Which movements or fragments of movements does a dancer remember after years of training and performance experience? In the first part of this solo for dancer Bahar Temiz, Vanrunxt explores the power and the possible significance of movement through memory. In the second part, Bahar fights a decelerated ‘disco-drone’: a scene in one flash of light that does not stop.

Dance and choreography leaves traces on your body, and they are often physical and concrete: growing muscles or the trauma of injuries. But the repetition and memory of movements also leave traces. The choreographies of the past continue to dwell in the dancer’s body. In the solo Body of Work, Daniel Linehan explores these traces in his own body.

Behalf is a danced dialogue between the Thai dancer Pichet Klunchun and the Taiwanese dancer Chen Wu-kang. This creation began as a series of conversations about their cultural backgrounds and the patriarchal social structures in both Thailand and Taiwan. A series of dance solos results in a mutual dialogue, which then moves on to involve a local musician and the audience.

French choreographer and philosopher Noé Soulier is convinced that watching dance is just as creative as dancing itself. In this latest creation, he presents six dancers and two percussionists. The drum sounds add commas and full stops, punctuating or pausing a series of movements, or initiate new actions. Soulier explores the intersection of extremely precise dance writing and pure improvisation! 

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.