YOO RA JUNG (South Korea)

RESPECT (performance)

Choreography: Yoo Ra Jung
Dancers: Yoo Ra Jung, Jumi Baek
Music: Ludovico Einaudi-Divenire Albumn
Premiere: 2013
Duration: 20 min.

Endless entanglements and conflicts
Reality complicated to express with language,
Man and woman facing each other, loss of respect.

To be respected is what human desires most. Nothing is stronger than this desire. However, what we have to admit first is that we have forgotten how we respect ourselves. As the shape of movement is intangible, no more than a transitory image,it exists as invisible ignorance of oneself.


Photos by Hanfilm.

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Yoo Ra Jung continues choreographing by concentrating on the relation between contemporary human beings. She questions the existence of herself which has been stimulated by encountering the others. Previous Works by Yoo Ra Jung: “On the road again” (2013), “Where are you now?”(2012), “Lonely” (2012), “Insult” (2011).

JAE SEUNG KIM (South Korea)


GENTLEMAN (performance)

Choreographer and performer: Jae Seung Kim
Choreography assistant: Jang Yun Na
Music director: Lee Aram
Music: Lee Aram (DaeGeum), Yeo Seongryong (JangGu)
Premiere: 2013
Duration: 17 min.

In 2013 “Gentleman” received a Grand Prize at solo dance category in Seoul International Choreographing Festival.

This original Korean title of the piece comes from the Chinese character ja “子” which represents a child spreading his arms and signifies “son”. In this piece, the artist hopes to portray a man who is both a man in love with a woman and the son of a woman.

“Gentleman” is based on Hanryang-mu, a traditional Korean dance piece that is representative of male dance. The work explores a range of experimental breathing and seeks new aesthetics of movement from traditional Korean dance. This is done first by analyzing the gestures and breathing of Hanryang-mu, then disassembling the continuous flow of its movements to individual parts and finally reassembling them to create contemporary movements. The accompanying music is based on the traditional melodies of DaeGeum (large bamboo transverse flute) and familiar rhythms of JangGu (traditional Korean drum with an hourglass shape), it embodies and reveals the style, fun and the aesthetics of “jeong-jung-dong“ (stillness amid the movement) embedded in traditional Korean culture. All the while, it does not forget to add a touch of diversity that creates a unique ambience which in turn integrates different yet complementary elements into the piece.


Photos by Kim Hoon.

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Jae Seung Kim graduated from the School of Dance at Korea National University of Arts in Seoul with both Bachelor‘s and Master‘s degrees in fine arts and completed PhD at Dankook University. An outstanding dancer and emerging choreographer, he boasts extraordinary dance techniques that traverse and encompass modern and traditional dance. As executive director of Maholra Company, he has presented a host of intriguing choreographic endeavors including “Corea Ura”, “Honpuri” and others.

He won the gold medal at the 37th Dong-A Dance Competition in Seoul and in 2011 was selected to participate in the Performance Artists Incubating Program for emerging choreographers, which is supported by the Arts Council Korea (ArKo).

Find out more at https://www.facebook.com/MaholraCompany.



MAGICAL EYE (performance)

Choreography: Roh, Jung Sik
Text: Hye Jeon Hong
Dancers: Jung Oh Ha, In Young Hwang, Min Woo Bae, Boram Lee, Ji Eun Heo, Min Kyung Yoo, Jin Joo Ahn, Ji Hei Choi
Music: Sun Ho Ryu
Costumes: Kyung Seul Bae
Stage: Jong Young Lee
Lights: Jung Hwa Kim
Premiere: 2011
Duration: 40 min.

In 2013 “Magical Eye” received a Grand Prize at group dance category in Seoul International Choreographing Festival.

Gaze Induction technique, or so-called “Magical Eye”, is an inducement method in a state of trance by leading one to gaze at a light, gleaming object. It can be referred to as a combination form of hypnosis and Qigong, rooted in healing magic in premodern times.

Intention behind the choreography

Since civilization, contrary to other species, human being came to refrain from explicitly ranking the hierarchical order. However, since human being operates a similar survival program as the mammal and reptile in its cerebral level, when one evades the eye contact of a counterpart, subconscious rank order forms between the two.

Probably this is the reason behind a Korean viewpoint, in which young adults are considered disrespectful when looking straight into the eye of elders.

As the time of speaking without blinking one’s eye gets longer, the conscious mind also recognizes the awkwardness and reacts with repulsion. One should keep in mind that hypnosis works only when they succeed to ‘bypass the critical thinking of the conscious mind’.

This technique should be applied to practical use in a short term basis only in required moments. If Magical Eye or physical contact technical is forcefully used against someone of a higher social rank, the subconscious mind will recognize it even if the conscious mind fails to. Therefore, I forewarn that using this technique may harm the relationship.

Now, you have discovered one secret of the ancient technique of “Magical Eye that dominates over one’s mind”, just as in a legend, myth, or some fiction you read. Do not forget that Medusa, who had the ability of domineering over others by one glance of look, failed to control her own power and became a stone herself by her own force.


Photos by Yong Hoon Han.

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The works of Jung Sik Roh are organized with the minimum equipment and props. Roh rather focuses on body as a basic element of dance. Watching J.S. Roh’s works are like losing track of time when listening to a great story teller.

As the CEO of Roh Dance Project and the chief dancer of the Toetmaru Dance Company, Mr. Roh has been choreographed and directed over 40 works.

Mr. Roh mostly tries to focus on the fundamental beauty of Korean traditions. With those efforts, his works could bring bond of sympathy from many audiences.

In 2004, while being a chief dancer in Toetmaru Dance Company, Jung Sik Roh established his own dance company Roh Dance Project (RDP). RDP’s debut work “Irreversible” was premiered at Seoul Arts Center and recognized as a “well-made work” by critics and audiences.


Supported by:




TRASH (performance)

Artistic Director and performer: Arturo Lugo
Lighting Design: Sebastian Solórzano
Premiere: 2014
30 min

“Trash” is an experimental performance which shows the construction of a being´s internal evocations and environment, through the transformation of a being others can appreciate his ability to mutate. “Trash” unveils a Monster´s nature that rejects the moral aesthetics and social classifications, showing that the empowerment of ideas is what allows him to exist and move in a landscape of saturation where the most important thing is the internal transformation.

Photos by Rubén Espinosa.

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“Amplio Espectro”is a newly formed company led by Arturo Lugo, performance artist graduated from the Professional School of Dance in Mazatlan (EPDM). Arturo Lugo received support from the FONCA (National Funding for Culture and Art) for 2011-2013 to form part of the first cast of dancers. The company has worked in artistic collaboration with “Cuatro x Cuatro” Arte Escénico Company led by Shanti Vera.

“Amplio Espectro” seeks the experimentation of the performance scene by collaborating with different partners. The choreographic experimentation “Trash” was created in the post-graduate program in choreography Interactions, Bodies in Dialogue, supported by the Arts Center of San Augustine and the National Dance Coordination, this piece has been presented in the international dance festival “Cuatro x Cuatro” and the ALIAC cultural center in Mexico city.

To see the video-extract please visit the link: www.facebook.com/photo.php?v=663088363761454&set=vb.56842




Choreography: Víctor Manuel Ruiz, Claudia Lavista, Omar Carrum and Michael Foley


“Luminous passages” – a project by Delfos Contemporary Dance, presenting four miniatures of contemporary dance. Delfos Contemporary Dance delegates to AURA’24 festival three significant creators from Mexico: dancer, choreographer and dance teacher Claudia Lavista, dancer, choreographer, teacher and light designer Viktor Manuel Ruiz and choreographer, dancer Omar Carrum.

“We see choreography as a collection of maps that describe the aesthetic location of the artist in relation to the journey he or she embarks upon to discover unknown islands or recognize inner territories. The movement provides landmarks where the artist observes, reflects and reframes his own subjective reality. These maps allow us to not only to find others but also reveal ourselves.

“Luminous Passages” is a small collection of some of these personal maps. The concert is a poetic/choreographic anthology made up of four different dances that emerged from times in our lives where we were searching for answers to our many questions. These dances now appear before us as manifestations of our identities, desires, certainties and uncertainties. Each of these dances explores the deeply personal relationship between the self and its reflection, in this case: the audience. Octavio Paz wrote about the relationship between the person looking into the mirror and his reflection: “The world changes if the two look at each other and recognize one another.” In the end, though, words cannot express what happens when the dancing finally begins. The dance calls us all to observe and participate in the beautiful poetics of the body, where we move and are moved.” / Claudia Lavista /



Then I must go forward alone, without knowing how. Joan of Arc (1412-1431)

Choreography: Michael Foley
Dancer: Omar Carrum*
Music: Pater Noster from Richard Einhorn with Anonymous 4 (from the piece Voices of Light)
Costume: Bill Brewer
Premiere: 1998
Duration: 9 min.



Choreography: Víctor Manuel Ruiz**
Dancers: Omar Carrum and Agustín Martínez
Music: Hiroki Okano y Uakty
Costumes: Delfos
Premiere: 1998
Duration: 11:50 min.



Choreography: Claudia Lavista***
Dancer: Agustín Martínez
Music: Meredith Monk
Costume: Delfos
Premiere: 2002
Duration: 7 min.



Choreography: Omar Carrum
Music: Yann Tiersen
Dancers: Claudia Lavista and Omar Carrum
Costumes: Delfos
Premiere: 2002
Duration: 7:20 min.


Photos by Martín Gavica.

Juana_Foto Martín GavicaMe Dueles_Foto Martín GavicaEstuve pensando_ Foto Martín Gavica_2 Estuve pensando_Foto Martín Gavica_3



solo y mi alma4_Foto Martín Gavica solo y mi alma3_Foto Martín Gavica








Special thanks to the support of Insituto Sinaloense de Cultura Mexico en Escena FONCA/CONACULTA

*Guggenheim Fellow 2009, National System of Art Creators FONCA/CONACULTA 2014-16

** National System of Art Creators FONCA/CONACULTA 2012-15

***Mellon Residential Fellowship for Arts Practice and Scholarship at the Richard and Mary L. Gray Center for Arts and Inquiry at the University of Chicago and National System of Art Creators – FONCA/ CONACULTA 2011-14


logo delfosDelfos Contemporary Dance Company was founded in 1992 by Mexican choreographers/dancers Claudia Lavista and Victor Manuel Ruiz with the vision of creating dynamic new works in the spirit of collaboration, as well as developing a professional training program for contemporary dancers. The company is a unique collective of artists whose creative vision is characterized by the fluid physicality and poetic narratives within their diverse repertory.

Since 1998, Delfos Contemporary Dance has run the Mazatlan Professional School of Dance (EPDM), which offers a Bachelor of Arts degree program. Today Delfos and the EPDM are recognized as two of the most important contemporary dance organizations in Latin America.


Supported by:






NOSOTROS (US) (performance)

Stage direction and choreography: Jaciel Neri, in collaboration with the performers of “Cuatro x Cuatro.”
Assistant Director: Janaina Stephanie Ochoa
Dancers: Victor Villasana and Cuatro x Cuatro: ! Luis Vallejo, Vazquez and Shanti Sendic Vera
Music: Joaquin Lopez “Chas”, Conjunto Africa
Costumes: Jaciel Neri
Lights: Jesica Elizondo / Jaciel Neri
Premiere: 2012
Duration: 50 min


For this piece choreographer Jaciel Neri was awarded with the XXXI Premio INBA-UAM which is known as the most important choreographic prize in México.

In Mexico being “carnal” of someone is being more than friends, like half brothers. That condition allows such a close relationship that is used to last forever. In that sense “Nosotros” is a story of “carnales” that reveals the typical mexican masculine world denoted by games of extreme physicality such as free wrestling (lucha libre), persecutions, street soccer and videogames. At the same time through the use of the dancer’s childhood memories, the murmur of their neighborhoods and the typical whistles codified between friends we can see the fragility and tenderness that is hidden behind the condition of being a man in México.

Since then “Nosotros” has toured along Mexican Republic and different countries like Germany, Costa Rica, Italy, Czech Republic and Poland as well as be presented at indoors and outdoors festivals.


Photos by Alfredo Millan, Ieve Gonzalez.

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Dancer, choreographer, workshop leader and promoter of the performing arts, is a native of San Pedro Tlaltizapan, State of Mexico. He studied dance at the Folkwang Hochschule in Essen, Germany, and Choreographic Research Center (CICO) INBA in Mexico City.

Jaciel started his career as a folk dancer in Mexico with the National Folk Dance Company of the INBA in 1993, with which participated in national and international festivals. His choreographic proposal achieved national and international recognition, his works were presented in Germany, Bulgaria, Colombia, Cuba, Costa Rica, Spain, USA, Italy, Czech Republic and Mexico.

Jaciel Neri has already received a lot of awards. As a workshop leader and teacher, he has worked in such national and international festivals as International Dance Festival José Limón (Mexico), Central American and Caribbean Meeting of Contemporary Dance School (Costa Rica), Ballo Pubblico Festival (Italy), Festival SIRAEX (Chech Republic), International Seminar in Dance Creation (Colombia) and many others. He currently directs Moving Borders and iN – muestra de arte escénico.





For the first time in Lithuania the festival AURA’24 presents Mexican contemporary dance. The performers of the evening will invite the audience to discover Monster‘s nature, to learn about typical world of Mexican men and to explore inner maps of movement.

The Mexican evening consists of three performances and the improvisational afterparty where the audience is invited to taste Mexican food and drinks as well as to move according Mexican rhythms on the dancefloor. No te pierdas!


AMPLIO ESPECTRO “Trash”, 30 min
DELFOS CONTEMPORARY DANCE “Luminous passages”, 35 min.
MOVING BORDERS “Nosotros”, 50 min.


For the first time in Lithuania the festival AURA’24 presents South Korean contemporary dance. The audience will see three performances which represent the beauty of preserved Korean traditions, consider the meaning of respect for oneself and the other, reveal the secret of “Magical Eye” technique that forces to lose track of time while.

YOO RA JUNG “Respect”, 20 min.
JAE SEUNG KIM “Gentelman”, 25 min.
ROH DANCE PROJECT “Magical Eye”, 40 min.



50 FACES OF EVA (performance)

Choreography and dancers: Elwira Piorun, Maga Radłowska, Paulina Święcańska
Premiere: 2014
Duration: 60 min.


Three women. Three worlds. Three incarnations. The 50 faces of Eva presents three totally different female characters. They have different origins. They come from different places. They build different relationships with men. Dancers show strong and independent businesswomen. Women who are closed. Women who are liberated. Women who are dominant and women who are dominated.

What do you think, how many faces has “Eva” nowadays?

Photos by Kasia Chmura.

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One Brand – Three Zawirowania (swirls) – Dance Theatre, Dance Academy and Dance Theatre Festival! The focus of all three activities is to make contemporary dance more popular and increase its cultural impact.

Zawirowania Dance Theatre was established in 2004 under the Contemporary Scene Foundation’s auspices.The founder and the director of Zawirowania Dance Theatre is Mr. Włodzimierz Kaczkowski. From the beginning the artistic director of the Theatre is Ms. Elwira Piorun, who used to be a soloist of the Polish National Ballet. Almost since its inception, Zawirowania Dance Theatre not only actively involved in the cultural processes in Poland, but also showing it’s performances at the festivals around the world, starting with European neighbors, through Asia, Africa finishing on North and South America.

The initial performances were based on classical dance forms of Polish National Ballet. Only in 2007 the “After Hours” project transforms them into a modern dance ensemble turning the emotions to motion.

Since 2009 Zawirowania was involved into many international projects, worked with foreign choreographers and created such co-productions as “Chopin Ambiente” and “Fuera de Campo”(chor. D. Abreu, J. de Torres and D. Merlo, Spain, 2009), “Closeness” and “Y.A.N.A.” (You are not alone; Tomas Nepinsky, Slovakia, 2011). A tight cooperation with Israel resulted with premieres “Navigation Song BD303” (chor. Irad Mazliah, 2013), “Rust&Engage” (chor. Ido Tadmor and Rachel Erdos, 2013), “Out in the line up” (chor. Nadar Rosano, 2014). The performances created in cooperation with foreign artists were always a great success.

Together with Contemporary Scene Foundation, Zawirowania Dance Theatre organizes International Dance Theatre Festival “Zawirowania” which is held in Warsaw since 2004. The festival is focused on international cooperation, which includes repertoire exchange, workshops, artists’ and managers’ meeting.



TRANSMISSION (performance)

Choreography and idea: Gun Lund in a collaboration with dancers
Dancers: Luisa Denward, Rebecca Evanne, Gunilla Jansson, Torun Odlöw, Olof Persson, Åsa Thegerström
Sound design: David Sundqvist
Costume: Maja Johansson & Sophia Svensson
Light design: Finn Pettersson & Lars Persson
Premiere: 2012
Duration: 50 min.


Touch, perception, surface, texture… the skin, the sensation is the largest of all our senses. For a long time Gun Lund has taken special interest in the tactile. It is said that we can perceive vibrations in a room, a sort of expansion of the body via senses we can’t visually register.

“Transmission” – a vibrotactile experience, is a dance and technology experiment focusing on the sensory system. Letting the tactile take precedence over the visible and audible, the dancers listen and respond to their own sensory system and to each other, but also to electromagnetic impulses received through vibrators attached to the body. In several layers “Transmission” is a dialogue between dancers and audiences communicating via remote controls, through invisible waves and touch at a distance.

Photos by Lisa Thanner.

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Gun Lund is famous for grand-scale site specifics and a wide range of works for the stage. For more than 30 years she has been at the forefront of Swedish dance, changing the perspectives of audiences and questioning the perception and reality we take for granted. She was awarded the Swedish Theatre Critics Dance Prize, and holds a lifetime award for her “high quality and great importance in Swedish cultural life”. Gun Lund is also one of three artistic directors of the dance venue “3:e Våningen” (3rd Floor) in Gothenburg.

E=mc2 Dance is supported by the Swedish Arts Council, Swedish Arts Grants Committee, Region Västra Götaland and Göteborg City Culture Committee. A special thank you to the Lithuanian Embassy in Sweden.



TWO ROOM APARTMENT (performance)

By and with: Niv Sheinfeld & Oren Laor
Based on the 1987 dance work by Nir Ben Gal and Liat Dror
Music: Ori Vidislavski (original music), Elton John, Vains of Jenna
Artistic advisor: Keren Levi
Costumes: Niv Sheinfeld & Oren Laor
Lights: Netta Koren
Coproduction with Centre National de la Danse (Paris) and Grand Theater (Groningen)
Premiere: 2012
Duration: 50 min.


The work was chosen as Best Performance of the Year by the Israeli Dance Critics’ Circle for 2013. After the premiere in October 2012, in two years, “Two Room Apartment” was performed more than 70 times in Europe, Asia, North and South America.

“Two Room Apartment” brings Sheinfeld & Laor to the stage for a duet that reflects on their relationship as partners in life and as creators. Both personal and political, the work examines boundaries in various contexts: physical borders such as between territories or between two rooms, but also non-physical borders, such as the one between life and performance, and the boundaries that the individual sets for himself. The work uses a simple dance language and a minimalist aesthetic, and explores the notion of life as a framework in which a precise, almost compulsive repetition of customs and behaviors takes place.

The work suggests a new and contemporary reading to the original performance created by Liat Dror and Nir Ben Gal that premiered in 1987 in Tel-Aviv. It is considered a milestone in the development of independent Israeli choreography, and it also received impressive international acclaim: the work had won several awards at the time, among them the Bagnolet Competition for Choreography.

Niv and Oren inspired the work with their intimate relationship and emotions, and the result is fascinating. They showed us how it’s possible to maintain a work’s basic structure and dynamism, and yet imbue it with their own authentic content without undoing the basic structure and form. / Ora Brafman, “Dance Talk“ /


Photos by Vojtech Brtnicky, Gadi Dagon.

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Supported by:


לוגו עמותה אנגליתlogos israel support_logo GRAND THEATRE (1) Suzan Delalllogo CND logoTmunacouncil logo-english






LUCIOLA (performance)

Conception and choreography: Karine Ponties
Dancers: Ares D’Angelo, Eric Domeneghetty, Shantala Pèpe, Vilma Pitrinaite (former dancer of AURA Dance Theatre)
Music: David Monceau
Text: Eric Domeneghetty, Karine Ponties
Lights designer and artistic adviser: Guillaume Toussaint Fromentin
Set designer: Wilfrid Roche
Coproduction with La Briqueterie – CDC du Val de Marne (France), Les Brigittines (Belgium), Le Gymnase – CDC Roubaix Nord Pas de Calais.
Premiere: 2013
Duration: 60 min.


“Luciola” was nominated by the French Community of Belgium’s Critics Prize for the best dance performance of 2013.

“We have lost our claws, our breaks, but we are more monstrous than ever before. Ultra – civilized man hides monstrous side we prefer not to see. This work is about emphasizing unconscious reservoirs loaded with images. Rediscovering this sincerity is perhaps the only way to escape savagery. What emerges is a positive release of energy.” / Karine Ponties /

The figure of the monster is being increasingly eradicated from our civilized world. And yet, modern man conceals terrible things beneath his smooth appearance. Luciola” goes in search of the monster in man, pushing the most uncertain zones of the body to their extremes and releasing the animal where we least expect it. The chimera emerging from the depths of the imagination is nourished more by shadows than light; this choreography stalks it in a raw and radical manner in an attempt to expose the joy buried within tormented bodies, the laughter in the horrific.


Photos by Philippe Laurent.

LUCIOLA de Karine Ponties LUCIOLA de Karine Ponties







Artistic director of Dame de Pic, choreographer, performer, Karine Ponties has created some thirty dance pieces for the company with among others Mirliflor (Awarded Golden Mask for the best contemporary dance performance in Russia), Holeulone (best dance performance in French-speaking Belgium) and Brutalis (SACD Prize). Her work is characterised by a flair for the absurd, exploring intimacy and interlacing relationships.

Dame de Pic/Cie Karine Ponties is supported by the Ministry of Culture of Fédération Wallonie Bruxelles, service danse and Wallonie – Bruxelles International and l’Agence Wallonie Bruxelles Théâtre/Danse. The Company is on administrative residence at Théâtre Les Tanneurs in Brussels.

Thanks to Florence Mejan.





MR. NICE GUY (performance)

Choreographer an performer: Anat Grigorio
Co-creators: Sascha Engel – text & voice
Original music and sound design: Idan Shimoni
Music: Edith Piaf, Danski
Artistic advisors: Niv Sheinfeld and Oren Laor
Light design: Shachar Werechason

Dramaturgy: Shira Bejerano
Rehearsal assistant: Ilana Bellahsen
Premiere: 2013

Duration: 45 min


Anat Grigorio’s latest solo performance “Mr. Nice Guy” was premiered in prestigious “Israel Festival” on June 2013 in Jerusalem and since then performed in various venues in Israel and abroad. Tour schedule for 2014 includes venues and festivals in Europe, Asia and Americas.

Anat Grigorio Dance Projects combine contemporary dance and physical theater creating multidisciplinary art works and collaborations with artists on both national and international arenas. The work is based on constant exploration of the human body through natural sensuality that is hidden in simple mundane activities and takes roots in constant research of human spirit, behavior and consciousness, their limits, roles and influences on each other.

I was instantly caught up in the solo called Mr. Nice Guy by the outstanding dancer/choreographer Anat Grigorio. It graphically or should I say choreographically and performatively dealt with the politics of The Male Gaze as it’s come to be known. What is the effect of the male looking at the woman and objectifying her? / Judith Brin Ingber “Dance in Israel” /


Photos by Gadi Dagon.

Anat Grigorio by Gadi Dagon (3) Anat Grigorio by Gadi Dagon (2) Anat Grigorio by Gadi Dagon (1)







Anat Grigorio (1974) grew up in Petach Tikva, Israel. Her love and passion for dance started when she was 6 years old, through the years she developed her skills in gymnastics, steps, modern jazz, classical ballet, contemporary dance and physical theater.

Anat is a stage artist based in Tel Aviv and is a member of the Israeli Choreographers’ association. She has been creating since 2003 and is supported by the Israeli Ministry of Culture. Anat Grigorio is giving workshops and master classes in international as well as Israeli colleges and festivals.

Anat has been trained as a dancer and a performer at the Kibbutz Contemporary Dance Co., Ido Tadmor Dance Co., Thieery Moral physical theater (France).

In 2009, during the International Festival Pula Puff in Croatia, Anat premiered her piece “Katuk” and received “Wind Award” which aims to recognize fresh directions in dance and theatre”. Her piece “Katuk” was created in collaboration with butho artist Adam Reed, a leading actor in “Cirque du Soleil”.

In 2011, during the residency on Canary Islands, Anat created her first dance film “AnimaAnimus” with an Israeli choreographer – Sharon Friedman and a Spanish filmmaker Damian Varella.

Sponsered by: Israel festival, Ministry of culture and sport

Thanks to: Suzanne Dellal center, Miki Avni, Sharon Fridman.



Supported by:

לוגו עמותה אנגליתministry of culture & sport -logoforeign affairs logoisraelfestival_logo_Color




DANCE DANCE DANCE (performance)

Choreography: Raphael Bianco
Dancers : Elisa Bertoli, Maela Boltri, Melissa Boltri, Vanessa Franke,Alessandro Romano, Vincenzo Criniti, Vincenzo Galano, Cristinan Magurano
Music: David Hykes, John Cage, John Adams
Premiere: 2012
Duration: 75 min.

The title of this piece is inspired by the novel of the visionary Japanese writer Haruki Murakami: dance is considered as an action, in order not to shrink into oneself, overcome difficulties and gain new dimensions of existence, consciousness and fullness.

The performance has three pieces: Sacred Dance, Secret Dance, Simply Dance.

In Sacred Dance the focus is based on the sacred origin of gesture, communicating physically and spiritually with the transcendent. In Secret Dance the gesture is seen in its seductive aspect.

Finally in Simply Dance the dance is showed in its most popular aspect: a way of having fun being together, the playful aspect of dance through all the dance styles and genders.

Photos by Simon Vittonetto.








“EgriBiancoDanza” company is one of the most important modern and contemporary dance companies based in Turin, with a strong historical heritage. It is directed by one of the most important Italian choreographers Susanna Egri.

The company was founded in 1999 as a means to promote dance creation and education. It inherited the experience of Egri’s previous company “I Balletti di Susanna Egri”, one of the most representative Italian dance companies of the last 30 years. Today the company is co-directed by the resident choreographer Raphael Bianco, a student of Susanna Egri.

The choreographic style of the company is based on solid ballet training, mixed up with the variety of styles of contemporary works. As a consequence, its repertoire is made of both neoclassical ballets and contemporary dance choreographies.

Since 1999 “EgriBiancoDanza” has been invited in many international festivals worldwide: in Argentina, Hungary, Malta, Greece, Serbia, Russia, France, Portugal, Chile, Belgium, Bosnia- Herzegovina and all over Italy.

Supporters: Italian Ministry of Culture, Piedmont Region, City of Turin, Fondazione CRT and Compagnia di San Paolo. Main Sponsor is Studio Rolla SRL.



SFUMATO (performance)

Conception, choreography: Rachid Ouramdane
Creation assistant: Erell Melscoët
Performers: Jean-Baptiste André, Brice Bernier, Deborah Lennie-Bisson, Mille Lundt, Ruben Sanchez, Lora Juodkaite
Music: Jean-Baptiste Julien
Text: Sonia Chiambretto
Video: Aldo Lee, Jacques Hoepffner
Costumes: La Bourette
Lights: Stéphane Graillot
Set: Sylvain Giraudeau
Premiere: 2012, Biennale de la danse – Lyon (France)
Duration: 75 min.



The pain comes with broken dreams, lost illusions of a promised land./ A fight against nature, „Paris – Normandie“ 09/11/12/

On „Sfumato’s“ stage, Rachid Ouramdane gives a fantasmatic vision of “climate refugees’s” testimonies, those refugees who have to face the question of territories disappearance. A new experience of exile and a poetry of memories, written with the collaboration of author Sonia Chiambretto.

“I was remembering the trip I made in Vietnam a few years ago for “Far…“. The village named Lai-Châu was about to be buried under water. I was remembering that when we talked to these inhabitants about Lai-Châu, they were asking “Which one?” because the exact copy of the village was being built somewhere else to rehouse the villagers. Then I thought about what meant to see things disappear, to see people disappear and leave, and to be separated from a lover.

“When nature rears its ugly head, everything seems to become disproportionate. Because things change, there’s confusion. Like our connection with time. We’re not in a slow and progressive dimension like the melting of ice caps or the decrease of lands. There’s a drama that leads us to a common feeling of loss, of disappearance”, explains the choreographer. Despite everything, life goes on, and everybody has to get himself back together. “I think that this human ability to cope with brutal changes and to accept our fragility is amazing. There’s often statement of humility in front of things that overstep us”.

In “Sfumato”, Rachid Ouramdane gave less importance to words and more to movements. His dance is built around the resistance to elements and exposes bodies struggling. Sfumato is a very physical play. “There’s risk taking to create a fragile presence on the stage to confront the natural elements.” Rachid Ouramdane imagined his news creation this way, like a succession of scenes. That’s why the play is named „Sfumato“, like the particular technique of painting that shades the contours and melts the shadow, this same secret technique Léonard de Vinci mastered. Misty landscapes, raining weathers succeed each other not only in order to mistreat the body but also to create contemplative atmosphere.


Photos by Jacques Hoepffner.

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Thanks to Handicap International, Mathilde Burille, Charlotte Giteau, Alice Kinh, Tidiani N’Diaye, Virginie Vaillant.

The text presented on stage is an excerpt from „La Taïga court“ by Sonia Chiambretto.



After his degree at the National Centre for Contemporary Dance of Angers, Rachid Ouramdane begins a choreographer and performer career and works in France and abroad with Meg Stuart, Emmanuelle Huynh, Odile Duboc, Christian Rizzo, Hervé Robbe, Catherine Contour, Jeremy Nelson and Alain Buffard. In 1996, he creates the « Fin novembre » company with Julie Nioche, and establishes later his own company in 2007: L’A.

His plays distinguish themselves by using video devices to explore the intimate sphere. They also testify a specific approach: the uniqueness of an encounter is considered as a decisive factor in every of his plays. That’s why trips are inspiring the creations. After “Discreet Deaths” (2004), a solo based on the representations of death on the Internet, Rachid Ouramdane goes to the eastern part of Brazil to create “Cover” (2005) with three artists he met there. For “Far…” (2008), an autobiographical solo, he goes to ex-Indochina looking for his own family history, then returns to Brazil to prepare “Ordinary Witnesses” (2009), a choreography based on the testimony of people victims of torture.

He also gives high priority to many collaborations : “Superstars” (2006) created for the Ballet of the Opera of Lyon; “Borscheviks… a true story…” (2010), for the dancers of the russian company Migrazia during a residence in Siberia for the Intradance project (Russia); and “Looking back” (2011), for the 20 years birthday of Candoco Dance Company (United Kingdom) with disabled dancers.

Apart from his artistic project that connects dance to documentary since the creation of L’A company, Rachid Ouramdane puts a lot of himself in an international activity of transmission and encounter (workshop, conferences, researches) in France, Romania, Netherlands, Brazil, United States.



Supported by :

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 CVs (performance)

Choreography: Paul Hess (Germany), in a collaboration with the dancers
Co-choreographer: Daniel Medeiros (Brasil/Germany)
Dancers: Daniel Medeiros, Ema Nedobežkina, Paulius Prievelis, Gintarė Ščavinskaitė, Anna Karen Gonzalez, Alfredo Flores Ayon, Israel Ismael Infante Salazar, Kyrie Oda
Music: Chuck E.Weiss, Bill Frisell, David Hudson, Big bad Voodoo Daddy, The Doors, Gloria Estefan, Guided Meditation, Messer Chups, Nuit Blanche, The Pussywarmers
Vladimiras Šerstabojevas

Costumes: Aistė Julita Pauliukevičiūtė, Greta Ūbaitė
Rehearsal assistant: Siri Maja Kristin Elmqvist
9th of October 2014 in the festival AURA‘24


… mother’s face, first pap, accident with the bike, first tender love at school, good or bad school certificate, first hangover, papa’s gone, mother’s ill, grandma’s cakes, love sick, pimples, angst, dead pet, roller skates, broken leg, silence, failed diploma, car crash, red shoes, kisses, very bad concert, jealousy, no sports, good job, grandpa’s death, holiday adventures, abortion, divorce, 50000 YouTube clicks, nightmare, cold fingers, stop smoking, sunset, new car, attack, no job, pills, lottery payout, fantastic dance performance, contemplation on a cemetery, go into retirement, the red wine dilemma, parents pass away, ride on a white horse, smelling oranges, romantic poem, an apple a day, bad diagnosis, nice flowers, last pap, gone with the wind…

The project Curricula Vitarum is a co-production of artscenico, the choreographer Paul Hess and AURA Dance Theatre. The premiere of the performance will take place in Kaunas on the 9th of October 2014, followed by performances in Lithuania, Germany and other European countries.

CVs is the first production by newly completed international dance troupe of AURA Dance Theatre as well as their first collaboration together with Paul Hess in this production. After co-operations at the Grynparkas festival in Kaunas (embedded in nature) and Heimat surreal in Dortmund in 2013, CVs is the third joint work of artscenico and AURA.



Paul Hess is a freelance artist based in Germany. He dances internationally in different companies and formations with such choreographers as Susanne Linke, Daniel Goldin, Jerome Bel, Anna Konjetzky and others. Since 2008 he is a guest-dancer of Tanztheater Wuppertal/Pina Bausch company. He also works with great contemporary media and installation artists like Ed Atkins. His choreographies got awarded with Jury and Audience prizes.

artscenico performing arts and Paul Hess became strong partners during many productions. In 2013 they visited Kaunas to create and perfrom at Grynparkas festival. During this project Paul Hess got in contact and realized the potential of AURA Dance Theatre. The idea of a German-Lithuanian co-production was born. With his new work CVs the choreographer wants to deepen the contact in a creative work.


Photos by Paul Hess, Rūta Taraškevičiūtė.

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AURA_219_x_219122AURA Dance Theatre is the only municipal theatre of contemporary dance in Lithuania and one of a very few companies of contemporary dance in Lithuania that shows the skills of the professional dance. AURA Dance Theatre was founded by a famous Lithuanian choreographer Birute Letukaite who is also the artistic director of the theatre.

AURA took part in various international events, represented Lithuania’s contemporary dance in 27 foreign countries, performed at more than 162 festivals, created 225 dance performances, worked with 35 choreographers from Lithuania and abroad, more than 170 Lithuanian and foreign dancers worked at the theatre.

AURA has about 50 municipal, national and international awards. In 2006, Birute Letukaite was awarded the Golden Stage Cross for the choreography of performance Aseptic Zone or Lithuanian Songs and in 2008 she became a winner of Lithuanian Republic Government Culture and Art Award. In 2013 Birute Letukaite has received the second Golden Stage Cross for the significant input to the contemporary Lithuanian dance art and Kaunas City Culture and Art award.

Already for 24 years AURA Dance Theatre organizes one of the greatest dance festivals in Lithuania – International Dance Festival AURA – which supplements the autumn program of cultural events in Kaunas.



Artscenico_logoBased in the Ruhr area in Dortmund, artscenico performing arts has been working as an independent company since 1991, staging theatrical and dance productions as well as multi-disciplinary performances. As a company “without a real home” it focuses the artistic work on special spaces and places. Site-specific productions have become the main field of interest for artscenico`s artistic realizations over the last years. Abandoned industrial wasteland, former factory halls, public parks and other non-theatre places lay the foundations for new and unusual pieces of art derived from the different perspectives of many artists and realms of arts including the artistic activity of dancers, actors, authors and singers as well as photographers, film-makers, musicians and even scientists or athletes.

artscenico is a public non-profit organization. The artistic director Rolf Dennemann is the director, author and actor.


www.artscenico.de, wwww.aura.lt.


The project “Curricula Vitarum-CVs-Gyvenimo aprašymai” is supported by:

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The premiere is presented by: