Dancing Histor(y)ies performances - Summer 2024
Original photo: Israel Aloni
This summer, as part of the Dancing Histor(y)ies Creative Europe project, ilDance will present a trio of site-specific works in Serbia, Spain, and Italy that engage deeply with the local history and contemporary culture. For these pieces, Aloni collaborates with performers and creative talents Elias Kraft, Elias Khanamidi, Arunas Mozuraitis, and Victor Persson.
The artistic work was developed in collaboration between the choreographer and the performers in response to the immense knowledge and references that we gained throughout our visits and workshops in Viminacium, Mérida and Tharros as part of our research process within the project.
In these encounters we learnt about the incredible histories which are still present and affective through the archeological remains, as well as the vibrant culture and communities which are currently living in these geographic locations.
Through their experiences in these locations, the choreographer, Israel Aloni, became interested in the dynamic of the inbetween. Between the past and the present, between the solid object and the living being, between what happened and the stories that are being told about it and between what is happening now and the stories that will be told about it in the future.
Furthermore, Aloni wanted to find ways to connect the communities in Merida, Viminacium and Tharros through the ephemeral experience of a live performance. The soundtrack, the costumes and the movement language in the piece draw on historical and current cultures in the three locations and bring them together to correspond uniquely with the site and the public.
Original photo: Israel Aloni
Original photo: Derek Pedros
Still Moving Bodies
26.6.2024 / 19.00 - Viminacium Archaeological park
Still Moving Bodies was created specially and specifically for the archeological site in Viminacium with influences from past and present cultures which were and are so vivid in that region. Aloni was drawn to Roman military history in Viminacium in relation to the frequent presence of war in more recent Serbian history. This interest flourished when Aloni and the creative team learnt about Serbian traditional songs and music, and how they feature so powerfully lament and reminiscence to what has been taken away or destroyed by war. The main process of learning about song and music was made possible through the collaboration with the incredible students and teachers of the music school ‘Stevan Mokranjac’ in Požarevac. Additionally, Aloni and the team were really inspired by the immense Roma culture in the area of Viminacium and what powerful dynamic occurs in the interaction and exchange amongst the multiple cultures.
The costume designer of Still Moving Bodies, Amanda Wisselgren, spent valuable time with the students and teachers at the design school in Belgrade and they exchanged knowledge and references both about costume design for performing arts and the extraordinary textile and garments in Serbian culture.
CREDITS:
Concept: Israel Aloni
Choreography: Israel Aloni & performers
Performers: Arunas Mozuraitis, Victor Persson, Elias Kraft, Elias Khanamidi
Original soundtrack: Didi Erez
Costumes design and creation: Amanda Wisselgren
Production manager: Hanna Magdalena Gödl
Production assistant: Arunas Mozuraitis
Watch more about our experience in Viminacium here:
One day we will be statues
05.07.2024 / 21.00 - Portico del Foro, Mérida,
One day we will be statues was created specially and specifically for the archeological site in Merida with influences from past and present cultures which were and are so vivid in that region. Aloni was drawn to the presence of the history of gladiators in contemporary culture in Merida. The interest of nowadays community in reliving the monumental event of gladiator fights was particularly fascinating to Aloni from the perspective of queerness and the representation of the male figure as the object of admiration in the public space. Additionally, Aloni was immensely inspired by the incredible wealth of knowledge, passion and experience of Fuensanta Blanco, for the incredible art of Flamenco. Aloni finds that how Blanco takes on a significant role in the region of Extremadura in regards to both maintaining and evolving Flamenco is really inspiring. Furthermore, Aloni tried to work with the sphere between the historical heritage of the gladiators and the current vitality of Flamenco.
CREDITS:
Concept: Israel Aloni
Choreography: Israel Aloni & performers
Performers: Victor Persson, Elias Kraft, Elias Khanamidi
Original soundtrack: Didi Erez
Costumes design and creation: Amanda Wisselgren
Production manager: Hanna Magdalena Gödl
Production assistant: Arunas Mozuraitis
Watch more about our experience in Mérida here:
Living in Tophet
12.7.2024 / 18.30 & 19.30 - Tharros heritage site (several locations)
Living in Tophet was created specially and specifically for the archeological site in Tharros with influences from past and present cultures which were and are so vivid in that region. Aloni was drawn to the immense historical and mystical power of the Tophet at the archeological site. Additionally, Aloni and the team were inspired by the extraordinary tradition of the barefoot running men and walking women in Cabras. Whilst demonstrating and practicing very different belief systems and cultures, Aloni was fascinated by the similarity in the powerful spiritual devotion emanated by the people of Cabras through their keeping of this unique tradition over 400 years, and the rituals and ceremonies held for Baal and Tanit at the Tophet in Tharros.
CREDITS:
Concept: Israel Aloni
Choreography: Israel Aloni & performers
Performers: Arunas Mozuraitis, Victor Persson, Elias Kraft, Elias Khanamidi
Original soundtrack: Didi Erez
Costumes design and creation: Amanda Wisselgren
Production manager: Hanna Magdalena Gödl
Production assistant: Arunas Mozuraitis
Watch more about our experience in Tharros here:
Soundtrack and costume design
The three works will be accompanied by an original soundtrack by Didi Erez and the costumes are created by Amanda Wisselgren. The soundtrack and the costumes are developed in collaboration with community members through a series of on site workshops in each location.
Didi and Amanda have shared their inspiration while working with these sites, their history and local people.
Didi Erez (music):
“My inspirations for creating the music for the show are many and did not stem only from the music-related workshops.
The meetings with archaeologists and historians, the guided visits to museums and especially to the sites themselves introduced me to the depth of the history of the countries and sites, and created for me a very rich world of images that as a musician connects to sounds and music.
The workshops on design and costumes helped me a lot to imagine the dancers movement through the fabrics and the creative vision of the various creators in the production.
Above all, of course, the meetings with the local musicians, who taught me rhythms and a musical language that I did not know deeply.
Unsurprisingly, the food, the travels, the diverse people I met and even listening to the language, all of these have had a profound effect on the way I compose the music for the show I can testify that the music I'm currently creating for the show is dramatically different from other pieces I've composed to date and is based on samples I've recorded while travelling, on stories, historical knowledge and even smells
I feel lucky and grateful from the bottom of my heart for the opportunity I was given to expand my horizons and deepen my musical work”
Amanda Wisselgren (costumes):
“Here's a breakdown of my inspirations behind the costumes:
Serbia, Viminacium:
From historical attire: The Jelek, an embroidered vest from the Serbian women's folk costume, particularly influenced by the silhouette of the male waist.
From the overall visit: The innovative approaches of the students at the design school greatly inspired me, encouraging boldness in my design. Their drapery techniques underscored the desire for soft yet detailed vests, incorporating symbolic elements like flowers and braids representing hairstyles across generations. The manton pattern, featuring flowers and birds, draws from Serbian symbolism.
From the archaeological site: Patterns on the top garments are reminiscent of those found on pottery, while the subtle gold metal weaving and bone coloration provide additional inspiration.
Spain, Merida:
From historical attire: Inspired by the Mantón de Manila, I crafted both a faithful reproduction and a skirt embodying its movement, drawing from the worlds of bullfighting and flamenco.
From the overall visit: Witnessing Fuensanta's masterful manipulation of fabric to convey stories and the spirit of flamenco left an indelible mark on my design ethos. The mosaic and white city details influenced the top garments.
From the archaeological site: The statues, with their interchangeable heads and inherent respect, inspired me to infuse the garments with both embellishment and a sense of shared identity.
Sardinia, Tharros:
From historical attire: The intricate lace technique of Sardinian undergarments served as a major inspiration for embellished garments. Additionally, the skirt design, reminiscent of those worn on the head in Sardinia, reflects my interpretation of barefoot runners. The red manton echoes the flag carried by these runners.
From the overall visit: Engaging with textile professors and friends was enlightening and inspiring. Learning local dances and experiencing live music provided a profound sense of place.
From the archaeological site: The site's vibrancy underscored the need for lightweight garments, influencing my design philosophy towards creating pieces that feel more liberating.”
Disclaimer: Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them