Diese Videoaufzeichnung stellt nur eine Möglichkeit der Inszenierung dar, da sie während nur einer Aufführung aufgenommen wurde und könnte an einem anderen Tag möglicherweise unterschiedlich wirken.
2011 Mal gesehen
Datum der Aufzeichnung: 04.11.2015
Every movement impulse in Mahalli comes from the hips of the female figure that Danya Hammoud has speak to us on stage through her body. The Lebanese choreographer herself embodies this figure, which, like the Lebanese people, still finds itself in battle. To imperatives she reacts from pure survival instinct with the defence of her (private) territory, and through her own body defines the freedom to move and her identity as a woman.
In the solo performance Mahalli the body of the dancer becomes the territory on which various cultural inscriptions meet and are negotiated. Forms of structural violence as well as the experience of war have left their traces. The Arab word Mahalli can be translated as “local” as well as “my place”. Thus this place, this body, negotiates a state between survival and resistance, and seeks to liberate itself.
CHOREOGRAPHY + INTERPRETATION: Danya Hammoud
SOUND: Cristian Sotomayor and Danya Hammoud
LIGHTING: Riccardo Clementi
COSTUME: Wafa Aoun
ASSISTANCE: Junaid Sarieddeen
CO-PRODUCTION: Zoukak, Beiruth; CNDC, Angers; Cocoondance/Theater im Ballsaal, Bonn.
Danya Hammoud’s residency at Tanzquartier Wien with Cynthia Zaven and Chirine Karame is made possible by the Artists-in-Residence programme of the Federal Chancellery (BKA) and KulturKontakt Austria (KKA).
In her residency the Lebanese choreographer Danya Hammoud is working on her new choreography with the working title Il y a longtemps que je n’ai pas été aussi calme / It’s been a long time since I haven’t been so quiet, and thereby borrows a sentence from Georg Büchner’s posthumously published 1939 novella Lenz, whose figure she will explore alongside that of Woyzeck. In its analysis the work follows the trio Mes mains sont plus agées que moi / My hands have aged more than I have, the choreography of which builds on the tensions and intentions that precede the act of killing, and her solo Mahalli, where it was a question of territory and belonging, like the madness that is breaking out in our bodies and present-day societies. From murderous societies aiming at exclusion, where individuals attempt to rely on their own resources to find a reason for living and continue to defend what seems to them still indispensable to survival. The madness that Danya Hammoud seeks to decipher is not a pathological or psychological state, but rather a physical or existential condition. Who are the mad (wo)men of today?
Danya Hammoud received her BA from the fine arts Institute in Beirut 2003, Theatre department. She worked as a dancer and performer in several productions in Lebanon.
In 2005-2006, she followed ESSAIS, at the CNDC (Centre National de Danse Contemporaine, direction Emmanuelle Huynh) in Angers, France.
In 2007 she creates Meen el Battal? (Who’s the hero?), a solo produced by the YATF, presented in Beirut during the Bipod dance festival, and in Milan, Italy during the CRT festival.
Participates in 2007 in the “sites of imagination” project, where she co-creates F.A.Q. with Antonio Tagliarini, presented in France/L’officina association, in Portugal/Alkantara festival, in Spain/l’animal a l’esquena, in Italy/Carovana association and in Slovenia/ Bunker association.
Founding member of Zoukak Theatre Company and Cultural Association (member from 2007 till 2014), with whom, among various projects, she co-creates and performs Hamlet Machine in 2009, Hamlet machine 2, 2010, Silk Thread, 2012, perform-autopsy 2012, Lucena: Obedience Training, 2013 and Janna, Janna Janna in 2014.
She receives in 2010 her Masters in Dance Studies and Theories from Paris 8 University in France. Her memoir questioned the figure of the artist in the contemporary dance forms of dancing autobiographies.
She followed a four-year seminar directed by Jonathan Burrows on choreographic composition at the Sadler’s Wells Theatre, London, UK.
In 2010, she was invited by L’officina to create a solo in the frame of the “miniature” project, where she creates S’approcher that was presented in Casablanca (Morocco), Marseille and Aubagne (France), Barcelona (Spain), Terni and Florence (Italy) and in Beirut (Lebanon).
In 2011, she creates Mahalli, a dance solo produced by CNDC (Angers, France) and Cocoondance (Germany). The solo was presented in Germany, Beirut and France; in Montpellier Dance Festival June 2012, Dansem November 2012, Danses d’ailleurs, Caen 2013, Rencontres choregraphiques, June events, Paris, June 2013, Dansfabrik festival in Brest, in Antwerp, Belgium, March 2014, In Uzes Festival 2015 and lately at Tanzquartier in Vienna.
“Mes mains sont plus âgées que moi” is her latest creation, produced by the association of the CDC (Centres de development chorégraphiques) in France. It is a choreography for three performers (along with Khouloud Yassine and Mounzer Baalbaki), that premiered at June Events festival, Atelier de Paris, 2014. And toured in France between June 2014 and June 2015 at; Quartz/ Brest, CDC - l’échangeur during festival c’est comme ça !, Friche belle de mai, Marseille, Dansem festival, CDC -Bordeaux during festival Des Souris et Des Hommes, CDC - Toulouse, CDC – Strasbourg/ Théâtre Pôle Sud, CDC - Dijon during Art Danse festival, CDC - Grenoble, CDC - Roubaix during festival Le grand Bain, and Uzes Dancee festival. It will be presented in Lebanon in 2016.
In 2015, she was invited by le Ballet du Nord-Olivier Dubois/CCN de Roubaix-Nord Pas de Calais, to create a solo “Quatorze tours” performed by dancer Remi Hollant, for the young audience, in the frame of DanseWindows project.