Participants 2024

These are the participants of RIDCC 2024!

Here you can find all the information about the duets, choreographers and dancers
 

The selected duets: 

[…it is contained in…] – Joanna Holewa Chrona & Yared Tilahun Cederlund
Agapé – Jeremy Alberge
Are You Guilty – Min Kim
Dead Mouse – Milena Ugren Koulas
Duet for Kele and Thalia – Omani Ormskirk
False Memories – Tu Hoang & Hiro Murata
G.O.A.T.S. (going on a trip, sis) – Billy Barry & Gianni Notarnicola
HÀ-BI-TUS – Alessandra Ruggeri
I•S•T – JA Collective
Life in Lycra – Andrea Costanzo Martini
Logophile – Shane Taylor Urton
MAMIHLAPINATAPAI – Nicolás Gatica & Victor Morales 
Political Spaghetti – Ayako Takahashi
SOMOS – Carla Cervantes Caro & Sandra Egido Ibañez
Stay with Me(!) – Antontin Comestaz
Te odiero – Candelaria Antelo & Arthur Bernard-Bazin
 

[...it is contained...]

[…it is contained in…]

By Joanna Holewa Chrona & Yared Tilahun Cederlund – Land Before Time

About the choreography […it is contained in…]
The work explores the interplay and connection between two bodies without direct physical contact. How can we experience the sensation of connection and the mutual understanding of the next movement through improvisation? Both proximity and space are equally essential, with an ongoing focus on vibrations and responsiveness. Individual explosions and outbursts occurring while both performers maintain a close relation to one another. The next movement is strongly dependent on the former. Water is the inspiration to form the flows and currents, combined with freestyle and popping the result is a specific material contained in the work.

About the choreographers
Swedish artists Joanna Holewa Chrona and Yared Tilahun Cederlunds individual dance journeys hails back 15 + years, through both streetdance battles and stage performances. 2019 they formed the duo ”Land Before Time” to further explore their connection and creativity. Within the duo they posses many different roles such as dancer, choreographers, producers, djs and sound composers. Over time, a common language of movement has emerged with qualities inspired by WATER and its properties. The duo is fascinated by the feelings and states that water carries with it and the methods used to convey the presence of water.

Credits
Choreography: Joanna Holewa Chrona & Yared Tilahun Cederlund
Performers: Joanna Holewa Chrona & Yared Tilahun Cederlund
Music: Yared Tilahun Cederlund feat Ntsika Fana Nxganga

 

Agapé

by Jérémy Alberge

About the choreography Agapé
In the Greek mythology, Agapé means unconditional love, a love of mankind. The highest form of love. The intention behind Agapé is to create a dynamic based on listening attentively and selflessly. Dancers expose themselves, inviting the audience to join them in surrendering to a state of vulnerability and openness. Agape rests on embracing individual differences.
The artists on stage are aiming to create multiple types of intimacy between a woman and a man, moving away from the masculine and feminine patriarcal norms and their attributes.

About the choreographer
Jérémy Alberge was born in 1992 in Paris. From 2013 until 2015, Jeremy studied at the Junior Ballet Geneva.
From 2015 until 2017, he worked full time with Inbal Pinto & Avshalom Pollak Dance Company (Israel). After this he worked with Vertigo Dance Company and Roy Assaf.
In 2021, Jeremy created Lamalo Company. With his own company he created several pieces among others a solo “+10” and “Noam” which both won several international prizes. Agapé is the latest creation of the Lamalo Dance Company.

Credits
Choreography: Jérémy Alberge
Performers: Pauline Richard and Jérémy Alberge
Music: Patrick De Oliveira, Alexandre Tharaud, Les Violons du Roy, Bernard Labadie – J.S. Bach_ Keyboard Concerto In D Minor BWV 974_ II Adagio
Production: Lamalo Dance Company

 

Are You Guilty

by Min Kim

About the choreography Are You Guilty?
Are You Guilty? explores the famous ‘bystander effect’, the social psychology theory that people are less likely to help someone in need if there are other people present. It asks questions about the nature of empathy and our appetite for coming to the aid of others.

About the choreographer
Min Kim is a choreographer based in Seoul South Korea. He is continuing to think about what kind of art work should be presented in today’s era.

Credits
Choreography: Min Kim
Performers: Lee Changmin & Min Kim 

 

Dead Mouse
Pavlos Vrionides

Dead Mouse

by Milena Ugren Koulas

About the choreography Dead Mouse
In extreme life-threatening situations, if fighting or fleeing is impossible, the last biological and instinctual survival strategy is a complete collapse of muscles and energy, or immobility and paralysis known as “playing dead”. This biological and instinctual response reduces the fear and pain to limit the suffering, or if the opportunity occurs, creates the capability to fight or flee. In the case of survival, some different factors and actions can help prevent post-traumatic stress disorder and help develop resilience. One of them is love and proper support from another person.

About the choreographer
Milena Ugren Koulas was born in former Yugoslavia. She holds a BA diploma from Codarts University of Arts and an MA from COMMA Master Choreography (joint Fontys and Codarts degree). She lives in Cyprus and closely collaborates with her husband musician George Koulas and for the last few years also with her daughter musician Dafni Koulas. With her Stylish Junkies team, she has been conducting research on trauma and resilience. “Dead Mouse” is one of the choreographies created based on that research. With the Stylish Junkies team, Milena has been organizing workshops and classes for professional dancers in Cyprus.

Credits
Choreography: Milena Ugren Koulas
Performers: Apollonas Anastasiades & Christopher Mills 
Music: George Koulas & Dafni Koulas 
Made possible by: Cyprus Deputy Ministry of Culture
Created for Cyprus Choreography Platform

 

Duet for Kele and Thalia

Duet for Kele and Thalia

by Omani Ormskirk

About the choreography Duet for Kele and Thalia
This piece is a playful game that challenges the dancer to use their technique and dare to look at it through a different lens. It is a curious examination of movement for movement’s sake which can in fact drive us to have a reaction. Whether that is emotional, visceral or something completely different is not for me to decide. I am but a vessel, it is not my place to tell the spectator how to respond. What interests me is how individual histories weave and blend together. How individual pasts and paths meet in the present and how every step taken so far has led to this point. Everything is circular, a cycle, an inevitable resurfacing of patterns I find myself subjected to again and again.

About the choreographer
Born in Rotterdam, Omani Ormskirk, started dancing early in life. After completing her high school studies at Codarts, she graduated from my The Juilliard School in New York City in 2021. There, she had ample opportunity to choreograph for workshops and other school productions. She had the possibility to work with composers to create work as well as choreographing to existing music. Taking opportunities to create wherever possible is a great passion of hers and she is wildly interested in the art of creation. Meeting and working with people in this way is on of the finest ways of collaboration.

Credits:
Choreography: Omani Ormskirk
Performers: Kele Roberson & Thalia Crymble
Music: Matthew Foley

 

False memories
MASDANZA

False Memories

by Tu Hoang & Hiro Murata 

About the choreography False Memories
False Memories is created around the concept of the psychological mind through the perspective of 2 individuals that have an unspeakable connection with each other. In an abstract way, the feeling stays that they are one entity in their
spiritual world, whether they are together or separated in physicality. Our memory is a very fragile concept. Sometimes we remember things the way we want it to be. Our imagination helps us to escape our own reality in order to find comfort or peace.

About the choreographers
Tu Hoang is an independent choreographer from Vietnam, now freelancing in Rotterdam. With a background in Kungfu and classical ballet, He blends Eastern and Western dance styles in his award-winning choreographies. His works, False Memories and Trial have earned numerous accolades in competitions worldwide. Additionally, he is set to become the newest house maker at Korzo theater, one of the most renowned production houses in the Netherlands.
Hiro Murata is a dancer and a choreographer from Japan. He has wide rage of background such as Ballet, Contemporary, and urban styles. He started dancing in Europe in 2018 at Conny Janssen Danst and currently freelancing based in Rotterdam. As a maker, he presented several pieces at Conny Janssen Danst and False Memories which he created with Tu Hoang got awarded in international competitions.

Credits
Choreography: Tu Hoang & Hiro Murata
Performers: Tu Hoang & Hiro Murata
Music: David Granstrom “Obsidian” and Flxk1, DB1 “A2”
Special thanks to: Marjolein Peters, James Sutherland, Conny Janssen Danst

 

G.O.A.T.S. (going on a trip, sis)

G.O.A.T.S. (going on a trip, sis)

by Billy Barry & Gianni Notarnicola

About the choreography G.O.A.T.S. (going on a trip, sis)
The follow-up duet to B.O.A.T.S – based on a true story find Billy and Gianni sent on a trip of deeper inspiration. This work unpacks what it means to trip, literally and figuratively. Within a friendship, how do two people trip into and away from each other, physically and emotionally ? How do they prepare for a trip, a girls’ getaway ? How do they navigate the euphoria of “tripping” ? And what kind of trip will they take an audience on via this exploration ? It’s a question of time and how time affects us all. It’s Billy and Gianni’s daily trips, jokes, moments of laughing at themselves and the silliness of life. Speaking with the same humor, they find an artistic flow through their ironic language and almost cynical approach toward old fashion standards. They find union in a dimension where reality has rainbow colours and its essential value is the celebration of themselves.

About the choreographers
Billy Barry (New York, USA) and Gianni Notarnicola (Puglia, Italy) began their journey as co-creators while dancing together in Batsheva Dance Company. Inspired by each others natural quirks and distinct movement languages, they began to create a new language with their own combined voices. After creating many small works individually, the two premiered their debut work, B.O.A.T.S (based on a true story), together in March 2022 at the Batsheva Dancers Create in Tel Aviv, Israel. In 2023, they debuted solos in a shared evening and premiered their second creation as co-choreographers, a half evening work titled G.O.A.T.S (going on a trip, sis) at the Tel Aviv Dance Festival.

Credits
Choreography: Billy Barry & Gianni Notarnicola
Performers: Billy Barry & Gianni Notarnicola
Music: L’oiseau de feu (The Firebird) by Igor Stravinsky Performed by Clara Rockmore and Nadia Reisenberg
Sound Engineering: Sean Howe
Special thanks to Naomi Perlov and Tel Aviv Dance/Suzanne Dellal, Batsheva Dance Company, Lila Rouge, Guy Shomroni and Melanie Benson.

 

HÀ-BI-TUS

HÀ-BI-TUS

by Alessandra Ruggeri

About the choreography HÀ-BI-TUS
“How often do we get dressed with clothes that are not our own? How often do we dress others with clothes that are ours?”
‘To inhabit our bodies’ is the most intimate gift we can give ourselves.
It’s not something we do naturally, we have to build it just like a dress. Sometimes it requires cutting pieces and adding others. It can be liked and approved, as well as disapproved. But when the form is intimately connected to its content and the content to its form, there is perfect harmony. But to what extent is it actually our choice?

About the choreographer
She studied classical & contemporary dance and in 2018 she graduated from UDA Urban Dance Academy (Rome). She studied Floorwork and Contact Improvisation between Bxl and Paris. Since 2018 she dances in the DaCruDanceCompany. In 2022 she reaches the finals at the International Competition Cicbuny (Spain) as co-choreographer and dancer of the duet “The Conversation” and at the Premio Cerati (Italy); with the same work she performs in two tours in Spain in 2023. As choreographer of the performance “HÀ-BI-TUS” she won the FirstPrize in Choreographic Composition at Gubbio Danz Week 2023 and the Production Prize; with the same work she was selected as a guest at the FUTUROFestival2024 in Rome and ad Finalist of the competition ProspettiveDanzaPadova.

Credits
Choreography: Alessandra Ruggeri
Performers: Anya Pozza & Kyda Pozza
Music: Timber: Roger Goula – Cogitate, Roberto Musci – Rack railway to, Mary Lattimore – Sometimes he’s in my dream
Costume: Kyda Pozza

 

I•S•T
Skye Schmidt Varga

I•S•T

by JA Collective (Jordan Johnson & Aidan Carberry)

About the choreography I•S•T
This piece: I•S•T explores two people who are stuck in a box of sorts. They are trying to navigate their way towards the light creeping through, but continue to be distracted or become disjointed. Throughout the piece they are pulled towards each other as support. The two friends watch each other to see how each is responding to their shared situation. They journey through trying to access the right codes but perhaps end up right where they started.
I•T•S in its full length version was originally created as a part of the LAUNCH:LA artist residency program of L.A. Dance Project, and premiered on January 25th, 2024 at L.A. Dance Project

About the choreographers
JA Collective is a creative collaboration between Los Angeles natives Jordan Johnson and Aidan Carberry. JA Collective formed at University of Southern California when Jordan and Aidan decided as college juniors to explore making work together. Aidan’s strong background in various hip-hop forms and acting, plus Jordan’s contemporary and theater background lead to them developing a unique amalgamated movement style together. They are known commercially for their work with the band half•alive for which they’ve made international touring shows, music videos, and tv performances. Recently, they choreographed movement for a Belvedere Vodka commercial featuring Future premiering in 2024 and for Frank Ocean’s recent 2023 Coachella set. They have also established a strong presence in the LA community for their on-screen dance projects. Aside from their commercial success, Jordan and Aidan are also pushing into the concert dance forum. They have assisted Emma Portner for her choreographic works with Hubbard Street Dance Chicago and Norwegian National Ballet. They have also premiered their own live concert works in Los Angeles. In late 2023 they presented a duet under the direction of and in collaboration with William Forsythe throughout Europe. Through JA’s continual play in different realms of dance and multidisciplinary forms, they hope to challenge and positively impact the community around them. 

Credits
Choreography: JA Collective (Jordan Johnson & Aidan Carberry)
Performers: Jordan Johnson & Aidan Carberry
Music: Composed by J Tyler & Emiko Rochelle
Special Thanks to: LAUNCH:LA artist residency program of L.A. Dance Project, Or Schraiber, Rubberlegz,  Janie Taylor

 

Life in Lycra
Cedric Delestrade

Life in Lycra

by Andrea Costanzo Martini

About the choreography Life in Lycra
A duel between a dancer and a choreographer .Wearing nothing but outrageously tight Lycra outfits, two performers fight for the audience’s attention leaning on their wit and quirky strengths and exposing how silly things can become when taken too seriously.

About the choreographer
Andrea Costanzo Martini was born and raised in Italy where he received his first education in contemporary dance and ballet. In 2006 he joined the Batsheva Dance Company and later, danced with the Cullberg Ballet and the Inbal Pinto and A. Pollack Dance Company. Since 2013 he is creating and performing his own works.
He received the first prize for dance and Choreography at the International Tanz Solo Competition in Stuttgart 2013 and was awarded several prizes for two solo works. Since then Andrea focused on smaller scale creations.
Andrea created for Balletto di Roma, NDCWales, Pollak Dance Theater, Grand Opera Avignon and BTT. Andrea’s research in dance focuses in both extreme physicality and theatricality of the performance act and explores the power balance that is created during a show between the dancers and the spectators. Always filled with humour and supported by a wide range of skills, Martini’s work questions and plays with the expectations of the dance medium.
Andrea is also a Gaga instructor and leads dance workshops around the world.

Credits
Choreography: Andrea Costanzo Martini
Performers: Avigail Shafrir & Andrea Costanzo Martini
Music: Andrea Costanzo Martini, Angelo Branduardi
Created in the context of the project 7×7 for the Grand Opera Avignon, directed by Emilio Calcagno. Original performer: Béryl De Saint Saveur.

 

Logophile
Morgan Lugo

Logophile

by Shane Taylor Urton

About the choreography Logophile
Logophile means “lover of words”. Language in its many forms helps us connect. Perhaps we strengthen connection when we can be more specific, an intuitive and graceful kind of specificity. We follow two people seemingly lost in the woods. The narration accompanies them with a poetic, nature-documentary-esque tone as they experience scenes with numerous emotions. Drawing inspiration from John Koenig’s Dictionary of Obscure Sorrows, the narration incorporates Koenig’s new words for emotions we have yet to name. If we change, so should our languages. Dance theater here is the extension of the emotion as it happens internally, before it’s verbalized.

About the choreographer
Shane Tyler Urton – native of North Carolina, USA – graduated from the University of North Carolina School of the Arts. As a performer Shane has dance in companies such as the Joffrey Ballet (Chicago), the Royal New Zealand Ballet, the Norwegian National Ballet, and Opera Ballet Vlaanderen (Antwerp).
As a maker, Shane tends to use various dance languages since having created works on ballet & contemporary dance companies. Language itself often plays a role in Shane’s work; be that use of text or drawing inspiration from literature. Beyond dance and language, Shane aspires to make more work from a multidisciplinary focus.

Credits
Choreography: Shane Taylor Urton
Performers: Nelson Earl & Willem-Jan Sas
Music: Cuckoo (Cosmo Sheldrake) + O Belle Nuit (Jacques Offenbach)

 

MAMIHLAPINATAPAI
Nicolás Gatica

MAMIHLAPINATAPAI

by Nicolás Gatica & Victor Morales

About the choreography MAMIHLAPINATAPAI
When conflict erupts, two beigns explore violence through interpersonal relationships. Does conflict makes us human? Do we bother to seek common ground?
Through chaos, we enhance into our human instinct of survival at any cost and move towards damage. Manipulation and acceptance become part of an endless cicle that is only broken through communication, a communication that’s often as hurtful as beautiful.
Through chaos, we exist.

About the choreographers
Nicolás & Victor, friends, dancers and choreographers, boasting over a decade of collaboration. Their artistic journey revolves around the concept of human interactions and how they abstract themselves through the body to create movement. With a keen eye for detail and a profound understanding of their own body’s language, Nicolás & Victor craft performances that resonate with the meaning of beign human, inviting the audience into a world where movement serves as a vessel for storytelling, conflict and internal exploration.

Credits
Choreography: Nicolás Gatica & Victor Morales
Performers: Nicolás Cancino & Mónica Casanueva
Music: Nicolás Gatica
Props Design: Carlos Araujo

 

Political Spaghetti

Political Spaghetti

by Ayako Takahashi 

About the choreography Political Spaghetti
Political Spaghetti is the piece that aims to highlight how we process touches mentally and somatically. As the work progresses, the performers share touch, space, and energy to show how these connections can influence others to share their own vulnerability. By challenging hegemonic perceptions of identity and bodies in motion, this work reveals inner landscapes and amplifies the need for vulnerability to develop deeper empathetic capacities across diverse communities.

About the choreographer
Ayako Takahashi is a movement based artist, originally from Kanagawa, JAPAN. After dancing at Urbanity Dance, Nadine Bommer Dance Company, Mari Natsuki Terror, she established Ayalis In Motion in NY, USA in 2018. She presented her works at BAM, Lincolin Center, Boston Museum, New York Live Arts and was invited to MASDANZA, Istanbul Fringe Festival, Boston Contemporary Dance Festival, BETA publica, Sibiu International Theater Festival, etc. She is also holding MA in Dance/Movement Therapy from Lesley University, and working as R-DMT and LMHC (Licensed Mental Health Counselor).

Credits
Choreography: Ayako Takahashi
Performers: Akane Koizumi & Nono Oue
Music: Felix Mendelssohn, TOOL, Irish Folksong, and various others

 

SOMOS

SOMOS

by Carla Cervantes Caro and Sandra Egido Ibañez

About the choreography SOMOS
The uniqueness of this piece lies in the connection and the partnering work as both bodies remain interconnected throughout, creating a single body made up of two. Align with its artistic purpose, threading technique is used as the main language, creating connections, links, and pathways between the two bodies. Elegance and harmony as a result of the smooth combination of visually clear and precise movements.

About the choreographer
Carla Cervantes Caro and Sandra Egido Ibañez. Multidisciplinary mediterranean artists. Dancers, choreographers, and artistic content creators related to photography, film, and dance.
Renowned for their ability to show new perspectives through their images and creations where the construction and composition of their bodies denotes a strong connection with geometry, architecture and design.
Shaping their identity, creating and working together since 2013.
Their movement code is based on a physical yet delicate floor work that incorporates influences from contemporary dance and threading. Partnering work, structuring, playing with gravity and illusory effects are other representative aspects that identify the essence of their work. 

Credits
Choreography: Carla Cervantes Caro and Sandra Egido Ibañez
Performers: Carla Cervantes Caro and Sandra Egido Ibañez
Music: It’s fine, but it hurts by NICO CASAL and Cracked mirros and stopped clocks by ORIGAMIBIRO

 

Stay with Me (!)

Stay with Me (!)

by Antonin Comestaz

About the choreography Stay with Me
The vast theme of the romantic relationship is an eternal inspiration. Often considered an inaccessible absolute, love ultimately has no precise definition, as each couple is a unique story. Inspired by the 1979 city pop song Mayonaka no Door by singer Miki Matsumara, the piece has a double meaning. In the romantic sense, it means “Don’t leave me,” but it can also mean “Keep up! Stick with me!” Ultimately, stay with Me (!) is less of a piece about relationships than depicting a (fictitious) couple with their singularity in which bodies and minds attract, withdraw, chase, seek, and find each other.

About the choreographer
Antonin Comestaz is a French choreographer based in The Hague. Since 2013, he has created works coproduced by Korzo Theater and Netherlands Dance Theater, as well as for various companies and distinguished dance academies. His works have been invited to numerous international choreographic competitions and festivals, including Aerowaves Priority Companies 2024. Antonin’s style is characterized by a playful tone and a personal, inventive, and detailed dance vocabulary with elements borrowed from folk, mime, breakdance, commercial dance, ballet, contemporary dance, and cartoons, knitted together by a refined sensibility for the absurd.

Credits
Choreography: Antonin Comestaz
Performers: Aya Misaki & Hiro Murata
Music: Soundscape by Antonin Comestaz / Miki Matsubara (song: Mayonaka no Door)
Light design: Antonin Comestaz & Albert Tulling
Produced by Korzo Theater.

Te Odiero
Jingzi Zhao

Te odiero

by Candelaria Antelo & Arthur Bernard-Bazin

About the choreography Te odiero
Te odiero represents the meeting point between love and exasperation, which boost love relationships and lead to sentimental ups and downs. A place where movements and desires clash with the clumsiness of the bodies they inhabit. Confrontation and union merge and the performers embark upon a dazzling dance that is both volatile and uniting.

About the choreographer
Baptised in 2013 by Arthur Bernard-Bazin and Candelaria Antelo, HURyCAN is a performing arts project that claims the communicative need of movement, its limits, and its personal and emotional dimension. The work exposes a physical and sensitive experience through naive and transgressive games.
Candelaria Antelo began her contemporary dance studies in Buenos Aires. Then she traveled to study in England and later in Madrid. There she met Arthur Bernard-Bazin, recently settled in the city, where he was training dance and theater after studying visual and performing arts in Paris. They started searching for a personal language in 2010, since then, their works have been touring internationally across 5 continents.

Credits
Choreography: Candelaria Antelo & Arthur Bernard-Bazin
Performers: Loredana Gargano & Arthur Bernard-Bazin
Music: Louis Armstrong “Basin Street Blues”, Cinematic Orchestra “The Fear Theme”, Kid Koala “Basin Street Blues”