EROCA NICOLSEroca Nicols is an international performance art and body nerd. Her alter ego and company, Lady Janitor combs the globe looking for places to incite radical moments of art chaos, consume massive amounts of coffee, wear amazing unisuits and confer with movers and thinkers of all varieties. Her teaching, dancing and training are deeply influenced in her continued study of ritual, biomechanics and Brazilian Jiu Jitsu.
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PAVLEHEIDLERSince their mid-teens pavleheidler have been performing, studying, writing, and teaching; inevitably considering their varied engagements as opportunities to continue studying the notions of performativity and success in communication. Their preferred method of engagement is collaboration, which is thought to be a given, a fact-of-life. INREF. People are social animals. An attempt is made to approach collaboration not as a way by which to sustain “flat non-hieararchies” but as a way by which to affirm “power relations as inescapeably-present, but socially-sensitive and fluid forms.” Time is, obviously, of essence. They are interested in investing in long-term relationships and amongst other things think disagreement a form of agreement.
pavleheidler graduated from Performing Arts Research and Training Studios in 2012 and took their MFA degree in Choreography-specialisation-Performance from Dans och Cirkushögskolan in 2015. In recent years they’ve been nourishing collaborative relationships with Cristina Caprioli (CCAP) and Madeleine Lindh, Anja Arnquist, Louise Permig, Philip Berlin, Ulrika Berg, Frédéric Gies, Sunna and others; with Silvia Marchig (KIK Melone), Sonja Pregrad and Marko Gutić Mižimakov; with the WELD Company; with Ilse Ghekiere; with Manon Santkin; with Mira Mutka; and TOGETHER ALONE. TOGETHER ALONE stands for the volatile and developing agreement that defines the relationship between pavleheidler, Ilse Ghekiere, Mira Mutka, Samuel Draper, Manon Santkin, Eleanor Campbell, Matilda Lidberg, Roos van Berkel; and others. In February 2016 pavleheidler have been awarded Fellowship at SITE Sweden. For more information, writing and teaching, please visit the following virtual locations. / pavleheidler.wordpress.com / attogetheralone.wordpress.com / dancerswriting.wordpress.com / |
JOY MARIAMA SMITH
A native Philadelphian currently based in Den Haag, NL, Joy Mariama Smith's work primarily addresses the conundrum of projected identities in various contexts. A sub-theme, or ongoing question in their work is: What is the interplay between the body and it's physical environment? Rooted in socially engaged art practice, they are a performance/installation/movement artist , activist, facilitator, curator and architectural designer. They have a strong improvisational practice spanning 20 years. When they choose to teach, they actively try to uphold inclusive spaces.
they/them/their* :third person singular gender-neutral pronoun |
SUMMERSummer is a self-identified queer sports punk and Muay Thai nerd who has been involved with different temporary autonomous, self organized gym projects in Europe and N. America. They like their MT bodi posi and anti-fascist/anti-racist, queer n trans centric and welcoming for ppl of all different needs n abilities. They hope to help create a rad space to move, learn, and transform together.
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SIEGMAR ZACHARIAS
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ZINZI BUCHANANZinzi Buchanan is a performance-maker and film-maker with a life-long project about having children and yearly themes including: “danger” in 2017 and “the future” in 2018. Zinzi has taught workshops and performed in Berlin and many other cities. Zinzi has collaborated on drag performance with Sheen McGrandles and with Alicia Grant in WITCHTITS. In their recent collaboration with Nico Limo they made a short film “what is it?” about queerness and the internet. Zinzi’s aesthetics are hard and sensual and their art is sincere and playful.
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ISMAIL FAYEDBorn in Cairo, Ismail Fayed works as an arts critic, dramaturge, and writer. With a BA and MA in Political Science (Cairo University and American University in Cairo), Ismail’s background in Arts History, Middle East History, Philosophy, Gender, Anthropology and Politics have enabled him to work in-between the lines and norms of contemporary artistic practices. Ismail Fayed creates texts, Blogs, performances, Video-lectures, as well as long engagement with academia. His works have been presented in Cairo, Amsterdam, Istanbul, Brussels, and Berlin, and he has been published in several languages throughout the past years. He was the Critic-In-Residence for the KunstenfestivaldesArts in Belgium, Co-Curator of “TransDance Series” in Egypt, Arts-Lab Critic and Festival’s Blogger for “In Transit Festival- Haus Der Kulturen Der Welt”- Germany. He has been writing on contemporary artistic practices since 2007 and his texts can be accessed via his blog. Ismail Fayed has worked with several choreographers and performers (Adham Hafez (EG), Thomas Lehmen (D), Lilibith Cuenca (DK)…) in laboratories, productions, performances and research contexts. He’s the Editor of the new publication “CAIROGRAPHY” that will be the first publication focused on Performance and Choreography Studies in the Arab Speaking World, translating World renowned critiques into Arabic for the first time, and Arab critiques into English also for the first time published, and he’s the consultant to “FABRICA’s” board of directors on new forms of performative Ismail Fayed is associated in the last art works of Adham Hafez, « PsychOpéra»and White Arabs Dark Arabs.
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MZAMO JAMA NONDLWANAMzamo Nondlwana was born 1986 in the cultural hybrid city of Johannesburg, South Africa. He started dancing at an age 17, which is known conventionally as late. In 2006 he started his formal training as a dancer at Moving into Dance Maphatong. After finishing school he worked with Arrep, a theatre company based in Johannesburg, which tours around the vicinity of South Africa. He also took part in various dance workshops later that year. Some of the workshops were based in release technique and contact improvisation. The workshops were organized by Danspunt, a collaboration company between South Africa and Belgium. In 2008 he worked with PJ Sabbagh as an understudy in Macbeth. In 2009 he moved to Salzburg, Austria were he is doing his formal dance education at SEAD working with various choreographers such as Nigel Charnock in ´Cann Cann`, Metej Kezar in ´Modulos´, and many others. He also created works like Surface beneath the core 2005 , water of perfection 2005 which premiered in Johannesburg dance Umbrella ´Black swan´ 2012/2013 which premiered Arge theatre part of the because of the night. He has also partaken in various activities such as teaching afro fusion dance at the Internationale Ostertanztage Salzburg Austria. In 2013 graduated from SEAD. At the moment he is in collaboration in a work process with Hanna Hellström ´...for better or for worse...`.
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MAQUE PEREYRAIn my work I deal with personal material as means for engaging with a wider understanding and production of practice, knowledge and theory in order to connect with a broader social frame full of colonial woundings in which the enjoyment, growth and sharing of oneself in body-mind-soul-spirit, the exercise of memory, the practice of rituals, the awakening of consciousness, the embracement of sexuality, sensuality, emotions, sensations, affections and intuitions and the notion of deserving love and pleasure, are constantly diminished and/or threatened and therefore I see them as modes of resistance, knowledge production and a healing decolonial rebellion facing the different oppressive structures.
Maque Pereyra is a Berlin based artist, performer, dancer and activist. In 2018 she finished the MA SoDA program at HZT. In her home country, Bolivia, she obtained a BA degree in Psychology in 2014. The same year she participated in the first version of the program “Atlas-Mapping Future Talents” held by Impulstanz Vienna International Dance Festival. Her work was prized two times (2013-2014) with the arts award “Premio Plurinacional Eduardo Abaroa” in the categories best contemporary dance soloist and best contemporary dance duet. She worked in several projects of the Ballet Oficial de Bolivia from 2009 until 2014 and with the dance company Vidanza as well as for different choreographers and companies such as Riina Saastamoinen and Movementalist. Within her most relevant works are: imPACÍFICO (2011. Simón I. Patiño Festival. Cbba-Bolivia, FIT-APAC. Sta. Cruz-Bolivia, ELTI. Bs.As-Argentina,” imPACÍFICO y la memoria física” published on Revista Conjunto 168.La Habana-Cuba), SOBREGRABADO/OVER RECORDED (2013. Eduardo Abaroa Award), LAIK! (2014. Developed within the frame of the project Young Choreographers, held by Ballet oficial de Bolivia), FEMINASTY (2015. Elti-Bs.As, P-Bodies Festival-Leipzig), mmaria_mmeets (2017. Platform-Zagreb), TaypiMami // footnotes to myself, solo performance/thesis presentation within the frame of the MA SODA and collaborative works: Par. Versión Remota (2014.Performance/video-interactive mapping in collaboration with Cecilia Vilca), BRÍU (2014, in collaboration with Yumi Tapia), trenzación (2017. Video performance in collaboration with Verena Melgarejo). Her work was shown in different festivals and venues from: Bolivia, Perú, Argentina, Germany, Mexico, Austria, Croatia and Norway. |
CHARLIE LABAN TRIERCharlie Laban Trier is a Amsterdam based performer, dancer and choreographer from Copenhagen. He graduated this year from SNDO - Bachelor in Choreography. Having been in different queer scenes and categorizing himself as a transgender person since he was a teenager has surely influenced how he works; I often find myself looking into hyper-constructed modes. I frame ‘hyper’ with the understanding that it’s an Extra doing of something, and therefore a restructuring – something that plays with and up against how things are currently constructed. I see these modes giving potential space to work with deconstructing essentialist ideas and celebrate fake hyper-construction. Another one of my big loves is the Ballroom/vogue scene. I have been training vogue and participated in the scene for roughly five years and I’m an active member of the European chapter of the Iconic House of Ultra Omni. I see the Ballroom scene being a space that is actively working with these ‘hyper-modes’ as well, mainly because of the awareness, playfulness and choice around one’s own performativity.
I find relevance in continuously positioning myself as a student, when it comes to practices I engage with. I don’t strive towards producing a representation of something that has its own context. I see great importance in the context and want to engage actively in the thinking of the dangers of appropriation – telling stories on behalf of others or taking credit. My work is influenced by my fascination with the Internet as a space and particularly finding out how the screen as an interface and a condition can be transferred into a more conventional theater space. I see potential in the non/directness and inaccessibility of fully sharing space-time that is created through being on different sides of the screen. |