€ 16 / € 13
Meet the artists after the performance on 24/05
Ayelen Parolin, the Brussels-based choreographer originally from Argentina, has been building up an enigmatic body of work for more than ten years. Always quite singular creations, they nevertheless all share a methodical scrutiny of human nature. In Autóctonos, which is premiering at the festival, she rebels against the performance society and the tyranny of positivity. Rejecting all forms of homogenisation and conformity, she summons up what is often repressed: negativity, difference and disharmony. She attempts poetry and action, the crude and the subtle, violence and order, hoping for an emancipated human community to emerge. Perhaps it’s only when we accept contradictions that we can build a collective again. A show for four dancers and one pianist, Autóctonos presents a ritual that draws on several sources but is nevertheless common practice. We are all natives and we are all foreigners – to others and to ourselves.
Concept & choreography
Ayelen Parolin, with the creative contribution of the performers
Varinia Canto Vila, Ondine Cloez, Aymará Parola, Sophia Rodríguez
Musical creation & piano
Marie Artamonoff & Coline Firket
les ateliers costumes du Théâtre de Liège
Kunstenfestivaldesarts, Théâtre Les Tanneurs
Kunstenfestivaldesarts, Théâtre Les Tanneurs (Brussels), Théâtre de Liège, Montpellier Danse 2017, Centre Chorégraphique National de Tours/Thomas Lebrun, Le Gymnase CDC Roubaix-Hauts de France, Le CCN Ballet National de Marseille, CDC Atelier de Paris & Theater Freiburg (DE)
Fédération Wallonie-Bruxelles – Service de la Danse, WBI, WBT/D, SABAM & SACD
La Raffinerie / Charleroi Danses, Théâtre Les Tanneurs, Les Brigittines, Grand Studio, Studio Cie Thor, Studio Ultima Vez, ZSenne Art Lab, Centre Chorégraphique National de Tours & Le Gymnase CDC
Ayelen Parolin is artist in residence for 2016 & 2017 at Théâtre de Liège (creation) and Théâtre Les Tanneurs (administration), and is accompanied by Grand Studio
Ayelen Parolin is offering workshops for associations in the framework of the performance (in collaboration with Article 27). You can contact Patricia Balletti for more information.Back to top
About the project
According to the Oxford Dictionary of English, the definition of autochthonous is “(of an inhabitant of a place) indigenous rather than descended from migrants or colonists”. The word is an adjective, but more than anything else it is a concept people wanted to dismiss after the Second World War, just as they dismantled the theory of race that had been believed to be resolutely scientific until then… While that may be true, the concept has stuck, even more so in recent decades thanks to this relationship to land, if not to origins, resonating with exponential levels of intensity, whether we’re talking about regionalism, nationalism or populism… Lots of little rocks that have become islands, even flourishing archipelagos, in the democratic pond we are all splashing about in. It is something to stifle a little more an already fairly anaemic “us” and make more obese an ever more narcissistic and closed in on itself “I”.
In his various writings, the Korean-born German philosopher Byung-Chul Han examines our era and describes it as a performance society with an overabundance of positivity. No longer a society of discipline and duty (which belonged to the previous two centuries) but rather one of power, of individual desire. An era of freedom and deregulation that fully rejects the negative and extols the positive. An era when it is no longer about solving problems but finding solutions, where there are no blind people but visually impaired people instead, no more exiles or refugees but migrants… the watchwords are no longer obedience, law and duty (overly negative) but responsibility, initiative and motivation. Personal approaches and self-actualisation are the consequences of this positive ideology of the verb to be able which encourages everyone to behave as if we were all entrepreneurs. No more exploiting or exploited, no more master and servant, but a device of self-exploitation that is much more efficient in terms of productivity and growth than exploitation by a third party since it goes hand in hand with a personal feeling of freedom… Here too, it is clear, the Other, the Us, is irrepressibly diluted in favour of an ever more dissatisfied Me, isolated and enclosed in this device which presses us to keep moving forward, invariably, to the extent that we forget ourselves, even lose ourselves completely. Depression, burn-out or in contrast attention deficit hyperactivity disorder are the direct pathological consequences of this intentional exploitation of ourselves, pushed to such an extent that the subject finds him or herself powerless to say “no” to the imperatives of performance and to the logic of “being able to do it all” … Explosion of Us. Implosion of Me. And the present like a black hole.
This dual grouping of ideas and images has served as the landing stage for Autóctonos, a scenic raft onto which Ayelen Parolin has invited five strong, all very singular individuals: the composer and pianist Lea Petra, and the choreographers and performers Ondine Cloez, Varinia Canto Vila, Aymará Parola and Sophia Rodríguez. A deliberately eclectic crew that she is bringing on board in an intangible war involving structure and spontaneity, the essential and the trifling, the animal and the political. A deliberate choice for this project which has chosen the official challenge of delving into this overabundance of positivity around us that evens out, standardises, smooths out and equalises the intrinsically chaotic complexity of everything. No negativity though; the answer would be just as unambiguous and uniform. But there would be more of a desire to orchestrate a complex and plural “everything” by deliberately playing both with disharmony, dissonance and asymmetry and with contradiction, incongruity and instability.
Olivier Hespel, May 2017Back to top
Ayelen Parolin (b. 1976) was born in Buenos Aires, Argentina and lives and works in Brussels, Belgium. She studied at the National School of Dance and the San Martin Theatre in Buenos Aires. In Europe she followed the e.x.e.r.c.e. formation in Montpellier. As a performer she worked for Mathilde Monnier, Mossoux-Bonte, Jean-François Peyret, Mauro Paccagnella, Louise Vanneste, Alexandra Bachzetsis, Anne Lopez and Riina Saastamoinen. Since 2004, Ayelen Parolin develops a personal work. Each of her creations centers around a recurring motif, from which the choreography is built up. She created her solo 25.06.76 in which she explores her autobiography. With Troupeau/Rebaño she confronted the animal that lies dormant in each of us, with SMS and Love she questioned femininity and its development within a group. For her work DAVID she contemplates the male figure. This piece is also an exploration of senses and a deconstruction of clichés from a canonical model, a motive as well, and symbol of manhood: the David of Michelangelo. For Heretics, Ayelen Parolin collaborates with composer Lea Petra for the first time who performs a piano piece live during the performance. Heretics is an obsessional triad involving endurance, repetition, and variations on the triangle as a leitmotiv. In 2015, she has focused on women. First with the duet Exotic World (unusual meeting with the director and former stripper Sarah Moon Howe proposed by the SACD and XS festival) and then with the solo La Esclava, co-written and performed by Lisi Estaràs. In July 2016, she presented Nativos in the Seoul Arts Center, a new work with 4 Korean dancers in which Ayelen Parolin sought to reactivate the choreographic materiel from Heretics whilst confronting it with Korean culture and in particular, its strong shamanic tradition. She is one of four winners of the Fellowship awarded by the Pina Bausch foundation for 2016. She has presented her work in Belgium, France, Italy, Spain, Greece, Norway, Finland, Germany, Austria, Luxembourg, Switzerland, Serbia, Holland, Estonia, Israël, New York, Mexico, Ecuador, Argentina and South Korea.Back to top