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3¢EH 6Hy9 PERFORMANCE, DANCE & MUSIC A AForum Forum on on Cultural Cultural Practices Practices g¤AckD' jc31cµ'31cµ'99IwhEIwhE g¦¦~hD'Q ¤D g¦FcdD' g¦´' The Lebanese Association for Plastic Arts '¢D#' c4#' Ashkal Alwan g¤.'/ c4#' HOME WORKS 5 g¦AckD' jc31c·' 9 IwhE A FORUM ON CULTURAL PRACTICES g¦&'/#' 6Hy9 j'HwF j'z6c¼ 61cE Exhibitions, Lectures, Panels, ¤Jw¦ ÌA#' ¥¦3¤E sz}E B1 Performance, Dance, Theatre, Music, j'1¤~E Film, Video, Publications 1cJ#' – c{¤F jHÍ( Beirut, April 21 – May 1, 2010 j'HwD'H j'z6cq·' D gE$¤E gJ1¤D' g,ÉD' Simultaneous translation will be available for g¦}FyD'H g¦(yD'H gJ{¦F%³' jcDc( all lectures and panel discussions in English, Arabic and French. cFc»K ¦nD g-¤hE )¤9wD' Attendance is open to all and free of charge. f¤E ¦n}hD' Registration required. www.ashkalalwan.org www.ashkalalwan.org £¤3¢EH }B1 6Hy9 PERFORMANCE, DANCE & MUSIC ....... 5 j'HwF PANELS .............................................. 13 j'y6cº LECTURES ...........................................17 ÎFcA j'y6cº ARTIST TALKS .....................................25 g¤A J1c|E ARTIST PROJECTS ...............................29 ¢Jw¤H ÊA#' FILM & VIDEO ..................................... 31 61cE EXHIBITIONS ...................................... 37 )HwFH 9 g41H WORKSHOP & COLLOQUIUM ............. 47 j'1¢|E PUBLICATIONS ...................................49 lq( Hy|E RESEARCH PROJECT ........................... 51 g¤*'0 Í3 BIOGRAPHIES .....................................53 £¤3¢EH }B1 6Hy9 PERFORMANCE, DANCE & MUSIC /yE Solo cDc: J'12%' Israel Galvàn g¦B/ B'1 6y9 Dance Performance; 45’; 2008 w¦3 c: J'12%' I¤h}E ² cFcAK #' ¡*Ç.#' Ð- g¦q·' ¤EÌD' g9c, ² w-#' §BwJ ¸ No one in the local flamenco community believed me when I told them that an artist Q Q Q of the caliber of Israel Galvàn would be performing for free, June 17 on the Audubon §h(%'H cF#' c¦E#' 'yJ{- ² Ц¦*ÌD' ЦCÏE#ÌD Z3'y*Q ¤dJ/H#'[ sz}E ¥9 c¦Fc»K cK 6y9 Terrace of the Hispanic Society of America. My daughter Antonia and I spent most of the d3 JxD' С·'Q Ц¦Q 3¤·' E cJ#V ' 1{qF #' HcqF qFH c¦D/̦A E g-yD ÇC#³' iB¤D' c¦F¤F#' trip from Philly trying to guess which of the legendary musicians Galvàn had previously JyF%' 3¤:³ HwJyD#' 6yD' 'xG ² ¢A'Ï3 G ¢E ¤¦3 g(c}D' ¢6Hy9 ¡E wBQ #' cD performed with would be along for this concert: Alfredo Lagos? Enrique Morente? c¦F¤F#' w9 ·' §¦3¤·' ¤3'yC ¤:cJ/ cCc( }¦F%' ¤*¤Åy* HwFcFyA ¤hJ1¤E Fernando Terremoto? Ines Bacan? Antonia’s favorite, Diego Carrasco...? Arriving early, we Q Q were surprised to see Galvàn rehearsing alone on a small wooden stage on the ground in J ¸ ¤¡dD' ² ¢dF ± Ï5 sz}E gd~. ¥9 £w-H yhJQ ¤GH c( c`,¤A 'yCc(K c5H Ð- the patio, with no sound system, guitar, or singer in sight. His new work Solo, it turned e}-H wJw´' /y·' ¢6y9 'xG cC EQ ³H g¦*¤Q 5 j'{¦¡¬ ³H 1ch¦: E cG out, would be just that. – Anna Arias Rubio. Copyright 2008 Anna Arias Rubio dD' ¤- ¤¦(H1 3cJ1"' cF"Q ' Sound: Félix Vázquez. Production: Cisco Casado-Chema Blanco; A Negro Producciones. Z}F¤¦3H/Hy(Hy¦F[H Z¤FÌ(c¦4[H HZ/c3cC¤}¦3[pchF%'}C2cA}¦¦Aj¢}D' I Have Come i¤*#O ' Gaspard Delanoë & Yalda Younes {F¢J 'wJH ¦¢F±H/ 1c_3c: Dance Performance; 45’; 2010 g¦B/ B'1 6y9 Each man into his night And into each man’s night, inevitably, a promise £Ì¦D D An untenable promise that, nevertheless – against the Real, against evidence, against wQ 6 cGÇD' wQ 6 B'¤D' wQ 6 J c¡E ¦qh}E w9H ¢F%' w9H gDc¼ ³ c}F%' C ¦D ²H the mechanical plate of things – would hold every man spellbound £/¤,H 1ÇJ w9H cK }F ¢¦JH £w4yJ £/¤J c}F%' C yq}J w9H !c¦4#³' jc¦¦Fc¦E Would drive him, guide him, give him his breath– F ³ qF Justify him. We don’t stand. $¤d*Q C DxCH £Ç9 ¤tJ #' w9H C ¥9 ¨xD' y·'Q ² )¤. ¤tF #' dB E ¥h- }F We fall, before even having taken a step on the gangway set up by every promise, every Jwh}E A }* jc&cC ¤Bc3 D' ² qF prophecy. }F¤J 'wJH ¨¤F³H/ 1cd3c:!'/#' c: J'12%'¤}hD' ¨¤F³H/ 1cd3c:}D'H)yD' Deeply, we are fallers: beings who fall. Ï3 ¤D }Jy*c¦()!c6%±'¤}* Let us get ready. Concept & text: Gaspard Delanoë; Choreography: Israel Galvàn; Interpretation: Gaspard Delanoë & Yalda Younes; Light Design: Beatrice Le Sire. 5 £¤3¢EH }B1 6Hy9 / g¤.'/ c4#' HOME WORKS 5 / PERFORMANCE, DANCE & MUSIC !¦y,H wJw, ¶c9 ° g¤DH#' j'!c~A Primal Spheres in a Brave New World rDc5 £, yGc6 cF± 2c´' w&'1 3'yJ1cC ¢¢Cc, '/1cC c¤F'/ Daniele Camarda, Jacopo Carreras, Raed El Khazen, Lana Daher & ¤Jw¦H ¥¦3¤E Jana Saleh g+chE j³"' E g}}C c¡C'1/%' ¨ynJ '1¤K 5H c*'¤K 5#' wD¤h}J sz}·' ¥9 g}¶' !³$¤G /¤,H Music & Video Performance gJ1¤5 g¦*¤5 g(y¬ w¦D ¦D' ² :¤hE jc¦Dc´' 9 p1c. F ¤G 'wJw,K cFK t* The quintet generates sounds and images, configured as a series of live analog sets that Q Q feed into processors creating an all new resonance, stepping out of the aesthetic and into *yJ ¢Jy® hJ cE C l¦- gE ¥6¤A ¦qh}* !cD' ² g(H{D' £xG the visceral, and delivering one collective sonic/visual experience. cÂ#' E  ¨#³ g¦dhD' E ghhE gJ'H1 )1¤E gJ'H1 c¡A'y* Ц¦3¤·' Ð( gkk·' g+/cq·' This vortex in space becomes an organized chaos where all that is tossed in will )/wh·' j¤D' somehow coalesce. The triangular conversation, accompanied by its visual narrative, is not constrained by any genre of the multiple forms of sound. ±¢G'/H g(1/Q ¦y}µ' w-#' Darbuka & Dehollo Mısırlı Ahmet §¦3¤E 6y9 c¡qA ¨z·' w-#' !c, #' ¹%' gE )w9c}E j"³cC 'É}C1H#³' E '!{,K chFcC ³¤G'/H g(1/ Music Performance Darbuka & dehollo used to take part in the orchestra as complementary instruments ghE g- c¦¦® #' cGw-¤D c¡h9ch3c( ÐhD"' ¹%' c¡D¤-HQ until Mısırlı Ahmet took them up and transformed them into instruments capable of exhibiting a recital all their own. {FcEH1 ¢*¢A Fc5 c¤DH )HyE ¤(1 Photo-Romance g¦B/ §-Q z}E 6y9 Rabih Mroué & Lina Saneh Iy.#' g¡, E ÐAyh·' ЦDc3#'yD' 1cdCH g¡, E ¤¦D¤5#³' §3c¦}D' ¢B'H f0cnhJ w( ² Theatre Performance; 1h30’; 2009 §3c¦}D' B'¤D' E B#chD' ² jc(¤5 E ÄcJ (c3 ¨1c}J 4cF c~¡E ct4 §hJ A meeting between two marginalized individuals: a former left-wing activist who gB ¹%' '/chK 3%' JwD'H hn·'H g&cD' jcEchG' ² c¦CK gB1c: gE {E g(1H §9ch,%³'H has trouble adapting to the social and political reality of a country polarized between Q fundamentalist and ultra-capitalist extremes, and a divorced housewife completely c¡*³$Hc}*H c¡kq( )HyE ¦(1 E Fc5 c¦D (ch* §B'H ¦k°H g¦thE jc¦t~( g¦¦3ÌC absorbed by family, social and religious concerns. Based on a classic story, with fictional ¦khD' )/c9%'H ¦khD' ¤- characters and realistic acting, Lina Saneh and Rabih Mroué continue their research on ¥¦3¤·'H ²'y:¤*¤D' yJ¤hD'H c¦}D'H sz}·' Ð( 1'¤qD {¦qC IwdhJ 9 Z}FcEH1 ¤*¤A[ and questioning of the ideas of representation and acting. Photo-Romance is a dialogue c¦¶'H B'¤D'H g3c¦}D'H between theatre, cinema, photography, music, politics, fiction and reality. Concept, text & direction: Lina Saneh & Rabih Mroué; Set Design: Samar Maakaroun; HyE y3c¤A'y:¢¤3 £HyE ¦(1H Fc5 c¦Dp'y.%±'H}D'H)yD' Music: Charbel Haber; Director of Photography: Sarmad Louis. With Rabih Mroué, ÇG (z4H Fc5 c¦DH £HyE ¦(1 E }J¤D wEz3 °'y:¢*¢Ap'y.%' ÇG (z4 £¤3¢E Lina Saneh & Charbel Haber. ² ZdG[Q sz}E ¤¦C¤7 c,y¡E ¨yJ%' '1¤:"³' sz}E Z ¤¦¦"'[ c,y¡E E 'É4³c( pchF%±' Co-produced by Festival d’Avignon, Théâtre de l’Agora–Evry; Festival/Tokyo; ehE E 9w( Z '¤D#' c4#'[H Z¨{J1¤* §¦D¤C[ c,y¡E }J1c( ² Zi¦¦ ³ H/ 1c[ ÐDy( Hebbel-Theater Berlin; Parc de la Villette–Paris; Festival delle Colline Torinesi, Q & Ashkal Alwan. With the support of L’Ambassade de France au Liban, Service de cdD ² g¦}FyD' )1c}D' ² ²ckD' D'H HchD' jcEw. Coopération et d’Action Culturelle (SCAC). 7 £¤3¢EH }B1 6Hy9 / g¤.'/ c4#' HOME WORKS 5 / PERFORMANCE, DANCE & MUSIC cª1%' Improvisation ¢¤¤D¢C yJw¤EH z*cE1c4 {J1¢( Boris Charmatz & Médéric Collignon g¦B/ B'1 6y9 Dance & Music Performance; 50’; 2007 yJw¦E cEc°K 'xG }¦D ³ ¥¦3¤D ByD' ¢kÅQ cE ¤¦¦D¤C J1w¦· gd}Dc( ¤G {*cE1c4 }J1¤( Boris Charmatz is to Médéric Collignon what dance is to music. No, that’s not it. Médéric Collignon is to dance what Boris Charmatz is to… no, that’s not it either. Let’s start all E #'wdA cK J#' 'xG }¦D ³ gd}Dc( {hE1c4 }J1¤( ¢kÅQ cE ByD gd}Dc( ¤G ¤¦¦D¤C over again. Boris Collignon… Well, something like that… Both of them have a lot in cJ'{·'EÏkD'² cC1c~hJc¡¦C #'yE#³'g¦-'xGkEc`¦4K cK }- ¤¦¦D¤C}J1¤(wJw, common indeed: technical mastery, a devastating sense of derision and self-derision, a w9'¤Dc('{hD%³'/¤¦B Et* j'xD' EgJytQ }D' c¡¦Acª gE1cD' gJyt}D'sH1 g¦A'É-%'jc¦* salutary lack of discipline, a congenital claustrophobia that sends them rolling far away ¤hqJ w´' ² ¦9 4 )yn·'H )1yh·' j³¤·' £c¬ ch.%³c( 5#chE 1¤4 ÐF'¤D'H from the clichés of their art… A skin-deep crack, which they protect themselves from by Q Q Q exposure: maximum risk, a tightrope walk with no safety net.
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