abonneer

#183

08.09.2026

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14.01.2027

Nieuwsbrief

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Secondhand Knowledge

De-centering Dance Knowledge through Peripheral Voices

For almost a decade, choreographer Rósa Ómarsdóttir has been obsessed with the term ‘secondhand knowledge’. Where does our knowledge derive from? How is knowledge about dance passed on between places and people, from the past to the future? What role does geography play when it comes to knowledge production and distribution? These questions sparked a research project on dance practices in 2016, through which she explored how secondhand knowledge shapes dance practices in places that in some way are peripheral to the Western canon.

Rósa Ómarsdóttir

essay 25.02.2025

Notes on Conflicted Embodiment

What do ‘folklore’, ‘popular’ and ‘academic’ mean within the different dance contexts of the global North and South? What mother tongues inhabit dance and performance? And what role can translation play? Embracing the complexity of the untranslatable, caterina daniela mora jara (and also Thalia) explore how Conflicted Embodiment can be a research tool for how a body navigates through migration, colonialism and dance.

caterina mora daniela jara

essay 25.02.2025

Nieuwsbrief

No Yogurt for the Dead / Histoire(s) du Théâtre VI – Tiago Rodrigues & NTGent

A hospital as a place in-between

Tiago Rodrigues’ No Yogurt for the Dead is a tender and intimate play about memory, loss, and the spaces in between. Inspired by his father’s final days in a hospital, Rodrigues creates a story that feels both personal and universal. The stage design shifts between a realistic hospital room and a dreamlike landscape, making the audience feel like they are moving through time and memory. Despite the heavy themes, the play balances sadness with humor, making it both emotional and engaging. Small moments — like a missing black pen or a spoonful of yogurt — become powerful symbols of resistance and acceptance. In the end, the play stays with you, making you reflect on life, loss, and the connections we leave behind.

Furkan Ak

review 03.02.2025

My Body as A Commodity – Anne-Laure Vandeputte / KWP

Traumatheque

The difficulty with true stories told on stage is that they put a critique-resistant film around the performer. I can’t possibly say anything about the contents without touching upon the performer’s experience. I’m walking on eggshells, the whole thing becomes so entangled, an honest face behind a mask, as Vandeputte puts it. My only option is to talk about this mask, the wrapping of the contents of the performance. And that feels dishonest and shallow. If anything, I believed everything that Vandeputte said and did, I saw her mask break, I saw the 14-year-old stuck in a 30-year-old woman’s body that she talks about. So the only thing left to do is to answer honesty with honesty.

Ugnė Noreikė

review 28.01.2025