & danser: Mia Habib
Koreografisk partitur: Mia Habib & Janne-Camilla Lyster
Seks soloer & research av følgende dansekunstnere:
Premiere på Multiplié mars 2022: Thami Hector Manekehla (Sør-Afrika og  Filiz Sizanli (Tyrkia)
Premiere i Stavanger på TOU Mai 2022: Thais Di Marco (Brasil), Julie Nioche (Frankrike), Tommy Noonan (USA)

Lysdesigner: Eirik Brenne Torsethhaugen
Rådgiver partitur: Chrysa Parkinson
Design – partitur: Camilla Skibrek
Produsenter MHP: Grethe Henden & Elisabeth Gemeiner
Internasjonale relasjoner MHP: Siri Leonardsen
Lokale produsenter: Firat Kuscu (tr), Tetembua Dandara (br), Stéphanie Gress In (fr), Caitlyn Swett (us)

Lokale co-produsenter: Taldans (Eskişehir, Turkey), Statement Dance (Soweto, South Africa), Culture Mill (Saxapahaw, North Carolina,) Association d’Individus en Mouvements Engagés (Nantes, France), Interkulturelt Museum /coFUTURES (Oslo, Norway).
Co-produsert i Norge av: RAS, TOU, Dansens Hus, Black Box Teater, BIT Teatergarasjen & DansiT

Støttet av: Norsk kulturråd & Nordisk kulturfond – Globus Opstart
Foto: Mia Habib Productions

About the artists

The score is built on the research of the artistic team and the research team of the initial project, How to die – Inopiné:  dancers Harald Beharie, Anna Pehrsson, Asher Lev and Nina Wollny, sound artist Jassem Hindi, costume designer Ali Hazara, light designer Ingeborg Olerud, artistic consultant Steinunn Ketilsdottir and researchers Marie Kraft, Namik Mackic, and Ashkan Sepahvand.

Mia Haugland Habib is an Oslo-based dancer, performer and choreographer working at the intersection of performance, exhibitions, publications, lectures, teaching, mentoring, and curating. Habib has collaborated internationally with artists such as Jassem Hindi, Guilherme Garrido, Rani Nair, Brynjar Bandlien. She danced with Carte Blanche from 2017-2018, for whom she also made commissioned work.

Habib’s work has been presented amongst other places at: LaMaMa Moves!, TBA festival in Portland, Tanz im August, Aerowaves 2015, Theatre Freiburg, Tanzhaus nrw Dusseldorf, Spielart Festival, Gothenburg Dance and Theatre festival, On Marche Festival Marrakech and I’TRÔTRA Festival Antananarivo. Habib holds an M.A in conflict resolution and mediation from Tel Aviv University and a choreography education from Oslo National Academy of the Arts. Mia Habib established Mia Habib Productions in 2005 and is supported by the Norwegian Arts Council.

Thami Hector Manekehla, dancer and choreographer, was born and raised in Soweto, South Africa under the Apartheid regime. He describes his path into dance as a self-practice where he has acquired knowledge through workshops and meetings with various artists, as opposed to traditional formal dance education. Through his work, he has worked all over the world with well-known names such as Kettly Noel, Gilles Jobin, Maria La Ribot and, in the Norwegian context, with Mia Habib. Manekehla’s own work is characterized by a clean-cut perfected simplicity where abstraction allows for associations. Often with a harsh political undertone. His work has touched on cultural ideas about masculinity, taboos around homosexuality and racial issues. Most recently in the acclaimed trio he developed with Ligia Lewis and Jonathan Gonzalez around the theme ‘Blackness’. Manekehla and Habib have collaborated on various projects around the world since their first meeting in Madagascar in 2006, including with the network Sweet & Tender Collaborations.

Filiz Sizanli is a Turkish dance artist. Together with Mustafa Kaplan she runs the organization Taldans. Filiz originally has a degree in architecture, which affects all of her work. As the political climate in Turkey has hardened in recent years, Taldans ́ work has also become more explicitly political with various (invisible) strategies of opposition to the regime. In May 2015, they worked with a Syrian refugee family in Athens. The family shared problems and stories from being on the run which Taldans later shared with the audience in their performance. Sizanli and Habib met through Julie Nioche’s project MATTER in 2007 and have, among other things, danced this performance together in Istanbul. Furthermore, they were both invited as artists to the British Council conference, Tipping Point, in Montpellier in 2012 to talk about artistic methods and practices that can be applied to environmental and climate challenges.After finishing her MFA called “Choreographic Research in the Limited Space”, Sizanli is at the moment engaging in a long-term research about movement and elderlies which she has also included into the community work of the score.

Janne-Camilla Lyster studied at the Oslo National Academy of the Arts, where she graduated with a BA in Contemporary Dance in 2006. In this project, she has been scoring and editing How to. A score, in collaboration with Mia Habib. She is a dancer, choreographer, author and an associate professor at the Oslo National Academy of the Arts, Dance department. She has published several collections of poetry, as well as writing literary scores for dance: poetic texts, written and structured to be read as dance and interpreted by dancers. The scores’ poetic nature and stringent structure forms a series of curious, playful and contemplative performance pieces. Her work is presented at theatres and venues including the Norwegian Opera & Ballet, Black Box Theatre, Dansens Hus, Det Norske Teatret, and tours internationally. She presented her artistic result of the PhD project Choreographic Poetry: Creating Literary Scores for Dance at the Oslo National Academy of the Arts in September 2019.

Chrysa Parkinson (outside artistic reader of the written score itself): is a dancer living in Stockholm, and sometimes in Berkeley, California. She has been performing and teaching internationally since 1985. Her focus is on how dance situates itself in practitioners’ lives and how performers author and document experience. Chrysa is a Professor of Dance at SKH (Stockholm University of the Arts), heading the Masters program New Performative Practices since 2011.

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