Achterland (1990) is a pivotal production in Anne Teresa De Keersmaeker’s oeuvre. It was the first time that the choreographer created dance material specifically for men and that she gave musicians a central role on the stage. To the tones of Györgi Ligeti and Eugène Ysaÿe, the minimalism and femininity of her earlier work made room for an ambiguous no man’s land that blurred boundaries and signs. A reprisal to look forward to!

We live in an age in which human activity has a profound impact on our physical and ecological surroundings. Nevertheless, these transformations often go unseen. How can we create stories, aesthetics, and spaces of experience to deal with this situation reflectively and critically? Looking for answers, David Weber-Krebs and Jeroen Peeters install a series of hybrid artistic and theoretical interventions in a performative setting.

Starting with rituals and celebrations – from the archaic to the contemporary – Gisèle Vienne brings a group of 15 youngsters together who dance to a DJ set by Peter Rehberg. Contrary to the discourse that labels all violence as barbaric, she looks for manifestations of violence that do play a valuable, positive role in society.

Meyoucycle sounds like ‘musical’ pronounced in a strange accent. Along with composer Chris Peck and four Ictus musicians, Bauer blends together all the ingredients for a musical, producing a completely new, hybrid genre. The piece is about you and me and everything in between. That’s right, a me-you cycle.

In the performance Crazy But True, children between the ages of eight and eleven form a panel of experts. A text is whispered to them via headsets. They repeat what they hear, and thus present a growing list of extraordinary facts.