Editorial March/April 2022
Dear audience, dear artists,
in March and April, we will present a series of international artistic positions that have garnered much attention in contemporary choreography circles.
Algerian-born French choreographer Nacera Belaza takes traditional ritualistic dances as a point of departure for her piece L’Onde, giving this performance an almost inescapable hypnotic pull. For Mowgli, Berlin and Paris-based Iranian artist Sorour Darabi once again adopts the laws of the jungle – becoming wild as an act of liberation. In Manila Zoo, the third instalment of her HAPPYLAND series, choreographer, dancer and artist Eisa Jocson turns her attention to the issue that animals are mostly played by Filipino performers in Disney entertainment parks. In a small space, five performers individually address the postcolonial dynamics of work, power, desire and voyeurism and generate clever and evocative images. Greek choreographer and dancer Katerina Andreou’s piece Zeppelin bend deals with the technique of the world’s tightest knot, one that can withstand any strain while it can also be easily undone. She goes on a headbanging search for fantastic psychedelic moments. Finally, Mette Ingvartsen, still a favorite with the current contemporary choreography scene, explores the pandemic community’s moments of ecstatic movement in her solo The Dancing Public.
We are also happy to announce another project that’s close to our heart: PARASOL – a dance group of TQW that started in January and will continue to be part of TQW for the next few years, with Alix Eynaudi and Ian Kaler taking the reins in 2022.
We invite you to join us in March and April to question some of the (self-)imposed restrictions.
Bettina Kogler (Artistic direction & Programme) & Christa Spatt (Programme)