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On this page you can discover the three finalists selected for the Dance discipline in all european areas.

The 16 MArteLive Europe Artistic Disciplines are evaluated by a professional jury, made of experts and artists, and the audience.

KompArt

Copenaghen, Denmark

Annika is currently enrolled in the MfA “Performing Arts” at The Danish National School of Performing Arts in Copenhagen, 2019-2021; including masterclasses by Falk Richter, Runar Hodne and others. Beside that she works as a professional and international dance artist, choreographer and teacher. 

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Annika was born in Germany, but has been based based in Copenhagen, Denmark since 2015. Her artistic work focuses on the diversity and possibilities which lie in dance; by collaborating cross-disciplinary to create durational works, staging experimental explorations, site specific performances and reinterpreting traditions. She uses different choreographical methods and improvisational tools as inspiration and guidance for the dance.
She received arts council funding in the UK as well as from the Danish National Fund to produce and present her work. As a dancer and performer she works with Gintersdorfer/ Klaßen, Oriantheatre, Sisters Hope, Reckless Sleepers, Glimt Danseteater, Gazart Danseteater and others.
Annika graduated with a first honoured BPA degree from the Northern School of Contemporary Dance in Leeds, UK in 2014. Her previous degree at the Erika Klütz School Hamburg, Germany has qualified her as a teacher in dance and education and she has been employed as a regular guest teacher and choreographer to the students there since 2011.

Performance presentation

TREFFPUNKT SPEECH(LESS) @ MArte Live

A Methodology and Artistic Research by Annika KompArt


Jesper Haller

Does language also live in the body?
Is speaking a language also creating (/ experiencing) common resonance on a sensory level of rhythms and tones?

“The project clarifies this dimension in an embodiment by the rhythm and tonal movements of different languages.”
Tora Balslev Jespersen

In Speech(less), German dancer and choreographer Annika moves to the rhythm of different political speeches to play with the different dynamics of language with the body. Speech(less) is not just an autobiographical attempt to give corporeality and plasticity to the language, but also to give spaciousness and care to my own and other languages to try to communicate dance and art. The project is aimed at anyone who can speak a language and is fascinated by the context of the moving body, rhythm and language. The starting point was the question, “how does my own language sound like if I could not understand it?”
Project Speech(less) has been through a first draft of Loona Nights in Dansehallerne in 2015, a screening during CPH Stage and a 2 week trial at Forsøgsstationen in 2018, before we were invited to Bådteatret in 2019, to Teater Momentum 2020 and Probebühne Tanzplan Hamburg 2020.

Here is a Trailer of the staged experiment, where Annika invited dancers with another mother tongue to dance to Angela Merkels new years speech and in return, they offered their national speech. The question was, if the mother tongue lives in your body!? https://vimeo.com/320340253

The review is in Danish, but google translate works okay
In the end of it is a silent video. The drawings are made by a French graphic designer Yukao Nagemi. He did instant drawing, while watching the performance. The video got shown to the audience, after the performance.
http://sceneblog.dk/treffpunkt-speechless-annika-kompart-paa-ubaaden-baadteatret/

Artistic Statement:
DANCE IS NOT JUST DANCE!
“Growing up in a society, where the highest goal is to be perfect, to be disciplined and to not fail, I want to open up to rethink social values with my art. My interest lies in the imperfection of the human being, seeing failure as a gift to discover something new. Welcoming the different! Drawing on the sensible, intelligent human being in motion. Making the invisible, visible, by stimulating our senses, reusing the given, to open up for transformation and otherness. By embracing, allowing curiosity and playfulness.”

Artistic Research as part of my MfA studies at DDSKS
https://vimeo.com/411333416
Password: ArtisticResearchKompArt

DISCONTRL a collab. with singer Thea Soti:
https://vimeo.com/459894323

Ixelles, Belgium

Opinion Public is a contemporary dance company that was created in Brussels in 2010. This collective is comprised of Etienne Béchard, Johann Clapson, Sidonie Fossé and Victor Launay. They have met through their education at the Rudra school and the Béjart Ballet Lausanne.
The choreographic work is based upon neo-classical and contemporary techniques. It is rich in movement, dynamism, pace, fluidity and it is particularly physically demanding. The floorwork as well as the partnering fall within the choreographic research.

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The created pieces are inspired by today’s sociological context. The artists defend the causes they take at heart by using not only dance, but also drama and digital media to create their works. Each year, a new creation is being added to their repertoire: Opinion Public, Apart/heid, Obsolescence, Post Anima, Mr. Follower, Arcadia, Aeterna ,Rocking Chair (a multiple-choice show via a smartphone application, in 2019), Maniac, SO’FAR, Ecran de Fumée and Contact Zéro.
The company has also been invited to perform outside of Belgium, in Europe and in Russia by participating in international festivals, to name but a few: Le Temps d’aimer in Biarritz, France; The Kuopio Dance Festival in Finland, The Black Box Festival in Bulgaria, The Open Look Festival in Sint-Petersburg, The Baltic Ballet Festival in Lithuania, etc.

Performance presentation

TITLE: MANIAC
The worry of order and the meticulous management of each deed and gesture may be virtuous, but what about the mania, if not that it haunts each of us like an irresistible temptation. So many gestures, so many fixed ideas that reassure and frame us, constituting what we believe to be: multiple “I's” which create confusion about our own identity … An interior struggle, an obsession with precise gestures by a deliberately neutral-gender duo. Harmony, gentleness, opposition: Which facet will have the last word? 

Ivana Balabanova

Skopje, North Macedonia

Ivana Balabanova (29.05.1992) is a dancer, choreographer and interdisciplinary artist from Skopje, North Macedonia. Her experience is broad in both the aspects of creation and cultural management. As an artist who not rarely and courageously explores the possibilities with the team, space, art forms, always creating strong visuals for the audience, sometimes with the act and bodies of the dancers, and sometimes helped by technology.
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So far, she has created dance pieces that have been performed all over Macedonia, Berlin, Zagreb, Cagliari, Belgrade, etc. “Rising” – 2013 (Dance Fest, Skopje), “Pieces” (The rooftop of the building”Makedonska Falanga”, 2016), “Silence” – (National Ballet, 2018), “Ether” – Audiovisual performance (YCC, 2019), “Apoptosis” – (YCC, 2019), “Her own space” – with the composer Alessandro Olla (Dance Fest, 2020), “The Conversation Chair” – choreodrama (YCC, 2021), “RAW” (Beatrix Dance League, 2021), “Code #9” (Pogon – Zagreb, 2022), “In my head” (St Petersburg, 2022)
Performance presentation
CODE #9 was developed within two artistic residencies in Barcelona, 2021 & North Macedonia, 2022.What at the beginning started as an exploration about darkness and the external relation of the body and the lightness/darkness, was later developed into an intimate solo performance, reflecting not only the external, but moreover the internal aspects of darkness found into the body and soul of the performer, guiding the performer i to self-exploration of the soul and different aspects of mere existence. The very small source of light, used in the performance, ads to the journey of the performer as a partner, but, at the same time, the minimalistic scenography and centrally focused action, brings the audience into an immersive state witnessing the embodiment of the performer. The electronic music within this piece was developed simultaneously in relation with the research process and the play between the movement and the music remains an act of playfulness and mutual collaboration. The music, being played live ads to the liveliness of the creation as both performers (the composer and the dancer) communicate together and co-exist within the creation.

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