Nov 2017

M T W T F S S
30 31 1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 1 2 3
 



 

Kunstenwerkplaats Pianofabriek @ Bâtard Festival 2017

***Bâtard Festival structurally collaborates with Beursschouwburg as a festivalcentre and Kunstenwerkplaats Pianofabriek as the main partner for the artistic and productional support for several new creations***

31 OCT (19H00 & 22H00) / OGUTU MURAYA - BECAUSE I ALWAYS FEEL LIKE RUNNING

In Because I always feel like running, Ogutu Muraya navigates the phenomenon and
politics of running. In East Africa, the emergence of athletic prowess in middle and long distance categories coincided with the independence movements. Since the 60s the success of athletes became tied with the process of nation building and the creation of a new identity in a postcolonial context.

In the same way as a marathon runner is always pushing his limits and enhancing his body, the performance also centres on willpower and physical tenacity. Through historical, documentary and personal narravites, Muraya investigates the runners body both as a political repository and a vulnerable, vital and resilient biological organism.

Composition and performance: Ogutu Muraya
Dramaturge & directorial assistance: Leila Anderson
Developed with support from Kunstenwerkplaats Pianofabriek, Bâtard Festival & Veem House for Performance
Thanks to KVS, Campo and Vooruit

31 OCT (20H30) / JAHA KOO - CUCKOO

고립무원, a feeling of “helpless isolation”, is characteristic of the life of the younger generation in present-day South Korea, the home of theatre-maker Jaha Koo. Structural problems such as youth unemployment or sexism are individualised, and a military, hierarchical social order knows no room for rebellion, expecting humbleness towards the powerful. Increasing suicide rates, isolation, a fixation on personal appearance, and the omnipresence of technology are just some of the symptoms of this condition.
Jaha Koo experienced isolation for himself one day when his electric rice cooker’s speech function informed him that his meal was ready – in Cuckoo, rice cookers are now his only co-actors. Supported by the hardware hacker Idella Craddock, he transforms several rice cookers into speaking performers. Together with them, he takes us on a journey through the last six hundred years of Korean history, combining personal experiences with political events and food cultures with world views. In bitter-sweet, humorous dialogues, Jaha Koo and his smart devices sum up technological progress and human inadequacies: if even the theatre stage doesn’t need human beings any more, where else are actors supposed to earn their bowl of rice?

Concept, direction, text, music, video: Jaha Koo
Performance: C1, C2, C3 and Jaha Koo
Cuckoo hacking: Idella Craddock
Scenography, media operation, photo: Eunkyung Jeong
Dramaturgical advice: Dries Douibi
Production: Kunstenwerkplaats Pianofabriek
Co-production: Bâtard Festival
Support: CAMPO, STUK, BUDA, DAS, SFAC

1 NOV (19H00 & 22H00) / ONEKA VON SCHRADER - SHE

SHE is a performance by the Austrian choreographer Oneka von Schrader. Her work explores the dunes between the land and sea of holy and practical, while researching movement as a means to stretch away from representation and fixed positions in a wish for swimming with the flux. Only to interrupt it. A little. Just kidding.
SHE is a solo performance exploring multiple - female - manifestations of spirituality. SHE is a down to earth, but celestial dialogue; a research in close collaboration with spiritual books, Youtube and dark spaces. SHE is an introduction into [DIY-urban shamanism], a concert of [the holy spirits], a dialogue with the audience’s inner spiders and possibly a [healing chant].
SHE challenges ideas of authorship, always assuming SHE-ness, channeling feminist voices from the past, present and future. SHE is residing in the wooden shrine, the sound of the bag-pipe, your personal headache, always more than what is immediately visible to the eye. We are SHE, and you are SHE, and SHE is inheriting the HE, and the phallus is female, a soft, soft snake. We watch with eyes of g major melodies.
And we dance together even from far away.

4 NOV (20H30) / LINDA BLOMQVIST - THE SOUND

For her performance The Sound, the Swedish choreographer and dancer Linda Blomqvist has invited Sound to take her, Madeleine Lindh and Sandra Lolax on a trip. You are also welcome to take part of this experience.

This sonic dance oscillates between the sonic and the visual world. It treats sound as a capacity and material to build invisible landscapes to inhabit, care for and operate within. Thinking of sound as an altogether different kind of consciousness that we can learn from if we spend time with it and listen.

Constructing landscapes by imagining notions of vague, fluid and inclusive spaces, so that we can stay ungrounded and unknowing; wanting to immerse in this place to become more. More of the things we don’t know how to think of. Not the possible but the potential. Always in becoming...

Concept: Linda Blomqvist
With and by Linda Blomqvist, Madeleine Lindh and Sandra Lolax
Sound direction: Arnold De Vries Van Leeuwen
Supported by: The Swedish Arts Grants Committee, City of Stockholm, Stockholm County Council, Life Long Burning, Bâtard Festival, Kunstenwerkplaats Pianofabriek, DNA Departures and Arrivals, MDT and CCAP

More info: www.batard.be