choreographer: Vânia Gala
performers: Teresa Noronha Feio, Varga Boglarka, Maja Kalafatić, Maria Duenas Lopez, Anis Habibović
lighting design: Bojan Gagić
costume design: Josipa Tokić
sound: Mikhail Karikis
production: Beyond Fronta Bridging New Territories, Creation Beyond Fronta 4: Croatian Institue for Movement and Dance (HR), Flota (SI), Progressione (HU)
supported by The City of Zagreb Office for Culture, Education an Sport, Ministry of Culture of republic of Croatia
About the show:
‘Cooling Down Signs’ speaks about a prevailing sense we increasingly witness today: apathy. My intention was to create a piece which embodies the idea of a performative archive for a state of inaction that I feel we (my generation) navigate in. The piece is composed as a playlist of reflections: about strategies of coping with the challenges the world throws at us; strategies on how to (un)occupy this body or even this space. To cool down, to allow the body to gradually transition from a state of the excessive to one more restful, or near-resting state; a metaphor perhaps for exhaustion (Franco Berardi). Speaking about this means also to speak about a certain immobility that arises, and even, to withdraw from society, community, body, or to space out in an effort to face exhaustion: exhausted times, exhausted conventions in dance. To speak of these concepts means also to speak about a certain immobility and the moment where there is little to say.
‘Cooling Down Signs’ is about the dispossession of the body within the limit of our non-involvment inwhat surrounds us. The idea of the (un)occupied body was the main generator of the movement material developed through specific tasks I gave to the dancers to research and resolve. The playlist draws upon my interest for the present, the “now” and the affects and (dis)affects of my contemporaries. The permanent, seeming inarticulation prevailing in the piece is more a metaphor of the discomfort arising from our lack of capacity to deal with the excess of information coming at us rapidly, and the sense of time fleeting, the necessity to find new ways of coping. This piece is also an (un)ending quest for what ‘liveness’ on stage can be, perhaps even a possible choreography of absence.”
About the author:
Vânia Gala, a Portuguese choreographer originally from Angola, studied dance at the European Dance Development Center in Arnheim, (NL), graduating later in choreography from Trinity Laban Conservatoire of Music & Dance in London. Among a number of international collaborations she includes dance organizations: Les Ballet C. of LaB, Christine de Smelt, Constanza Macras, National Scene - Bergen, Morten Travik, Kompani B. Valiente etc. Her most noted works to date are: Automatic ID /AID (Angola – the 1st Triennale; Portugal; Norway; Germany; Ireland - Dublin Fring Festival Award 2005 for best female performer; Great Britain - Aerowaves; Russia; Italy - 1st African Pavillion/Venice Biennale); MiamiLuanda (Teatro Académico Gil Vicente, Portugal; Portuguese Platform for Performative Arts 09 curated by Rui Horta; Centro Cultural de Belém). Lately she collaborates with Sonia Boyce, in her project ‘Coming Ashore’, curated by Paul Goodwin (TATE). She also teaches: Tanz Fabrik, Kampnagel, Bergen Danse Senter) and currently directs: ‘Semana (d)ança’ and ‘Corpus lab’ both taking place at Gil Vicente Theater in Portugal.
About the project:
Beyond Front@ / Bridging New Territories is a partnership between dance organizations from Croatia, Austria, Great Britain, Hungary and Slovenia with associate partners in Portugal, Greece, Italy, Serbia and Slovakia. The action Creation Beyond Front@4 aims to offer young dancers and choreographers an opportunity to establish new networks across Europe, through creation of new work. The choreographer was chosen through European-wide Open Call, and dancers through auditions in Slovenia, Croatia and Hungary. Part of the creative process was presented at the 8. Burgenländische Tanztage in Austria. Following the Zagreb premier, the production will be presented through the network of Beyond Front@.
With the support of the Culture Programme of the European Union. This project has been funded with support from the European Commission. This publication (communication) reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.