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Collective work of 11 artists from different artistic background and origins. 

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“Post-Dervish Chant” is a transdisciplinary performance situated as a contemporary research of traditional 𝗦𝘂𝗳𝗶 𝗪𝗵𝗶𝗿𝗹𝗶𝗻𝗴 𝗗𝗮𝗻𝗰𝗲 𝗺𝗲𝘁𝗵𝗼𝗱𝘀. These ancient methods are deconstructed as contemporary discussions of the concept of 𝗱𝗶𝗳𝗳𝗿𝗮𝗰𝘁𝗶𝗼𝗻, and its´ contextual translations into performance pedagogies of Feminist New Materialisms.

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𝗧𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹𝗹𝘆, 𝘁𝗵𝗲 𝗽𝗿𝗼𝗰𝗲𝘀𝘀 𝗼𝗳 𝗿𝗲𝗽𝗲𝘁𝗶𝘁𝗶𝘃𝗲 𝘄𝗵𝗶𝗿𝗹𝗶𝗻𝗴 𝗶𝗻 𝗗𝗲𝗿𝘃𝗶𝘀𝗵 𝗗𝗮𝗻𝗰𝗲 𝗮𝗶𝗺𝘀 𝘁𝗼 𝗶𝗺𝗽𝗿𝗼𝘃𝗲 𝗼𝗻𝗲’𝘀 𝗽𝗵𝘆𝘀𝗶𝗰𝗮𝗹, 𝗲𝗺𝗼𝘁𝗶𝗼𝗻𝗮𝗹 𝗮𝗻𝗱 𝗽𝘀𝘆𝗰𝗵𝗼𝗹𝗼𝗴𝗶𝗰𝗮𝗹 𝗮𝘄𝗮𝗿𝗲𝗻𝗲𝘀𝘀 𝗯𝘆 𝗶𝗻𝘁𝗿𝗼𝗱𝘂𝗰𝗶𝗻𝗴 𝘁𝗿𝗮𝗻𝗰𝗲-𝗶𝗻𝗱𝘂𝗰𝗲𝗱 𝗲𝘅𝗽𝗲𝗿𝗶𝗲𝗻𝗰𝗲𝘀 𝗼𝗳 𝗶𝗻𝘁𝗲𝗿𝗰𝗼𝗻𝗻𝗲𝗰𝘁𝗲𝗱𝗻𝗲𝘀𝘀 𝘄𝗶𝘁𝗵 𝘁𝗵𝗲 𝗲𝗻𝘃𝗶𝗿𝗼𝗻𝗺𝗲𝗻𝘁. This performance extends this practice into a research of 𝘱𝘰𝘴𝘵-𝘤𝘰𝘯𝘵𝘦𝘮𝘱𝘰𝘳𝘢𝘳𝘺, 𝘯𝘰𝘷𝘦𝘭 𝘢𝘯𝘥 𝘴𝘱𝘰𝘯𝘵𝘢𝘯𝘦𝘰𝘶𝘴 𝘮𝘰𝘷𝘦𝘮𝘦𝘯𝘵 𝘷𝘰𝘤𝘢𝘣𝘶𝘭𝘢𝘳𝘺 𝘵𝘩𝘢𝘵 𝘦𝘮𝘣𝘰𝘥𝘪𝘦𝘴 𝘩𝘶𝘮𝘢𝘯-𝘯𝘰𝘯-𝘩𝘶𝘮𝘢𝘯 𝘮𝘢𝘵𝘦𝘳𝘪𝘢𝘭𝘪𝘵𝘪𝘦𝘴. The processual employment of dance, movement or dance-like movement becomes a form of inquiry, a research tool, practice, or mode of doing research.

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As performers continuously whirl for an extended period of time, they gain a novel perception of what is transpiring as they are whirling. Especially for trained dancers, who have been learning specific forms, techniques and aesthetics for several years, this process provides the possibility to temporarily move away from their “trained body” and movement patterns, embodying the fluidities of the potential and unknown. They are encouraged to follow intuitive and instinctual movement and vocalization, without any expectations of the outcome.

Besides the dancers-movers, a group of musicians and sound-makers are invited to explore 𝘁𝗵𝗲 𝗿𝗲𝗹𝗮𝘁𝗶𝗼𝗻𝘀𝗵𝗶𝗽 𝗯𝗲𝘁𝘄𝗲𝗲𝗻 𝘁𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗦𝘂𝗳𝗶 𝗺𝘂𝘀𝗶𝗰 𝗮𝗻𝗱 𝗰𝗼𝗻𝘁𝗲𝗺𝗽𝗼𝗿𝗮𝗿𝘆 𝗷𝗮𝘇𝘇 / 𝗲𝗹𝗲𝗰𝘁𝗿𝗼𝗻𝗶𝗰 𝘀𝗼𝘂𝗻𝗱, 𝘄𝗶𝘁𝗵 𝘄𝗵𝗶𝗰𝗵 𝘁𝗵𝗲𝘆 𝘁𝗮𝗸𝗲 𝗽𝗮𝗿𝘁 𝗶𝗻 𝘁𝗵𝗲 𝗶𝗻𝗱𝗶𝘃𝗶𝗱𝘂𝗮𝗹 𝗺𝗼𝘃𝗲𝗺𝗲𝗻𝘁 𝗿𝗲𝘀𝗲𝗮𝗿𝗰𝗵 𝗼𝗳 𝗲𝗮𝗰𝗵 𝗽𝗲𝗿𝗳𝗼𝗿𝗺𝗲𝗿. Over the period of 8 month of interactive workshop processes, all performers have been researching (text, photo, video) about their personal and collective approaches to the topics of embodying fear and trauma.

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𝗗𝗲𝗿𝘃𝗶𝘀𝗵 𝗱𝗮𝗻𝗰𝗲 𝗮𝗻𝗱 𝗺𝘂𝘀𝗶𝗰 𝗯𝗲𝗰𝗼𝗺𝗲 𝗮𝗻 𝗲𝘅𝗲𝗿𝗰𝗶𝘀𝗲 𝗳𝗼𝗿 𝗵𝗶𝗴𝗵𝗲𝗿 𝘀𝘁𝗮𝘁𝗲𝘀 𝗼𝗳 𝗮𝘄𝗮𝗿𝗲𝗻𝗲𝘀𝘀, 𝘄𝗵𝗶𝗰𝗵 𝗿𝗲-𝗺𝗮𝘁𝗲𝗿𝗶𝗮𝗹𝗶𝘇𝗲 𝘁𝗵𝗲𝗺𝘀𝗲𝗹𝘃𝗲𝘀 𝘁𝗵𝗿𝗼𝘂𝗴𝗵 𝗽𝗲𝗿𝗳𝗼𝗿𝗺𝗲𝗿𝘀´ 𝗯𝗼𝗱𝗶𝗲𝘀 𝗱𝘂𝗿𝗶𝗻𝗴 𝘁𝗵𝗶𝘀 𝘀𝘁𝗮𝗴𝗲-𝗯𝗮𝘀𝗲𝗱 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲, 𝗿𝗲𝘀𝘂𝗹𝘁𝗶𝗻𝗴 𝗶𝗻 𝗮𝗻 𝗲𝗻𝗰𝗵𝗮𝗻𝘁𝗲𝗱 𝗿𝗲𝗹𝗲𝗮𝘀𝗲 𝗼𝗳 𝘁𝗵𝗲 𝗽𝗼𝘁𝗲𝗻𝘁𝗶𝗮𝗹𝗶𝘁𝘆 𝗼𝗳 𝘁𝗵𝗲 𝘁𝗿𝗮𝘂𝗺𝗮𝘁𝗶𝗰 𝗲𝘅𝗽𝗲𝗿𝗶𝗲𝗻𝗰𝗲𝘀 𝘁𝗵𝗮𝘁 𝗵𝗮𝘃𝗲 𝗯𝗲𝗲𝗻 𝗿𝗲𝘀𝗲𝗮𝗿𝗰𝗵𝗲𝗱.

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Deriving from participative workshop processes and grounding itself in documentary embodiments of individual/collective traumas, the performance dramaturgy itself becomes a mode of diffraction.

The players in this piece consist of sound-making, dancing-moving humans, material sites, energies and atmospheres of this permanently nomadic and site-specific performance – this time premiering in the Stadtpfarre Urfahr, the Post-church.

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𝗗𝗶𝗿𝗲𝗰𝘁𝗲𝗱 𝗯𝘆 𝗦𝗺𝗶𝗿𝗻𝗮 𝗞𝘂𝗹𝗲𝗻𝗼𝘃𝗶𝗰 (BIH) - Director, Art Director, Dervish Dance Method Workshops, Improvisation Choreography
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𝗣𝗲𝗿𝗳𝗼𝗿𝗺𝗲𝗿𝘀:
Ariathney Coyne (GRC/USA) – Movement Research
Danica Golic (SRB) – Contemporary Dance
Daniela Hanelová (CZE) – Movement Research
Anna Jurek (POL) – Contemporary Dance
𝗠𝘂𝘀𝗶𝗰𝗶𝗮𝗻𝘀:
Aron Hollinger (DEU) – Jazz Guitar, Composition, Drums
Odysseas Manidakis (GRC) – Composition, Laouto
Danial Moazeni (IRN) – Composition, Tar, Saz
Vahid Qaderi (IRN) – Composition, Electronic Audio Design, Audio Manipulation, Technical support.
𝗟𝗶𝗴𝗵𝘁 𝗗𝗲𝘀𝗶𝗴𝗻:
Philip Steiner (AT) - Light Design Assistance, Technical Support

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premiere 05/06.06.2021

Stadtpfarrkirche Urfahr St. Josef LINZ

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awarded by the best of

Ars Electronica Festival 2021

 

Holy Hydra 2021

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