Stefa Govaart

Monument 0.4: Lores and Praxes (rituals of transformation)
Concept and Artistic development _ Eszter Salamon
Artistic collaboration _ Boglárka Börcsök
Developed with and performed by Cherish Menzo, Tiran Willemse, Liza Baliasnaja, Amanda Barrio Charmelo, Mario Barrentes Espinoza, Sara Tan, Vânia Vaz, João Dos Santos Martins, Sidney Barnes, Louise Tanoto and Boglárka Borcsok
Production _ Elodie Perrin / Studio E.S., Alexandra Wellensiek / Botschaft GbR
Coproduction_ Internationales Sommerfestival Kampnagel (Hamburg) in collaboration with Museum für Kunst und Gewerbe Hamburg, Tanz im August / HAU Hebbel am Ufer (Berlin) in collaboration with KINDL Zentrum für zeitgenössische Kunst, Kunstenfestivaldesarts (Brussels)
With the support of Regional Directory of Cultural Affairs of Paris – Ministry of Culture and Communication and Hauptstadtkulturfonds
Thanks to _ Seloua Luste Boulbina, Asad Raza, Boghossian Foundation-Villa Empain, P.A.R.T.S and NATIONALEN PERFORMANCE NETZ (NPN), Koproduktionsförderung Tanz
Forum Futuro, Fundação de Serralves, Porto (PT), November 8-9, 2019; Kunstenfestivaldesarts, ING Art Center, Brussels, May 20-23, 2019; Kunstfestspiele Herrenhausen, Galerie Orangerie, Hannover (DE), June 2-3, 2018; Internationales Sommerfestival, Museum für Kunst und Gewerbe, Hamburg (DE), August 12-20, 2018; Tanz Im August, KINDL Zentrum für zeitgenössische Kunst, Berlin, August 31 – September 2, 2018; PACT Zollverein, Sanaa Building, Zollverein Campus, Essen (DE), February 18, 2018.
https://esztersalamon.net/MONUMENT-0-4

Monument 0.4: Lores and Praxes (rituals of transformation) is a six-hour long performance made for the exhibition space. Dancers from four continents engage in a performative transformation of war dances and dances of resistance. What does it mean to embody a dance? Learning gestures from online image production networks such as YouTube is a delicate and highly mediated procedure. Rigor is asked for. It is mandatory to face one’s own multiplicity, and lack. The dances are reassembled, refigured practices that cannot and do not promise full understanding. There is no fantasy of representation, nor retribution.

Monument 0.4 includes traces of dance and vocal practices from Zaar, Kawliya, Kete, Capoeira Angola, Razzolo, Sabar, Mbosi, Chango, Oshun, Wakamalolo, Baris, Krump, Alanta, Attan, Semazen (Sufi Whirling), Holosa (Mudman), Kalari, Shaadi, Gure, Rumba Columbia, Wanaragua, Tari Saman, Kuduro, and Gede, originating from Egypt, Kuwait, Iraq, Iran, Ghana, Brazil, Chad, Senegal, Congo, Cuba, Dominican Republic, Fiji, Bali, Angola, South Africa, Nigeria, Afghanistan, Pakistan, Turkey, Syria, India, Kashmir, Zimbabwe, Brazil, Honduras, Nicaragua, Indonesia, Papua New Guinea, Haiti, and Rwanda.