Departing from the simple action of shirt pulling, common in football as a method of maintaining contact with an opponent, not letting an opponent get away and typically seen as an aggressive act, Ahilan Ratnamohan and a group of performers attempt to push this action to its limits, debunking its aggressive, competitive quality to arrive at something new. In doing so the jerseys begin to take on a new significance.

In their latest creation, Brasil-based choreographers Marcela Levi and Lucía Russo explore the various possibilities offered by the tremolo, a vibration effect between two different notes. By means of Kraftwerk’s and Bruno Tucunduva Ruviaro’s electronic music, tap-dancing, and Gustav Mahler’s Symphony No. 2, six dancers produce a minutely detailed choreographic research around vibration in the body.

Vera Tussing invites the string quartet Quatuor MP4 to join four dancers onstage for a playful encounter between movement and sound. At the point where the orbits of dance and music intersect, you are invited to enter the kaleidoscopic score. Lend a hand, or an arm!

The unrelenting logic of profit and technological development have reduced human beings to disposable objects. The next step is making our environment completely uninhabitable. The new production by Kris Verdonk explores our physical and psychological state of being in light of an imminent extinction. The dancers are often not more than shadows in a landscape of blow-up sculptures, cello-noise, and a robotic drum.

Claire Croizé engages with two of her favourite sources of inspiration: Bach and Rilke. She places both masters in the hands of Matteo Fargion, the British composer and multi-instrumentalist. They have not created slavish interpretations of Bach and Rilke, but rather opted for a playful, somewhat unruly tribute.

The vocal ensemble HYOID and artist-in-residence at Kaaitheater Benjamin Vandewalle are adapting Indianerlieder (1972) by Karlheinz Stockhausen, an iconic but rarely performed work. They are creating a gesamtkunstwerk that aims to reveal the vitality and timelessness of Stockhausen’s music. They are abandoning the original scenography in order to place the audience at the very centre of the three-dimensional ritual.

If there is one dance artist that deserves a monument, it is certainly the German Valeska Gert (1892-1978). Her fearless, provocative performances make her one of the most important artists of her time. Along with Boglàrka Börcsök, Eszter Salamon translates this energy from the past to the present.

Two female bodies entwine until they become only one. Or three? Or… none? Where does a body actually begin? A clear question resounds in this duet that both refers to the tropes of the genre but also transcends them. What does it mean nowadays to be two together?