The Scena Współczesna Foundation and the Zawirowania Dance Theatre are pleased to invite everyone to the 2nd International Choreographic Competition ?Warsaw ZAWIROWANIA Dance?, which will take place on 18-20 November 2016 at the Old Powder Magazine in Warsaw (ul. Boleść 2). The competition will feature 13 choreographic miniatures, presented through two competition days (Friday, 18 November, 7:30 pm; Saturday, 19 November, 7 pm). The presentation of awards and the winning choreographies will begin on Sunday, 20 November at 6:30 pm. Below you will find a detailed programme of presentations along with the descriptions of individual choreographies.
18 November (Friday), 7.30 pm
Duet Osaka (Spain) chor. Carmelo Segura
Duet L’Origen (Spain) chor. Jordi Soler, Gisela Riba
Solo V (Great Britain) chor. Joss Arnott Dance
Duet # DBRMPP (Poland) chor. Oskar Malinowski, Katarzyna Gorczyca
Duet Yin (Hungary) chor. Rita Závodszky, Laura Tóth
Duet Like Father, Like Son (Israel) chor. Tomer Zirkilevich.
19 November (Saturday), 7 pm
Duet Des Jours Anciens (France) chor. Francesco Colaleo, Maxime Freixas
Duet BeMyBaby (Germany) chor. Chris Jäger
Solo Unraveling (Canada) chor. Dorotea Saykaly
Solo Whitering (Spain) chor. Fernando Troya
Solo Hello. And Goodbye (Poland) chor. Paweł Malicki
Duet Let’s Du-et (Italy) chor. Fabio Liberti
Trio Le Boléro (France) chor. Didier Theron
20 November (Sunday), 6.30 pm
Presentation of awards and awarded choreographies.
About the pieces presented on 18 November:
Choreography: Carmelo Segura
Dancers: David Vilari?o, Luis A. Largo
Music: Pllar Shift – tretenmoller & Buddish Meditation
?Osaka? is a piece based on the Japanese legend of the red thread. A relationship between two individuals, challenging space, place and time. The red thread extends, it becomes entangled, knotted but never broken, ensuring the meeting of these two people in a precise moment of their lives.
Choreography and dancers: Jordi Soler, Gisela Riba
Music: Alva Noto, Max Richter
Origin is inspired by the androgynous myth told by Aristophanes in his work Plato?s Feast. This myth relates the origin of love: ?Once divided, each half made desperate efforts to find their other part, the one that it was set apart from; when both find each other, they cuddle and get linked, leading them to the wish to restore their old unity; once they hug, they don`t want anything else but to stay together.?
Choreography: Joss Arnott
Dancer: Emily Pottage
Lights: Fabiana Piccioli (Winner of the 2013 Knight of Illumination Award)
Music: James Keane
An athletic, technical and emotive solo set to sweeping classical music that explores the rare and contorted beauty our bodies have to offer. V divulges into the contrasting qualities of an extraordinary dancer ranging from radical and hyper mobile movement to sensual and graceful subtlety through a stunning landscape of lighting. Supported using public funding by Arts Council England, commissioned by Swindon Dance and South East Dance, supported by CAST and Dance City.
Choreography and dancers: Katarzyna Gorczyca, Oskar Malinowski
A duet inspired by the Dorota?s Masłowska piece “A couple of poor, Polish-speaking Romanians”. “Drugs are … bad. We… I just wanted to ask, this is very important for me… Maybe it’s stupid, sorry. Did I? Did I make love to you? Just asking…”
Choreography and dancers: Rita Závodszky, Laura Tóth
Music: Ali Akhbar Khan: Raga Sindhu Bhairavi, Anirudha: Yathis for Bharatanatyam
The yin-yang symbol represents an expansible ideology, where contradictions merge together and depend on each other. When we say the word yin, we think about the yang as well unintentionally. The yin represents the water, the woman, while the yang stands for the fire, the man. What does womanhood mean to the dancers? They state that dance is not just beauty and sweat for them, but something sacred. They use the freedom of association to express concrete things such as caprice, sexism, and violence.
Like Father, Like Son
Choreography: Tomer Zirkilevich
Dancers: Austin Fagan, Tomer Zirkilevich
Music: Rona Ginat, Mark Varshavsky
The work deals with the confrontation between fathers and sons. It is concerned with a son?s search for identity and his inevitable clash with his father?s authority, as in the archetypal, mythical examples from the sacrifice of Isaac to the Oedipus complex. It poses the questions: does one have to murder his father in order to realize his own destiny? Will he always be the victim of his own folly? Will he carry the traditions and morals of his father and to live in its shadow? Can we invent new traditions as a younger generation and individuals and deny the values and standards of our fathers?
19 November (Saturday), 7 pm
Des Jours Anciens
Choreography and dancers: Francesco Colaleo & Maxime Freixas
Music: Charles Aznavour ?La boh?me?; Charles Trenet ?les feuilles mortes?; Alva Noto ?prototypes 2?;? Tango? Vicente Alvarez
“Des Jours Anciens” is a duet based on the use of the sense of sight. Two man face each other and fight for a deep confirmation of themselves; ready to give and to receive, to be manipulated, to provoke each other, to be abandoned. We would like to guide the audience to be sensible towards a “noir subject.” A subject that can also admit different colours, much more pleasant and closer to our heart and to our modern life. The aim is to keep a balance within the internal proportions of the emotional path, and by doing this we add lightness and vitality to the work; going up and down as it happens in the circle of our lives.
Choreography: Chris Jäger
Dancers: Chris Jäger, Sara Angius
Music: Roonettes ? Be My Baby; Risgar Koshnaw ? Biloxi dream; Mumford and Sons ?After The Storm
We want to tell a story. A story about a boy meeting a girl. We both know that this won?t last forever. It might work for a day but something will always go wrong. Maybe just for a day? Who are you and who am I? Are we too naive? Too optimistic? Too direct? I want you more than I need you. Oh, this was different before. This won?t break your heart.
Choreography and dancers: Dorotea Saykaly
Music: Karl Turpin
How do messages of hope and change inform the body and mind? Do we allow a softening to take place to invite integration, or do we choose to struggle against what is presented, feeling overwhelmed and exhausted in front of the prospect of transition? Using the myth of Prometheus as a backdrop and a soundscape of public speeches of people who could be considered as modern day Prometheus, “Unraveling” is a work in progress and looks at a body?s reaction to messages of hope and change as well as how an individual either absorbs or repulses its surroundings and influences.
Choreography and dancers: Fernando Troya
Music: Carlos Ema
The performance is a very poetic solo. It is a very imaginative piece travelling beyond dementia and Alzheimer-stricken minds. What happens deep inside those seemingly dormant minds? A performance full of emotion, physicality and playfulness, as well as responsibility, heaviness and decisions. A backwards trip towards death.
Hello and Goodbye
Choreography and dancers: Paweł Malicki
Music: AGF, The Bug, Ryoji Ikeda & Dumb Type, Tim Hecker, W. A. Mozart
?Although it is often seen as nothingness, or a kind of lack in fact, it is not a black hole, but rather a container that connects everything enables it and embraces it. Its essence results in direct insight, its experience is vibrant joy, and its expression is active love .” Lama Ole Nydahl
Choreography: Fabio Liberti
Dancers: Fabio Liberti, Arina Trostyanetskaya
Rehearsal assistant: Jernej Bizjak
Music: Bitter Sweet by Ezio Bosso
The piece starts as a choreographic tutorial and is meant to provoke the audience and get them to reflect on the role of the choreographer, as well as the art form of choreography. Although the choreographer is not on stage, he is all over the piece. The aim of the piece is to captivate the audience in the love story of the duet so that eventually the choreographer gets forgotten, although he is the one deciding everything about the love story to come. It is a constant play between roles: the choreographer, the dancers, the audience, and the soundtrack of an unnamed voice that guides the audience through the piece. The last paradox comes when the unnamed voice states, ?perhaps Mr. Choreographer wanted to say nothing with this piece.? Is it okay to choreograph if you have nothing to say?