abonneer

#183

08.09.2026

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14.01.2027

Nieuwsbrief

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Marah Haj Hussein – Language: no broblem

Folds in monoculture

In Language: no broblem, dancer and theatremaker Marah Haj Hussein fries an egg on the stage and it feels like trying do away with the useless yet enraging chicken-and-egg question. Who was first? The Palestinians or the Israelis? Who invented the hummus and the falafel? Are these almost ridiculous questions important in the face of a bloody conflict? The play seems to descend into a definite no, a no that dances through framing language boundaries. Yet the conflict is still there and the tension between national and individual identity is spun tightly, weaving a postmodern collage of language and identity. Through intimate encounters, Hussein explores how Palestinian Arabic and Hebrew intertwine in the minds of those navigating oppressive realities.

Ugnė Noreikė

review 11.09.2024

Ghosts stories and spectral traces

Dona Lourdès (2024) by artist Némo Camus, co-created with Robson Ledesma, is a performance about his relationship with his grandmother Lourdès de Oliveira and her family heritage. Born in Brazil to a white American father and a Brazilian black mother, Lourdès is known for her supporting role as Mira in Black Orpheus (1959) a movie directed by French director Marcel Camus, grandfather of Némo Camus. Furkan Ak untangles how the piece narrates the hidden story of Brazil’s racial whitening policy of the colonial era that continues to haunt Camus’ family and Brazilian culture.

Furkan Ak

essay 05.09.2024

Nieuwsbrief

Carly Rae Heathcote – BURN GLASS GATE

Should the world go up in flames?

The title presents a challenge. Are we meant to take it as an imperative (“you must burn a/the glass gate”) or as a statement (“a/the glass gate is burning”)? Is the gate made of glass, or is it a euphemism, like the glass ceiling? The refusal to evade clear-cut interpretations is a running device in Carly Rae Heathcote’s BURN GLASS GATE, whose metaphorical text was declaimed across a historical barn at Paalsteenhoeve in Oostende.

Caroline Lee-Jeong

review 05.08.2024