The Young 2019
21st - 23rd February
<Past | Space>
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Simone Basani, “the house we have built”, an excerpt
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During the last two years, I have worked on group performances that tackle the relationship among memory, architecture and self-narration. They have been shown to museum audiences as performative reconstructions of places that do not exist anymore. At the Young 2019, I present an excerpt from “the house we have built”, a solo I perform myself, which continues my previous research on reconstruction through memory. Instead of departing from what is gone for good, this time I rather address first what is left in my body from past biographical events, especially traumatic ones. The aim of this solo is to unfold these materials, these traces and connect them in the now while questioning their possible functions.
Image credit: Art of memory, "De praeternaturali utriusque..."; Fludd, 1621. Wellcome Collection
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Xiaofan Zheng, Here and Now
An attempt of ballroom dancing.
An interesting process of definition.
An offer of dialogues between past and present.
An outlet whereby memory and imagination can meet.
An historical tradition Here, in the modern ways of dancing Now.
Kavya Ramalingam and Emmanuel Ndefo,
The Infinite Now
As hopeful, to-be dance ethnographers, we believe in the notion of an “infinite now-ness”, which suggests that there is no such thing as an absolute present.
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An objective, absolute here and now.
The starting point of our research interest is that there is a landscape of simultaneously existing elements - objects, people, ideas, networks. And what is here and now depends on the frame we put on our imagination. The past and the future are interlaced in this present slice.
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Our performance-presentation will paint reality as what we make of it. We want to challenge ourselves and the audience to think of different ways of interpreting the here and now through a combination of multimedia materials generated from our ethnographic fieldworks in Malaysia and Kenya, through live feeds, audience interaction and inevitably, through dance.
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Somya Jatwani, Tips,Tricks and Kicks: Tracing economic trajectories of three belly dancers working in restaurants in Los Angeles
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The research is a comparative analysis of the working styles of three belly dancers in a restaurant setting. It aims at critically analyzing their dance practices resulting from differential temporal and spatial organisations of their time and their performance space. From "How would they dance if they did not have to think about the money?" to "How efficiently can they dance to make more money?", this research primarily focuses on performer-audience interaction from an economic perspective.
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