Bachelor projects Dance and Choreography 2022
The BA-students in Dance and Choreography have been working on their individual BA-projects and we would like to invite you to their showings, which represent the public part of the projects.
Learn about each project and order tickets below
by Alen Nsambu
“SPACETOIMGN // A.O.N.” is a display of fractions drawn from the imagination.
More closely fractions that (I believe) have born from the black and queer depths of my imagination.
Fractions that started to manifest themselves through scenes and scene writing.
Fractions that eventually become rephrased as a whole – as a universe.
This universe is fantasy and reality at the same time, something imaginary and abstract yet real tears falling to the floor.
It is sweat and glowing smiles in the sun and a LOT of vitamin D during the winter.
It is the frustration and restlessness of sleepless nights since your scalp hurts like hell because of box braids (but you know it’s all worth it).
It is the echoes of “I would totally have a baby with you if you were straight”, but also the lightness of not having to fear of getting anybody pregnant by accident.
It is warm glowing skin and gentle gazes from a 2m safety distance.
It is hopes and excitement from three years ago mixed with the frustration of always getting “random checked” at the airport when flying home. (once my mom started yelling to the security for that <3)
It is something that has been familiar for centuries but I don’t have the vocabulary to talk about.
It is the tiredness of holding space for all of this or none of this or more of this to co-exist.
Performer
Alen Nsambu
Choreography
Alen Nsambu
artwork
Alen Nsambu
Special thanks to
Tiziana Fracchiolla, Ida Larsen, Ima Iduozee, Centre National de la Danse (Pantin), Martina Piazzi, DDSKS Tech department, Ghita and the costume department, my mom, and my sister <3
tickets
by Bianca Berger
Let the Fermat theorem be a base, Isomalt a sensorial material, and movement and embodied thinking.
If they exist in the same space,
then their sum is a dansoungraphy.
Fermati is the stage presentation of a process which analyzes and investigates the relationships between mathematics, Isomalt and movement.
How does one element serve the other? When do frictions occur? Can the problems encountered be solved? How?
Scenography
Sigrid Andréasson
Sound
Jacobe Suissa
artwork
Ottavia Catenacci
Thanks to
Quim Bigas Bassart, Shai Faran, Ida-Louis Leclerc Larsen, Rasmus Ölme, Polena, Asger Beyer, Roosa Törmä, Ottavia Catenacci, Teresa Fogh Schou.
Tickets
by Carl Giacomello Scharnberg
A work of figuring out what defines a private movement space where one can work alone alongside the logics of the body.
A constant physical reflection of letting waves come and go, while trying to figure out what will make me move.
Mentor
Tiziana Fracchiolla
Special thanks to
Ida Larsen and Rasmus Ölme for being outside eyes.
Thanks to the faculty and production team.
And a thanks to all my classmates for being present and hardworking
Tickets
By Casper Albrektsen
Things that can happen is a work in progress. It is an opening of a process, drawings of ideas and elements collected through different experiences and practices.
The audience is invited into the workspace and is free to move around and interact with the space.
The space will be open between 14:00-18:00 Saturday 29 January.
You are welcome to come and leave as you wish.
Mentor
Micaela Kühn
Thanks to
Ida-Elisabeth Larsen
tickets
By Ella Östlund
a song
is a dance is a scene is a sung song is a poem is an action is a solo is a game is a group dance is a track is a monologue is loud is still is a gift is working is seducing is a ballad is a gasp is a chant is a shelter
Assembeling time spent collecting songs, a concert appears. She summons the ponder, the relocating, the conflicts, sickness and health, the questions, me, you and swims with faith through cosomologies of words.
Mentoring and guidance
Quim Bigas Bassart, Ida-Elisabeth Larsen
My love and thanks to all who formed the floating body of support, that were in dialouge and shared time, resources, and thoughts.
tickets
By Enzo Hacquin
/ə’mɔːfəs/
adjective (from ancient Greek ἀ- (a-, “without”) + μορφή (morphḗ, “form”))
1. Something that is amorphous has no clear shape or structure.
[formal]
A dark, strangely amorphous shadow filled the room.
… the amorphous mass of the crowd.
CONCEPT
Enzo Hacquin
MASTER OF PROPS
Anders Toft Pedersen
MENTORS
Tiziana Fracchiolla
Ida Larsen
Rasmus Ölme
STAGE TECHNICIAN
Jon Gelting
SPECIAL THANKS TO
Magalí Camps, Pep Aymerich, Per Kapper, Ghita Ohman and the production department at DDSKS
tickets
By Iiris Miettinen
It’s a dance for ground, with ground and on ground.
My back on the ground, ground on my back.
Back to the ground.
Through ground.
Is there a background and a foreground to this performance?
I want the background to be in the foreground and the foreground to be
for ground.
I want other directions than backwards and forwards.
For desires give unruly directions.
Give in.
Face the ground.
With For Ground, Back Ground I invite us to share time and attention together with place, with human and other species performers, with fellow audience members, with me, with you. A choreography is growing from the ground and decomposing to the ground and the chance to attend it, it’s upon our feet.
By and with
Iiris Miettinen
Mentoring
Quim Bigas and Ida Larsen
photo
Susanne Huber
Thanks to
My dear class and teachers for endless support and inspiration, production team for making it happen and Klara Utke Acs for your thoughts and listening. Thanks to the places that guided me through the process and informed everything that this performance came to be. Thank you for being my scenographers, sound and light designers and committed co-performers Amager Fælled, Anholt and Holmen, the trees, the reeds, the dunes, the weeds, soil, sand, winds and waves.
tickets
By Inaja Skands
Hardcore Hue Haiku
Aglitter midnight
For a darker, pink hue whip
Betrayed by the bass
-- This project is a choreographic tryout, woven together from different scrap pieces of past and present experiences with chest quavering bass and dim beaming lights.
Performed by
PUNANI PRINCESS
Choreography
NeiNei
Sound editing
NeiNei
Costume maker and stylist
NeiNei (with help of Katinka and Madee)
Stage- and light design
NeiNei
Hair stylist
NeiNei
Makeup
MADEE
Special thanks to
Jon Gelting, Ghita Ohmann, Madee Cole, Katinka Wissing, Ida Larsen, Micaela Kühn Jara
Tickets
By Madee Cole
I was excited to meet you.
You gave me sunshine but no phone charger.
You don’t listen to music, but you hum a lot.
You laughed yesterday.
You watch me. I sit next to you.
I wish you were the same but different.
We got attached to each other.
We have an easy silence. That’s not always so easy.
Thanks for having me.
You are contradictory.
You came to me. I came to you.
IMPORTANT: Please wear warm clothing and shoes you don’t mind getting muddy. Please bring a mask.
Choreographer and Performer
Madee Cole
Costume and Sceongraphy
Aleksandra Lewoń
Text
Iiris Miettinen
artwork
Aleksandra Lewoń
Mentorship
Micaela Kühn and Ida Larsen
With Special Thanks to
Ghita Ohmann
Inaja Skands
& My Classmates
Tickets
By Magalí Perich Camps
“The experience of the body as a hole, is to choose what you let in, and what you let out. An eye is not an orifice, but a mouth is. So is a cunt, a crack, a nostril, there to be filled, with material as well as immaterial content. The orifice is a sisyphus of its own. You can not own what is not your own, that is; the words of the others. Speaking is a shared experience, whether it resonates within your own ears or in front of an audience. Speaking, in its own speed, in its own speech. Does speech own itself, when it leaves the body, behind? A voice that tries to explain itself too much loses its tongue. An eye is not an orifice, but a mouth is.”
- Spouted (excerpt), Hanne Lippard
Light design
Thora Eriksen
Texts
Hanne Lippard
Magalí Perich Camps
artwork
Júlia Aleu
Mentor
Micaela Khün Jara
Consultation
Ida Larsen
Rasmus Ölme
Special thanks to
Matilda Bjärum
Gaia Magrané
Michèle Benz
Raquel Viñuales
Tomás Gubbins
Sira Aymerich
Enzo Hacquin
Clara Sophia Phillipson
Teatre L’Ateneu de Celrà
Tickets
By Martina Piazzi
Necklaces, pearls, they shine between a handbag and a city’s map. This piece of plastic touched this book who touched this key-chain who touched this orange dress who touched my hand. They all pushed together: they folded, they hugged, they piled, they slid forward.
PILE develops from an interest in the relationship between a dancer and objects on the stage, in specific, through the action of sliding. Sliding techniques are adopted to move and to be moved, shifting the attention from the performer to the tangible product of their actions: what is left is a pile.
The audience is invited to stay in the space as long as they please, moments of action will alternate with pauses where the viewer can explore the room.
Mentors
Quim Bigas
Ida-Elisabeth Larsen
Rasmus Ölme
artwork
Sissj Bassani
Music
Edoardo Sansonne, Sissj Bassani
Thanks to
Anders Toft Pedersen, Ghita Ohmann, Leif Petersen, Todd Sarfaraz for the technical support
Project realized in conversation with Sissj Bassani
Tickets
By Ottavia Catenacci
If different people shared the same body, Love would be fiction and I would donate You.
If you gave me your well wishes, they would walk in a different direction than they walk now.
If you were born old and then become young, the competitive fury of the forest would be frightening.
If my toes existed in a parallel reality, they could be in the air around us.
"no thanks Tony"
"OK. I'd like to go there for potatoes pancakes (masterpiece)."
A star knows she is a badass, they would look after each other, because they didn't want to be torn apart.
If fish didn't need water, they would be socks.
a choreographic interpretation of anonymous donations of fiction
Dramaturgy
Amelia Tan
Sound
Eliza Bozek
Mentor
Micaela Kühn
Photo
Martina Piazzi
A special thanks to
Amelia Tan, Eliza Bozek, Bianca Berger, Ella Östlund, Enzo Hacquin, Micaela Kühn, Ida-Elisabeth Larsen, Rasmus Olme, my classmates, the production department and all the people who donated some fiction.
Tickets
By Roosa Törmä
MULTIFEELING is created from the awareness of being sensitive towards outside impulses. It researches the effects that these impulses create in the performer’s imagination and movement. This evolves into a world where many possible emotions are allowed.
Dance and choreography
Roosa Törmä
Sound
Rafael Canete Fernandez
Costume and scenography
Josefine Thornberg-Thorsøe
Light
Rafael Canete Fernandez, Josefine Thornberg-Thorsøe, Roosa Törmä
artwork
Taneli Törmä
Thank you to
Quim Bigas and Ida Larsson for being part of mentoring and Hannah Unger Coff for helping with some documentation. Big thank you for also other colleagues, friends and family who have been supporting this project in any way.
