Sabato 7 settembre / 21.45 / teatro 2 / danza-performance/ 2h
CECILIA BENGOLEA (ARG), FRANÇOIS CHAIGNAUD (FR), TRAJAL HARRELL (USA), MARLENE MONTEIRO FREITAS (PT)
(M)imosa
Twenty looks or Paris is burning at The Judson Church
coreografia e performance Cecilia Bengolea, François Chaignaud, Trajal Harrell, Marlene Monteiro Freitas
disegno luciYannick Fouassier
costumi La Bourette
luci Sylvain Rausa / Yannick Fouassier
suono Enora Le Gall / Martin Trinquart
un ringraziamento speciale a Matthieu Banvillet, Sarah Michelson, DD Dorvillier, Ben Pryor, Lasseindra Ninja, Alex Mugler, Rumi Missabu, Pascal Queneau, Archie Burnett, Javier Madrid, Matthieu Bajolet, Donatien Veismann, Miguel Bengolea, Marianne Chargois, Joao Figueira, Rio Rutzinger, Emmanuelle Huynh, Jessica Trossman.
produzione VLOVAJOB PRU con Le Quartz – Scène nationale de Brest
coproduzione Le Quartz - Scène nationale de Brest, Théâtre National de Chaillot, Centre de Développement Chorégraphique – Toulouse, The Kitchen – New York, Bomba Suicida, FUSED – French US Exchange in Dance
con il supporto di la Ménagerie de Verre – Paris et des Laboratoires d’Aubervilliers
Cecilia Bengolea and François Chaignaud are associated to Ménagerie de Verre – Paris
Bomba Suicida è sostenuta da Secretaria de Estado da Cultura - Governo de Portugal e Direcção Geral das Artes.
(M)IMOSA, una collaborazione coreografica tra Cecilia Bengolea, Francois Chaignaud, Marlene Freitas, e Trajal Harrell, è il nome dato alla versione Medium della serie ideata da Harrell in sette taglie, dalla Extra Small alla XL, intitolata Twenty Looks or Paris is Burning at The Judson Church.
«Cosa sarebbe successo nel 1963 se qualcuno dalle sale da ballo di Harlem fosse sceso in città per danzare insieme ai primi postmoderni alla Judson Church?». In Twenty looks or Paris is burning at The Judson Church ispirato al documentario «Paris is Burning», i quattro performer portano in scena la loro personale ricerca sul vouging e l’esperienza collettiva come creatori, mettendosi alla prova.
La tradizione della voguing dance si rifà alle gare di ballo che si tenevano ad Harlem nei primi anni ’60. Una sorta di performance sociale praticata in origine da gay afro-americani e latini, travestiti e transessuali. La voguing dance imita archetipi sociali e identità sessuali attraverso la moda, il movimento e il comportamento. In quegli stessi anni i pionieri della danza postmoderna ruppero con le rappresentazioni tradizionali della danza classica e moderna, tentando di realizzare una danza priva di artefici
(M)IMOSA, a choreographic collaboration between Cecilia Bengolea, Francois Chaignaud, Marlene Freitas, and Trajal Harrell, is the title given to the Medium version of Harrell's series in seven sizes, (XS) - (XL), entitled Twenty Looks or Paris is Burning at The Judson Church.
"What would have happened in 1963, if someone from the voguing ball scene had come down to Judson Church in Greenwich Village to perform alongside the early postmoderns?"- is not addressed but reconfigured by (M)IMOSA into a encounter between these four artistic voices.
The Voguing dance tradition refers to the competitive balls staged in Harlem dance halls beginning in the 1960's. A form of social performance practiced primarily by African-American and Latino gays, transvestites, and transsexuals, voguing imitates archetypal social and gender identities through fashion, movement, and behavior. At the same historical moment, in the 1960’s, the pioneers of the postmodern dance broke with the traditional representations of classical and modern dance and sought to make dance without artifice, based in authenticity.
Inspired by Paris is Burning, the seminal documentary film about voguing; their personal research on voguing; and their collective experience as makers, the four collaborators in (M)IMOSA dare to own and share the immediate distance between themselves, between them and their inspiration, between what they portend and what they perform, and between their counteracts.
Dancer and Choreographer. Born in Buenos Aires. Followes studies in Anthropological dance, Philosophy and Art History at the University of Buenos Aires. Since 2001, she works and lives in Paris. In 2004, she joins Ex.e.r.ce, by Mathilde Monnier. Bengolea collaborated in the dance with Joao Fiadeiro, Claudia Triozzi, Marc Tompkins, Yves- Nöel Genod, Alain Buffard, Mathilde Monnier, Alice Chauchat, Sarah Michelson, Trajal Harrell, Marlene Monteiro Freitas and Alexandra Bachzetsis, among others.
In 2011, Bengolea co-directed in Rio de Janeiro two short films in keeping with Levi Strauss's work Tristes Tropiques: La Beauté (tôt) vouée à se défaire with Donatien Veisman and Cri de Pilaga with Juliette Bineau.
Every summer in Buenos Aires, she performs Les Esclaves de l'art with Victoria Colmegna (visual artist), Jackie Luduenia Koslov (visual artist, twice world champion in athletic dance) and Valentina Liernur (gallery Papo¹s vip).
Ballerina e coreografa, è nata a Buenos Aires. Ha studiato Danza antropologica, Filosofia e Storia dell’arte all’Università di Buenos Aires. Dal 2001 vive e lavora a Parigi. Nel 2004, ha fatto parte di Ex.e.r.ce, di Mathilde Monnier. Bengolea ha ballato con Joao Fiadeiro, Claudia Triozzi, Marc Tompkins, Yves- Nöel Genod, Alain Buffard, Mathilde Monnier, Alice Chauchat, Sarah Michelson, Trajal Harrell, Marlene Monteiro Freitas and Alexandra Bachzetsis, e molti altri. Nel 2011, ha co-diretto a Rio de Janeiro due corti ispirati al lavoro di Levi Strauss Tristes Tropiques: La Beauté (tôt) vouée à se défaire con Donatien Veisman e Cri de Pilaga con Juliette Bineau. Ogni estate a Buenos Aires, realizza la performance Les Esclaves de l'art Victoria Colmegna (artista visiva), Jackie Luduenia Koslov (artista visiva, 2 volte campionessa mondiale in athletic dance) e Valentina Liernur (galleria Papo¹s vip).
François Chaignaud
Born in Rennes, he graduated from Paris Dance Conservatory. Since 2003, he has danced with many choreographers: Boris Chamartz, Emmanuelle Huynh, Gilles Jobin, Tiago Guedes, Alain Buffard... He offers performances and concerts in various venues, at the crossroads of various inspirations – erotica (Aussi Bien Que Ton Cœur Ouvre Moi Les Genoux, 2008) operetta, including hula hoop (Duchesses, 2009, created with Marie-Caroline Hominal). He has initiated decisive collaborations, especially with San Francisco legendary drag queen Rumi Missabu, performer Benjamin Dukhan, or cabaret artist Jérôme Marin (Sous L’Ombrelle, 2011). In 2012, he was involved in the creation of Sacre # 197 by Dominique Brun. Also a historian, he has published with the PUR L’Affaire Berger-Levrault: le féminisme à l’épreuve (1898-1905).
François Chaignaud presented his new creation, the solo piece ???? ??? , in Montpellier Danse festival 2013.
Since 2005, a steady dialogue between Cecila Bengolea and François Chaignaud has given rise to miscellaneous works. Together, they have created Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (based on François Malkovsky and Suzanne Bodak's choreographies, 2010), (M)IMOSA (co-written and performed with Trajal Harrell and Marlene Monteiro Freitas, 2011) and altered natives’ Say Yes To Another Excess ¾ TWERK (2012)
In 2009, Cecilia Bengolea and François Chaignaud won the critique choreographic revelation award.
Nato a Rennes si forma al Paris Dance Conservatory. Fin dal 2003 danza con molti coreografi : Boris Chamartz, Emmanuelle Huynh, Gilles Jobin, Tiago Guedes, Alain Buffard. Le sue varie performance e i suoi concerti sono frutto di varie, inspirazioni : erotica (Aussi Bien Que Ton Cœur Ouvre Moi Les Genoux, 2008), operetta ,incluso hula hoop (Duchesses, 2009, created with Marie-Caroline Hominal). Interprete in collaborazioni importanti, specialmente con la leggendaria drag queen di San Francisco : Rumi Missabu, performer Benjamin Dukhan, o l’artista di cabaret Jérôme Marin (Sous L’Ombrelle, 2011).Nel 2012 partecipa alla creazione del Sacre # 197 by Dominique Brun. Anche storico, pubblica con PUR L’Affaire Berger-Levrault: le féminisme à l’épreuve (1898-1905).
François Chaignaud presenta la sua nuova creazione, il solo ???? ??? , in Montpellier Danse festival 2013.
Dal 2005 dal fitto confronto tra Cecilia Bengolea e François Chaignaud sono nate numerose opere fi vario genere. Insieme hanno creato Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (based on François Malkovsky and Suzanne Bodak's choreographies, 2010), (M)IMOSA (co-written and performed with Trajal Harrell and Marlene Monteiro Freitas, 2011) and altered natives’ Say Yes To Another Excess ¾ TWERK (2012)
Trajal Harrell has created six full-evening works: Notes on Less than Zero, Showpony, Quartet for the End of Time, Twenty Looks or Paris is Burning at The Judson Church (S), (M)imosa aka Twenty Looks or Paris is Burning at The Judson Church (M), co-authored with Cecilia Bengolea, Francois Chaignaud, and Marlene Freitas; Antigone Sr./Twenty Looks or Paris is Burning at The Judson Church (L); and most recently Judson Church is Ringing in Harlem (Made to Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M), which has the distinction of being the first dance commission of MoMA PS1. He has also created two half-evening works: Twenty Looks…(XS) and Antigone Jr./Twenty Looks...(jr.) He is best known for this seminal series of works, Twenty Looks or Paris is Burning at The Judson Church, which looks at the relationship between the voguing dance tradition and early postmodern dance. Antigone Sr. won the 2012 Bessie Award for Best Production. Most recently, he created the first of a new body of work examining butoh dance from the theoretical praxis of voguing. This latest work, Used, Abused, and Hung Out to Dry, premiered at MoMA in February 2013.
Trajall Harrell ha realizzato sei opere complete : Notes on Less than Zero, Showpony, Quartet for the End of Time, Twenty Looks or Paris is Burning at The Judson Church (S), (M)imosa aka Twenty Looks or Paris is Burning at The Judson Church (M), co-authored with Cecilia Bengolea, Francois Chaignaud, and Marlene Freitas; Antigone Sr./Twenty Looks or Paris is Burning at The Judson Church (L); and most recently Judson Church is Ringing in Harlem (Made to Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M), che ha la particolarità di essere la prima commissione del MoMA. PS1
Ha anche creato spettacoli brevi Twenty Looks…(XS) and Antigone Jr./Twenty Looks...(jr.) : Meglio conosciuto per le importanti serie Twenty Looks or Paris is Burning at The Judson Church, che guardano alla relazione che intercorre tra la tradizione della voguing dance e la danza del primo postmodernismo. Antigone Sr. Vince nel 2012 il premio Bessie Award per la Miglior Produzione. Più recenteme ha creato il primo di un nuovo corpo di lavoro esaminando la danza Butoh partendo dalle prassi teoriche del voguing. Qurest’ultimo lavoro , Used, Abused, and Hung Out to Dry, è stato premiato al MoMa è in prima al MoMa nel febbraio 2013.
Marlene Monteiro Freitas was born in Cabo Verde where she was member and co-founder of the dance group Compass and collaborated with the musician Vasco Martins. After her dance studies at P.A.R.T.S. (Brussels), at E.S.D. and at Fundação Calouste Gulbenkian (Lisbon), she developed a dance project with the community of Cova da Moura (Lisbon), under the idea “we will not have dance classes, we will rehearse”. She regularly works with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. Her creations include PARAÍSO - Colecção Privada (2012), (M)imosa (2011), a project developed together with Trajal Harell, François Chaignaud and Cecilia Bengolea, Guintche (2010), A Seriedade do Animal (2009–10), Uns e Outros (2008), A Improbabilidade da Certeza (2006), Larvar (2006), Primeira Impressão (2005), works whose common denominator is openness, impurity and intensity. She's a member of the collective Bomba Suicida, based in Lisbon. At this moment she is working on her new creation with premier in 2014.Marlene
Nato a Cabo Verde dove era membro e cofondatore del gruppo di danza Compas e collabora con il musicista Vasco Martins. Dopo i suoi studi di danza al P.A.R.T.S. (Brussels), al E.S.D e al Fundação Calouste Gulbenkian (Lisbon) sviluppa un progetto di danza con la comunità del Cova da Moura (Lisbon) nato dal concetto « non avremo classi di danza,noi riproveremo « Lavora regolarmente with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. Her creations include PARAÍSO - Colecção Privada (2012), (M)imosa (2011), un progetto in collaborazione con Trajal Harell, François Chaignaud and Cecilia Bengolea, Guintche (2010), A Seriedade do Animal (2009–10), Uns e Outros (2008), A Improbabilidade da Certeza (2006), Larvar (2006), Primeira Impressão (2005), lavori il cui comune denominatore è l’ apertura,l’impurità e l’intensità. Membro del collettivo Bomba Suicida, residente a Lisbona. In questo momento sta lavorando alla sua nuova creazione con la prima nel 2014.
CECILIA BENGOLEA (ARG), FRANÇOIS CHAIGNAUD (FR), TRAJAL HARRELL (USA), MARLENE MONTEIRO FREITAS (PT)
(M)imosa
Twenty looks or Paris is burning at The Judson Church
coreografia e performance Cecilia Bengolea, François Chaignaud, Trajal Harrell, Marlene Monteiro Freitas
disegno luciYannick Fouassier
costumi La Bourette
luci Sylvain Rausa / Yannick Fouassier
suono Enora Le Gall / Martin Trinquart
un ringraziamento speciale a Matthieu Banvillet, Sarah Michelson, DD Dorvillier, Ben Pryor, Lasseindra Ninja, Alex Mugler, Rumi Missabu, Pascal Queneau, Archie Burnett, Javier Madrid, Matthieu Bajolet, Donatien Veismann, Miguel Bengolea, Marianne Chargois, Joao Figueira, Rio Rutzinger, Emmanuelle Huynh, Jessica Trossman.
produzione VLOVAJOB PRU con Le Quartz – Scène nationale de Brest
coproduzione Le Quartz - Scène nationale de Brest, Théâtre National de Chaillot, Centre de Développement Chorégraphique – Toulouse, The Kitchen – New York, Bomba Suicida, FUSED – French US Exchange in Dance
con il supporto di la Ménagerie de Verre – Paris et des Laboratoires d’Aubervilliers
Cecilia Bengolea and François Chaignaud are associated to Ménagerie de Verre – Paris
Bomba Suicida è sostenuta da Secretaria de Estado da Cultura - Governo de Portugal e Direcção Geral das Artes.
(M)IMOSA, una collaborazione coreografica tra Cecilia Bengolea, Francois Chaignaud, Marlene Freitas, e Trajal Harrell, è il nome dato alla versione Medium della serie ideata da Harrell in sette taglie, dalla Extra Small alla XL, intitolata Twenty Looks or Paris is Burning at The Judson Church.
«Cosa sarebbe successo nel 1963 se qualcuno dalle sale da ballo di Harlem fosse sceso in città per danzare insieme ai primi postmoderni alla Judson Church?». In Twenty looks or Paris is burning at The Judson Church ispirato al documentario «Paris is Burning», i quattro performer portano in scena la loro personale ricerca sul vouging e l’esperienza collettiva come creatori, mettendosi alla prova.
La tradizione della voguing dance si rifà alle gare di ballo che si tenevano ad Harlem nei primi anni ’60. Una sorta di performance sociale praticata in origine da gay afro-americani e latini, travestiti e transessuali. La voguing dance imita archetipi sociali e identità sessuali attraverso la moda, il movimento e il comportamento. In quegli stessi anni i pionieri della danza postmoderna ruppero con le rappresentazioni tradizionali della danza classica e moderna, tentando di realizzare una danza priva di artefici
(M)IMOSA, a choreographic collaboration between Cecilia Bengolea, Francois Chaignaud, Marlene Freitas, and Trajal Harrell, is the title given to the Medium version of Harrell's series in seven sizes, (XS) - (XL), entitled Twenty Looks or Paris is Burning at The Judson Church.
"What would have happened in 1963, if someone from the voguing ball scene had come down to Judson Church in Greenwich Village to perform alongside the early postmoderns?"- is not addressed but reconfigured by (M)IMOSA into a encounter between these four artistic voices.
The Voguing dance tradition refers to the competitive balls staged in Harlem dance halls beginning in the 1960's. A form of social performance practiced primarily by African-American and Latino gays, transvestites, and transsexuals, voguing imitates archetypal social and gender identities through fashion, movement, and behavior. At the same historical moment, in the 1960’s, the pioneers of the postmodern dance broke with the traditional representations of classical and modern dance and sought to make dance without artifice, based in authenticity.
Inspired by Paris is Burning, the seminal documentary film about voguing; their personal research on voguing; and their collective experience as makers, the four collaborators in (M)IMOSA dare to own and share the immediate distance between themselves, between them and their inspiration, between what they portend and what they perform, and between their counteracts.
Dancer and Choreographer. Born in Buenos Aires. Followes studies in Anthropological dance, Philosophy and Art History at the University of Buenos Aires. Since 2001, she works and lives in Paris. In 2004, she joins Ex.e.r.ce, by Mathilde Monnier. Bengolea collaborated in the dance with Joao Fiadeiro, Claudia Triozzi, Marc Tompkins, Yves- Nöel Genod, Alain Buffard, Mathilde Monnier, Alice Chauchat, Sarah Michelson, Trajal Harrell, Marlene Monteiro Freitas and Alexandra Bachzetsis, among others.
In 2011, Bengolea co-directed in Rio de Janeiro two short films in keeping with Levi Strauss's work Tristes Tropiques: La Beauté (tôt) vouée à se défaire with Donatien Veisman and Cri de Pilaga with Juliette Bineau.
Every summer in Buenos Aires, she performs Les Esclaves de l'art with Victoria Colmegna (visual artist), Jackie Luduenia Koslov (visual artist, twice world champion in athletic dance) and Valentina Liernur (gallery Papo¹s vip).
Ballerina e coreografa, è nata a Buenos Aires. Ha studiato Danza antropologica, Filosofia e Storia dell’arte all’Università di Buenos Aires. Dal 2001 vive e lavora a Parigi. Nel 2004, ha fatto parte di Ex.e.r.ce, di Mathilde Monnier. Bengolea ha ballato con Joao Fiadeiro, Claudia Triozzi, Marc Tompkins, Yves- Nöel Genod, Alain Buffard, Mathilde Monnier, Alice Chauchat, Sarah Michelson, Trajal Harrell, Marlene Monteiro Freitas and Alexandra Bachzetsis, e molti altri. Nel 2011, ha co-diretto a Rio de Janeiro due corti ispirati al lavoro di Levi Strauss Tristes Tropiques: La Beauté (tôt) vouée à se défaire con Donatien Veisman e Cri de Pilaga con Juliette Bineau. Ogni estate a Buenos Aires, realizza la performance Les Esclaves de l'art Victoria Colmegna (artista visiva), Jackie Luduenia Koslov (artista visiva, 2 volte campionessa mondiale in athletic dance) e Valentina Liernur (galleria Papo¹s vip).
François Chaignaud
Born in Rennes, he graduated from Paris Dance Conservatory. Since 2003, he has danced with many choreographers: Boris Chamartz, Emmanuelle Huynh, Gilles Jobin, Tiago Guedes, Alain Buffard... He offers performances and concerts in various venues, at the crossroads of various inspirations – erotica (Aussi Bien Que Ton Cœur Ouvre Moi Les Genoux, 2008) operetta, including hula hoop (Duchesses, 2009, created with Marie-Caroline Hominal). He has initiated decisive collaborations, especially with San Francisco legendary drag queen Rumi Missabu, performer Benjamin Dukhan, or cabaret artist Jérôme Marin (Sous L’Ombrelle, 2011). In 2012, he was involved in the creation of Sacre # 197 by Dominique Brun. Also a historian, he has published with the PUR L’Affaire Berger-Levrault: le féminisme à l’épreuve (1898-1905).
François Chaignaud presented his new creation, the solo piece ???? ??? , in Montpellier Danse festival 2013.
Since 2005, a steady dialogue between Cecila Bengolea and François Chaignaud has given rise to miscellaneous works. Together, they have created Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (based on François Malkovsky and Suzanne Bodak's choreographies, 2010), (M)IMOSA (co-written and performed with Trajal Harrell and Marlene Monteiro Freitas, 2011) and altered natives’ Say Yes To Another Excess ¾ TWERK (2012)
In 2009, Cecilia Bengolea and François Chaignaud won the critique choreographic revelation award.
Nato a Rennes si forma al Paris Dance Conservatory. Fin dal 2003 danza con molti coreografi : Boris Chamartz, Emmanuelle Huynh, Gilles Jobin, Tiago Guedes, Alain Buffard. Le sue varie performance e i suoi concerti sono frutto di varie, inspirazioni : erotica (Aussi Bien Que Ton Cœur Ouvre Moi Les Genoux, 2008), operetta ,incluso hula hoop (Duchesses, 2009, created with Marie-Caroline Hominal). Interprete in collaborazioni importanti, specialmente con la leggendaria drag queen di San Francisco : Rumi Missabu, performer Benjamin Dukhan, o l’artista di cabaret Jérôme Marin (Sous L’Ombrelle, 2011).Nel 2012 partecipa alla creazione del Sacre # 197 by Dominique Brun. Anche storico, pubblica con PUR L’Affaire Berger-Levrault: le féminisme à l’épreuve (1898-1905).
François Chaignaud presenta la sua nuova creazione, il solo ???? ??? , in Montpellier Danse festival 2013.
Dal 2005 dal fitto confronto tra Cecilia Bengolea e François Chaignaud sono nate numerose opere fi vario genere. Insieme hanno creato Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (based on François Malkovsky and Suzanne Bodak's choreographies, 2010), (M)IMOSA (co-written and performed with Trajal Harrell and Marlene Monteiro Freitas, 2011) and altered natives’ Say Yes To Another Excess ¾ TWERK (2012)
Trajal Harrell has created six full-evening works: Notes on Less than Zero, Showpony, Quartet for the End of Time, Twenty Looks or Paris is Burning at The Judson Church (S), (M)imosa aka Twenty Looks or Paris is Burning at The Judson Church (M), co-authored with Cecilia Bengolea, Francois Chaignaud, and Marlene Freitas; Antigone Sr./Twenty Looks or Paris is Burning at The Judson Church (L); and most recently Judson Church is Ringing in Harlem (Made to Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M), which has the distinction of being the first dance commission of MoMA PS1. He has also created two half-evening works: Twenty Looks…(XS) and Antigone Jr./Twenty Looks...(jr.) He is best known for this seminal series of works, Twenty Looks or Paris is Burning at The Judson Church, which looks at the relationship between the voguing dance tradition and early postmodern dance. Antigone Sr. won the 2012 Bessie Award for Best Production. Most recently, he created the first of a new body of work examining butoh dance from the theoretical praxis of voguing. This latest work, Used, Abused, and Hung Out to Dry, premiered at MoMA in February 2013.
Trajall Harrell ha realizzato sei opere complete : Notes on Less than Zero, Showpony, Quartet for the End of Time, Twenty Looks or Paris is Burning at The Judson Church (S), (M)imosa aka Twenty Looks or Paris is Burning at The Judson Church (M), co-authored with Cecilia Bengolea, Francois Chaignaud, and Marlene Freitas; Antigone Sr./Twenty Looks or Paris is Burning at The Judson Church (L); and most recently Judson Church is Ringing in Harlem (Made to Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M), che ha la particolarità di essere la prima commissione del MoMA. PS1
Ha anche creato spettacoli brevi Twenty Looks…(XS) and Antigone Jr./Twenty Looks...(jr.) : Meglio conosciuto per le importanti serie Twenty Looks or Paris is Burning at The Judson Church, che guardano alla relazione che intercorre tra la tradizione della voguing dance e la danza del primo postmodernismo. Antigone Sr. Vince nel 2012 il premio Bessie Award per la Miglior Produzione. Più recenteme ha creato il primo di un nuovo corpo di lavoro esaminando la danza Butoh partendo dalle prassi teoriche del voguing. Qurest’ultimo lavoro , Used, Abused, and Hung Out to Dry, è stato premiato al MoMa è in prima al MoMa nel febbraio 2013.
Marlene Monteiro Freitas was born in Cabo Verde where she was member and co-founder of the dance group Compass and collaborated with the musician Vasco Martins. After her dance studies at P.A.R.T.S. (Brussels), at E.S.D. and at Fundação Calouste Gulbenkian (Lisbon), she developed a dance project with the community of Cova da Moura (Lisbon), under the idea “we will not have dance classes, we will rehearse”. She regularly works with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. Her creations include PARAÍSO - Colecção Privada (2012), (M)imosa (2011), a project developed together with Trajal Harell, François Chaignaud and Cecilia Bengolea, Guintche (2010), A Seriedade do Animal (2009–10), Uns e Outros (2008), A Improbabilidade da Certeza (2006), Larvar (2006), Primeira Impressão (2005), works whose common denominator is openness, impurity and intensity. She's a member of the collective Bomba Suicida, based in Lisbon. At this moment she is working on her new creation with premier in 2014.Marlene
Nato a Cabo Verde dove era membro e cofondatore del gruppo di danza Compas e collabora con il musicista Vasco Martins. Dopo i suoi studi di danza al P.A.R.T.S. (Brussels), al E.S.D e al Fundação Calouste Gulbenkian (Lisbon) sviluppa un progetto di danza con la comunità del Cova da Moura (Lisbon) nato dal concetto « non avremo classi di danza,noi riproveremo « Lavora regolarmente with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. Her creations include PARAÍSO - Colecção Privada (2012), (M)imosa (2011), un progetto in collaborazione con Trajal Harell, François Chaignaud and Cecilia Bengolea, Guintche (2010), A Seriedade do Animal (2009–10), Uns e Outros (2008), A Improbabilidade da Certeza (2006), Larvar (2006), Primeira Impressão (2005), lavori il cui comune denominatore è l’ apertura,l’impurità e l’intensità. Membro del collettivo Bomba Suicida, residente a Lisbona. In questo momento sta lavorando alla sua nuova creazione con la prima nel 2014.