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flamenka, već pokret. Dakle, kada ljudi kažu da „on meša kulture“, ja kažem „ne, ja ih tumačim“. Prevodim u oblast savremene igre. Radili ste sa budističkim mo- nasima, libanskom pevačicom, korzikanskom vokalnom gru- pom, vaš komad TeZukA inspi- risan je japanskim mangama... Postoje li neki elementi koji su deo islamske kulture u kojoj ste bili odgajani, budući da vam je majka Flamanka, a otac iz Maroka? – Volim tok koji je svojstven arap- skoj kaligrafiji, gde su slova poveza- na i reči prepletene. Pisanje zdesna nalevo ponekad mi je pomagalo da sagledam stvari iz druge perspekti- ve. Kada sam bio dete, imali smo sti- hove iz Kurana napisane kaligrafski iznad naših vrata. Voleo sam tu este- tiku. Mislim da je ta estetika deo me- ne, arapski osećaj lepote. Ali ideju o onome šta ja smatram lepim obliko- vala je i moja majka, koja je katolki- nja i koja me je vodila u katedralu u Antverpenu kako bi mi pokazivala sli- ke u njoj. Istovremeno, ima mnogo stvari koje moji roditelji ne smatraju lepim, ali koje sam naučio da cenim. Mislim da je zaista važno ispitati stva- ri koje smatrate ružnim, jer su to če- sto predrasude. Umete da kažete za sebe da ste više crtač nego koreograf? – Moja estetika, moj osećaj za le- po je dolazio iz mog detinjstva, što je bila mešavina kaligrafije i flaman- skih slikara poput onih koje vidite u katedrali u Antverpenu i Rubensa. Moj glavni izraz je bio crtanje i za- ista mislim da sam mnogo više sli- kar nego koreograf. Kada stvaram komad, to je kao crtanje. Čak i kada pevam, ja zapravo igram, to je kao koreografija unutar tela, vaša usta se kreću, vaša dijafragma, vaša nepca – morate imati osećaj pokreta koji ge- neriše zvuk, što je koreografija, što je igra, tako da zapravo igrate i ka- da pevate. I igra je za mene zapravo kada pravim krug i crtam.
T he 16 th edition of the Belgrade Dance Festival will be coloured by “Emotions”. Under that slogan, 16 ballet and contemporary dance companies from 11 countries, with 20 cho- reographic works and 25 solos and duets, will present themselves to the Belgrade public from 22 nd March to 12 th April. Among them will be one of the most intriguing contemporary choreographers and cur- rent artistic director of the Royal Ballet of Flanders, Sidi Larbi Cherkaoui. Prior to the o cial start of the festival, his East- man troupe from Antwerp, the city where he was born, is set to perform Fractus V at Belgrade’s Sava Centre. Inspired by the writings of linguist and political philoso- pher Noam Chomsky, the piece deals with the way in which an individual can pro- tect themselves from political and social propaganda, while the author himself al- so appears on the stage. “This is not the rst time my works will have been performed at the Belgrade Dance Festival… I think that Geneva Ballet, Introdans, and Aakas Odedra brought some of my works in the past. And that was successful, as I heard. This is the rst time I will be part of this Festi- val, together with my Antwerp based troupe – Eastman. And I will be on stage, together with four dancers from very di erent geo- graphical origins and backgrounds, and an equally large group of musicians in a hybrid blend of Japanese drums, Korean sounds, Congolese voices and Indian sarode. I pre- sented a short creation In 2014 for the 40th anniversary of the Pina Bausch’s Wuppertal Tanztheater.” In Fractus V you address the fractures
between individuals and society, while the work is inspired by the writing of Noam Chomsky. How come Chomsky? - If I interpret Chomsky’s ideas for myself, I gain insight into the fact that the only way an individual is able to protect themselves against political and social propaganda is to study all the information available. Each day we are bombarded with news that attempts to in uence our thinking. Looking for prima- ry movements on the edge of tribal and folk- lore, this short performance raised the desire for more. In Fractus V, I want to deepen ques- tions of information and manipulation; prop- aganda versus a more‘objective’and factual approach. I also take, as a starting point,‘lib- erty of expression’. We have the information, but we don’t know how to use it. In this piece you pose a lot of questions that are di cult to answer... -The questions that I ask myself:‘It seems certain freedoms still need to be framed?’‘How neutral can our thinking be?’‘How much do we identify ourselves with the causes of the injustices in society?’‘Where does personal responsibility start or end?’Chomsky’s funda- mental appeal for‘freedom of speech’against political attempts to control and manipulate the media resonates with my need, as an art- ist, for a space to constantly reinvent my own identity. Evolution is the combined result of an endless series of minor and major revo- lutions. Every day is a rite of passage, a point of no return… With nine di erent national- ities and outspoken identities on stage, dia- logue will come to form an intense, dramat- ic and uent whole. Fractus V stands for the natural fractures that are necessary to grow and become stronger.
When people say “he is mixing cultures”, I say, “no, I am translating”. I’m translating into the eld that is contemporary dance Kada ljudi kažu: „On meša kulture“, ja kažem: „Ne, ja ih tumačim“. Prevodim ih u oblast savremene igre
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