Anna Karenina delves into the content and dance technicalities and explores what krumping means to her. The connection between the earthly and the heavenly is central in an attempt to understand, convey her own roots and touch a higher reality.
I’ll be there for you (for me) explores the Western culture of self versus our need for connection. Lorena Spindler confesses her ambiguity toward the prevailing system ( ka-pi-ta-lism), her desire to be part of it, her fear of getting out of it and the despondency it evokes, and invites performers to explore these contradictions.
I’ll be there for you (for me) explores the Western culture of self versus our need for connection.
During this year’s festival, we are hosting a WIPCOOP-day on November 21 with works in progress and/or conversations with: Lucia Giannoni (Argentina), Ana Luz Ormazábal (Chile), Rodrigo Batista (Belgium/Brazil) and Désirée 0100 (Belgium/Mexico).
When “Girl on Fire” is no longer just a pop song but a marching tune for soldiers going to war, Ping-Hsiang Wang wonders, will his fragile memories then be destroyed by the fire of war? Retina Maneuver is a solo lecture-performance that springs from Ping’s inexplicable obsession with Alicia Keys’ pop song “Girl On Fire”
KIDNAPPED is a work in progress for a speculative metaphor: in our illusory world of neoliberal “freedom,” we are all, in a sense, kidnapped.
In Retina Maneuver, Ping-Hsiang Wang explores how Taiwanese millennials’ perspectives on conscription and military violence have evolved over the past decade – all through a queer lens.
Yousra, 33, looks back with humor and tenderness on the upbringing her father gave her.
An education grafted onto another equally important school of learning: Drarism, the mentality of young people from working-class neighborhoods, the Draris.
