PUSH - Labs

LAB 1: gender en seksuele identiteit (feb 2017, Edinburgh)

Aan dit LAB participeerden de volgende Belgische kunstenaars:

Yentl de Werdt graduated from the Royal Balletschool of Antwerp and in 2006 from the contemporary dance school P.A.R.T.S. under the direction of Anne Teresa De Keersmaeker. She danced for Anurekha Ghosh & Co in the UK, Rosa Mei/Cie 13 in Belgium/China, SiWic-Ensemble Zurich, Randi De Vlieghe (fABULEUS), Bassim Altayeb in Antwerp, Birdwatching 4x4 by Benjamin Vandewalle and Akram Khan for the Openingsceremony of the Olympic Games in London. She choreographed: ´Et maintenant on va où? On va ensemble´ together with the Ionah Trio for Europalia India, ´Dagbreek´ with Judith Clijsters, ´Svarta Rosor´ with opera singer Mieke Segers, ´Mapping´ for MAF festival Antwerp, ´de Kids´ with hearing impaired youngsters from Belgium and touring at the moment ´Teen Taal´ with tablaplayer Sattar Khan (Sidi Larbi/Babel). At the moment she creates performances with youngsters organised and supported by Platform K, de Batterie and her own ngo AYU vzw. Besides performing her video work is shown in the expo Slum Kids Ki, with children from the slums in India. Her shortfilm What if..? won the Particular eye/World outlook Prize from IDILL and a special award at MEET film Festival. She teaches dance workshops for Rosas, Dancing Kids, de Veerman, MUS-E, Danspunt, CANON Cultuurcel, MOOSS, Platform K, Lasso and internationally at the Summer Intensive in Georgia, Terence Lewis Academy, Twins Dance Art Studio, Danceworkx, India Brooklyn Dance Academy Delhi & Play practice Residency in Bangalore.

Soetkin Demey graduated from the Brussels Rits school of theatre as an actress (2011). Though she has played several times in creations by Manah Depauw and Michael Bijnens, she identifies herself mainly as a theatre maker. In her master year at the Rits she creates two solos exploring identity versus the body ´Am I the result of my body or is the body my object? In her research she looks for materials to accentuate the friction between the body, self-image and the felt emotion within, always starting from autobiographic elements. ´Insert picture here´ (2010) talks about anorexia; she uses tape to literally make a second skin, in ´Song from the childhood´ (2011) she uses cardboard to make a second self. In ´i am some body parts´ (2012) fabric instead of clothes help her to deconstruct a striptease. After graduating, her research continues and widens to gender identity and family relationships. ´I am looking for the face I had before the world was made´ (2012) talks about the gender question and more specifically ´the male gaze´, in ´DSM-IV-TR 307.1´ (2013) she works on the correlation of body and disease and ´Dagger Us´(2014) is a ritual-performance about the father-daughter bond.

Ilse Ghekiere is a Belgian artist and art historian who works as a dancer, performer, writer and educator. As a dancer I have worked with choreographers such as Michèle Anne De Mey, Mette Ingvartsen and Jan Martens. As a guest-teacher I give lectures and workshops concerning my master dissertation, which researches the Flemish iconographic toddler television program Tik Tak and its performative potential. As a writer I publish academic articles and write fiction. Recently I co-wrote a feature movie with the Norwegian director Kim Hiorthøy. I am also a member of the Stockholm-based collective Together Alone. Our performances use the stage as a place to reflect upon socio-political issues such as gender and normativity in a non-binary sense. Since the beginning of my artistic career, I have been interested in the relation between sexuality and performativity. My early performances were shown in a visual art context and revolved around eroticism, the image of ´the young girl´ and the gaze of the audience. Later on, I questioned this approach, and its subject, and used my academic studies to critically transform my artistic practice and my role as a female dancer. In conjunction with my academic studies in Archaeology and Art Sciences, the notion of sexuality and performativity was enriched with new ideas concerning intergenerational exchange, cultural heritage, gender studies and educational sciences. This multifaceted research forms the basis of my current work as an artist and educator.

Born in Esfahan (1979), Maryam K. Hedayat is an Iranian Belgian visual artist. After graduating as a Bachelor in the Arts at the University of Antwerp, she went on to study directing at LUCA School of Arts in Brussels, where she is currently living. In 2016 she started working on the video dance installation Genderless with choreographer Judith Clijsters. The piece is co-produced by C-mine cultuurcentrum and kunstZ. It will be presented to the audience in 2017 and was previously staged as a work in progress during the Mestizo Arts festival in Antwerp. Furthermore, she has worked as a docent at Kunsthumaniora Brussels and has given several workshops and lectures for young children, on themes varying from film, migration to urbanization etc. Hedayat is also in the process of post-production on her self-financed shortfilm Ferfereh and working on her first documentary ´First Day of Spring´. She has also worked as a videographer for several dance and theatre groups such as DeRoovers, Laika, KunstZ and production companies such as Kosmonaut productions and Podiumkunsten among others. Her first short White Maze has been screened at several expositions in Antwerp and Brussels, namely at Semaine d´Art expo in Brussels, Made in Berchem travelling exposition, the Kortgeknipt film series and experimental film expo Bewegend Beeld in Antwerp. In 2013 she collaborated on the short Nazomer which was part of the Follow Gent film project. It was screened at Sphinx Cinema during The Ghent film festival.

http://www.pushproject.eu/gender/gender-lab



LAB 2: (over)protectie (september 2017, Hasselt)

Krokusfestival is blij om 4 plaatsen aan te kunnen bieden aan Belgische artiesten die voor jong publiek (willen) werken voor het tweede PUSH LAB over (over)protectie dat plaats zal vinden in Hasselt in september 2017.

Kinderen met I-phones ´mocht er iets gebeuren´, kinderen netjes afgezet aan de schoolpoort, kinderen die (wetenschappelijk bewezen) in een speeltuin om de 18 seconden (!!) door de ouders ´in het oog gehouden worden´. Speeltuinen moeten driedubbel veilig zijn, of netjes aangelegd zijn, of onnatuurlijk opgesteld, fietsen extra beveiligd, verzekeringen afgesloten...

Nu blijkt dat ouders op een terrasje om de 18 seconden oogcontact maken met hun spelende kinderen en dat de speelruimte van een kind met 90% verminderd is tijdens de laatste 30 jaar.

Opgroeien is echter juist ook risico nemen en durven nemen. En daar (soms) de gevolgen van dragen, botsen en builen en schrammen incluis. Opgroeien is buiten spelen, ´een ongelukje´ hebben, is daar met kameraadjes over heen gaan, is leren door te falen, door te vallen, letterlijk en figuurlijk. Opgroeien is je broek scheuren aan een nagel en daar geen verzekering voor hebben. Opgroeien is uit een boom vallen, liefst in de netels. zodat het eventjes brandt, eventjes!

hoe gaan we te werk (in het Engels, de voertaal van het LAB)?

Through performance experiments, discussions, skill-sharing, and engaging with children, educators, sociologists and urban architects, we will explore how to counter ideas of (over)protection not only in our individual practices, but also in the wider field of Theatre for Young Audiences and in society at large. We will ask questions what the 'danger' is, where the risk can be brought in again, where the boundaries lie between what is safe, subversive or wholly inappropriate. Is a playground at school a 'danger zone', or the woods, or a bus stop, or a swimming pool, or the small park around the corner...? Why? How can we artistically be challenged by that? Where are the tensions between these considerations? Who makes the rules? And is or isn´t it the job of the artist to push and question these ideas? And also: how can and do children ´protect´ their parents in different ways?

wat zijn de doelstellingen en het opzet van het LAB?

  • exchange of ideas and practices / artistic development / team work
  • access to inspirational resources
  • experimentation and collaboration - creating performance responses to the topics on our own and with the others in the group, and with/for children and teachers from a local school. The Lab will be practical and you will be expected to create small performances as ways of manifesting our discussions, so it is important that you consider yourself to be a maker in order to take part. It is not a masterclass: we will be working together to find ways of making rather than following a pre-scripted approach.
  • input and provocations from outside the performance world (urban architect, sociologist, educational field)
  • willingness to set up pop up site specific interventions

wie leidt het LAB?

Een PUSH LAB is GEEN masterclass, wel een gezamenlijke avonturentocht! Samen onderzoeken we het thema, verkennen we de grenzen ervan, zetten artistieke interventies op. Hetg LAB (over)protectie wordt geleid door actrice en theatermaakster Sara Vertongen, danser en choreograaf Jasper Dzuki Jelen en dramaturg Gerhard Verfaillie.

praktische informatie?

In dit residentiële LAB is er plaats voor 14 artiesten, waarvan 4 vanuit België (geselecteerd door het Krokusfestival). Verder zullen er 4 Schotse, 2 Deense, 2 Noorse en 2 Ierse kunstenaars participeren in deze intensieve 8-daagse workshop/masterclass van vrijdag 9 tot en met zaterdag 16 september.

Info: www.pushproject.eu
Info: www.pushproject.eu/events/over-protection-lab

Hieronder kan u zowel het inschrijfformulier (application form) als de info-richtlijnen (guidelines) downloaden. Omdat de voertaal in de LABS Engels zal zijn, dient u ook het inschrijfformulier in het Engels in te vullen.

Vergeet niet: de inschrijvingen moeten uiterlijk maandag 19 juni om 12u 's middags binnen zijn via krokusfestival@ccha.be.

PUSH Lab Krokusfestival - Open Call Application Form.docx
PUSH Lab Krokusfestival - Open Call Guidelines.pdf

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