Thirty five young international dance and performance
artists join forces to create a three day happening in
a Dutch forest. Looking for movement in the right direction.
Join The Antidote Movement.
Thirty five young international dance and performance artists join forces to create a three day happening in a Dutch forest.
Looking for movement in the right direction. Join The Antidote Movement.
Line up 2019
Time is an illusion constructed by man, produced by fear. How do we hold a moment. Is it a sight, sound, sensation? How do you capture something that is meant to capture you?
You and me, we are brothers.
That’s why I could easily call you my enemy. Someone who sets traps and invents obstacles in order to get me off track and make me lose my direction. You know a lot about me. More than others. But I have decided not to see you as my enemy, but as a mystery, like I see myself. That’s the more challenging way. But I feel, that digging deep enough and going far enough will make me find something familiar in you. Something I trust. Something that will bring me joy. I care for you.
A mystic encounter with the forces that build your universe. The silhouette of a non-human. What is a king? Who or what do you surrender to? Molimo is a journey in search of the other through legends and myths, created by movement. It allows a journey, a departure and return, both for the spectator and for the dancers. For this we often lack space in many other contexts.
Concept and choreography: Sita Ostheimer
Dancers: Manuel Molino, Jonathan Sanchez, Jens Schyth Brøndum, Patric Neves Lindström, Jorane Berger and Sita Ostheimer
Light design: Barnaby Booth
The performance offers a stroboscopic series of different physical and performative possibilities of being. Through excessive and repetitive use of images (collected from the internet, visual arts, media and other sources), the choreography consciously explores stereotypes of gender, exoticism, eroticism, and mainstream representation. Recognized by a wide audience, these fragments invite the spectator to revisit ubiquitous, accepted interpretations and narrations.
In the process the performer tries to embody all these social possibilities, from one cultural reference to the other. Her capacity to represent this many beings in such a short time frame short circuits the brain in its cognitive and inconsistent patterns of filters and classifications.
Concept and choreography: Benjamin Kahn
Performance: Cherish Menzo
The Fall is an exploration on abandonment, inspired by the Greek tragedy of Elektra. How does the symbiotic relationship between a mother and a child constitute itself in two moving bodies? What is the shock of the first departure? How to be alone? Is there a way, other than revenge, for the child to emancipate herself from victimhood? Or is guilt part of growing up?
The Fall asks questions about guilt and innocence. Where does a mother’s responsibility end, and that of the child begin? At the same time the piece confronts an audience with the boundaries of its empathy. What pain is “justified”, and when does pain need to be ironized in order to be watcheable?
Concept, choreography: Doke Pauwels
Dancers: Marion Bosetti en Doke Pauwels
Music: Marnix Dorrestein
Lighting design: Jasper Nijholt
Costumes: Karlijne Opmeer
Thanks to ICK Amsterdam, BAMP Brussel, Herman van Veen Arts Center, New Dance Center and Another kind of blue for studio space.
In this intimate one-on-one performance comes the chance to meet a ghost, visiting us from the colony. She is waiting for you in deepest discomfort. She is alone with you and maybe it is scary, maybe nothing happens and in that nothingness: a great big something. A two-person ritual to untie the seams that stitch the globe together, with the hopes that something new can surface. You won’t have to do anything, just sit with the ghost and be brave.
Concept and performance: Nicola van Straaten
Work in progress
In this new work I am exploring an idea of multiple spaces in transition. In Himalaya the performer becomes a sort of joint point between these spaces that are activated thanks to her presence, she is able to drug them even if at a distance. Spaces and body pass each other, materialize and turn into ephemeral sensations.
In this work I am also inspired by the astral chart of the performer Federica Dalla Pozza. I am interested in the physical aspect of astrology along with the principles of quantum physics and in how specific relationships form an apoliedric entity and move accordingly.
The work is created on the bases of De.sy.rè, a movement system I’ve been developing during the last 4 years.
De.sy.ré (decentralized systems of relation) is a relational technology for performative bodies that operates in between actual and virtual, human and non-human elements. The technology functions through logics of sensation and features the body as a transformative material interface,an hypersensitive and multi-sensory tool for direct experience of its environment which in turn is active and ever moving.
Concept and choreography: Elisa Zuppini
Performance: Federica Dalla Pozza
For some time now I have been fascinated by fear. This fascination started during my study, when I was diagnosed with Multiple Sclerosis (MS in short, a neurological disorder). The certainty of knowing that I suffer from MS led to a mountain of questions and uncertainties. When will the disease manifest itself? Will I become handicapped, and just how disabled will I eventually get? What will this do for my economical value and how will this influence my social life? My future perspective changed so drastically that in the first few months I lost my hope for a happy and qualitative life. The feeling of immortality, something I certainly had in my early twenties had also suddenly disappeared. I had to learn to deal with new fears that became part of my daily life. The uncertainty and dark future perspective that came with the diagnosis had a huge influence on my identity. The answer to the question “Who am I?” was, and is still hard to answer.
For most people the body is self-evident. We always feel like we can rely on it’s functioning, and that these don’t require any of our immediate attention. People are not necessarily aware of their body and it’s functioning on a day to day basis. In a specific situation, like a disease, its functioning can suddenly become the subject of reflection. Autonomy and independence are important in this society, and often a big part of one’s identity. In my case, being diagnosed with multiple sclerosis, it is no longer self-evident that the body carries out actions, sometimes not even the simplest. These experiences lead to alienation, fear and an instrumental vision towards the body. With the loss of the certainty of a functioning body, the identity is also compromised.
Who I am, to what social group I belong to (the healthy or the sick) and how the diagnose and disease influences my identity is something research in the project La Machine, through a visual diary, interviews with family and movement studies with other patients. Part of the project has been exhibited at Prospects & Concepts at Art Rotterdam. A new and experimental body of work will be exhibited for the first time at Antidote Festival.
Lacuna traces the unfilled spaces of the brutalist architecture enveloping the dancer. It is a cinematic study of light and shade, seen and unseen.
Dancer and choreographer: Mthuthuzeli November
Director: Louise Coetzer
Videography: Oscar O’Ryan
Editing and music: HAEZER
This research departs from the following hypothesis: one’s personal experience can be directly felt by an outside audience. In order to experience that hypothesis, we will look for a particular moment: the moment someone discovers something new for herself/himself (performer), while someone else is witnessing it (audience).
To us, this research does not concern so much an external kingdom we would have to conquer. But rather an in-between space, hidden among what we use to consider as known.
Taking the metaphor of a territory, the discovery can be at the limit of what we know from this territory but also and already within this territory, if we dig into the limit of all our given senses. While working, a revealing sign will be when the focus and the perceptions will experience a shift of scale : the states we enter in would be like if our bodies become new tools of observations. From a daily and common vision, we could toggle to a microscopic and/or a telescopic vision.
Througouth this quest, we believe there is more chance both sides live simultaneously a common experience, being the expansion of their respective perception. The first audience we will experiment with will be ourselves. We will start by proposing to each other situations through which we will try to interconnect our points of view. Progressively, we will try to expend this co-comprehension to the audience.
How to create expectations for each other and the audience, and respond to those expectations in a way that can be surprising for every sides?
By now , we hope it is clear we are not looking for a situation of definitive universal agreement, nor that we want to get ahead of the audience’s perception.
We rather see this duet as an interaction turning around an object, through which we will be able to observe each other’s particularity and, hopefully, the audience’s one as well.
What is going to be the nature of this object ?
The following interrogations will serve as tools in our resarch.
How to increase the spectrum of perception during an action ?
How to be able to observe our individual actions being part of a global evolution ?
How to develop lucidity while the action is happening and not afterwards ?
Can we observe and give each other feedback while the action is running, and not through dialogues which would make us step out of the present moment?
In this context we would like each form to appear as an active perception of a space, a temporality or a relationship.
Choreography and performance: Louis Nam Le Van Ho & Noé Pellencin
CORNERED is a physical experience of two bodies encountering each other within a space and within themselves. When these two bodies meet there are moments of high intensity and moments of no currency, all the while still achieving synthesis.
Cornered is about empathy and the struggles that come with it.
About how to stay true to yourself, without losing connection.
Concept: Faizah Grootens
Choreography: Faizah Grootens in collaboration with dancers
Dancers: Justin Brown, Annemieke Mooij
Picture: Neldrick Martis
Is the body the means through which to experience reality? If so, how does one experience reality through the disabled body? Does this disable his experience, or does it merely offer a different perspective? And when do experiences of both able and disabled bodies converge?
In Wachtkamers (Waiting rooms), Joram van Loggem tries to answer these questions through storytelling. Not only does he draw on his personal experience, but also on his profession of sociology in order to establish a more common framework. Both zooming out from the personal and zooming in on the global, the listener will be guided to the place where we all share the same bodily experience; one of waiting…
As part of her research as ‘sport as a source for movement language’ and the body’s relationship in the live arena/competitive arena under pressure, in the face of endurance and the pending social verdict of the moving body.
Million Rand Baby is an extension of The Beep Test, a solo performance by Mashifane wa Noni in 2018 as a response to the scrutiny of Serena Williams as a prominent black female athlete. Million Rand Baby will attempt to amalgamate language found in figure skating, burlesque, rugby and gymnastics with allusions to ballet and pantsula.
Created and performed by: Tiisetso Mashifane wa Noni.
Our festival site is located in a forest in Soest, on an estate called De Paltz to be exact.
For three days, we consider this place as common ground, a ‘commons’. Here we will live, sleep, eat, dance and create together. The use and curation of the space is shared responsibility of all the makers in the Antidote collective and is constituted collaboratively.
The performances and happenings of Antidote Festival can be found at any open space, next to each and every tree and around every corner. Watch Isa Grutter’s map here!
Antidote Festival is Pay What You Can, No Backstage, and aims for Fair Practice.
Your contributions enable us to create an open space in which makers and visitors can meet each other; where dance and performance is accessible for every bank account and where all makers are paid equally for their work.
Your support enables radical experimentation for the young makers of The Antidote Movement in their search for new ways to create and organise within the performing arts. Help us build a sustainable, inclusive and solidary arts practice!
There are other ways to help us make Antidote Festival into a success.
You can become part of the Antidote by becoming a volunteer. We are looking for:
- chauffeurs for the shuttle service
- handymen to help build the festival site
- cooks and waiting staff to support our catering team
- and many more!
If you feel motivated, let us know what you can do to help by emailing firstname.lastname@example.org.
Antidote Festival was supported by VSB Fonds, KF Hein Fonds, de gemeente Soest, ONS FONDS, Ars Donandi + Het Tijgat Fonds, Jumbo Arnaud van de Graaff Soest, Scholten Bloemen en Planten, Stichting Herman van Veen arts Center Fonds, Harlekijn Holland BV, The Antidote Movement and all people that have donated through crowdfunding.