Does it dance ?

After last year’s pandemic (out)break, 2021 was again an Impulstanz year! The legacy of founder Ismael Ivo lives on. “Does it dance?” is not the question here – it does!

The weekend started with ALEXANDRA BACHZETSIS / Private Song, by whom I was rewarded to assist in opening the zipper of the latex dress during the performance ­čÖé

We continued with TRAJAL HARRELL / Maggie The Cat, by which we were unanimously underwhelmed. Maybe having read “Cat on a hot tin roof” would have helped. Maybe not. In the meantime we’ll practise our duck-walk …

The anti-climax came in the very end and was provided by MEG STUART / DAMAGED GOODS, supposedly one of the prime performances of the festival. Also the first ever Impulstanz performance I had to leave before the end, because it was so unbearably banal.

Funnily, others felt the same way apparantly (only I don’t stay until the end to “buh” them – the dancers are not responsible for bad choreography or lack of inspiration by the choreographer):

Interesting audience reactions and their re-interpretation through the press ­čÖé

Not surprisingly, the highlight was to be found in what Impulstanz calls “[8:tension] Young Choreographers’ Series”, this time sampled through SOPHIA RODR├ŹGUEZ / Ostentation Project. 1,5h of pure fabulousness from 23:00-0:30 at Schauspielhaus, complete with life size inflatable jumping castle (with bunny head!) in the end (it’s in the golden bag, believe it or not ­čśë ):

Category “hands” to stand for “legs/feet” in this case.

Hats, Hats, Hats !

Meine G├╝te, was f├╝r H├╝te!

Nicht nur das Tragen, auch das Anfertigen von H├╝ten ist ein gro├čartiges haptisches Erlebnis, wie ich seit einiger Zeit selbst bezeugen kann.

Wenngleich der Filzhut ja eher ein klassischer Winterhut ist, wie uns Massimiliano damals im Sommer erkl├Ąrte, als wir seine Werkstatt besuchen durften, und momentan ja nun wirklich keine Wintertemperaturen herrschen, habe ich nun endlich die Zeit gefunden ein bisschen den mad hatter raush├Ąngen zu lassen! Diverse fr├╝here Akquisitionen haben die initiale Kollektion von Urgro├čvater Johanns H├╝ten anwachsen lassen, und naja, nun sieht sie so aus:

So. Many. Hats. Latest addition and self-made: black wool-felt with altrosa hat band, amber vintage belt buckle and pink ostrich feather flower. Petruzzo Hats 2021.

Filz, Shellack, blauer Architektenhartschaum, lederne Schwei├čb├Ąnder aus NYC, Deko aus diversen etsy-Untiefen und Strau├čenfedern aus Gro├čbritannien, ein paar Stunden youtube und Arbeit, und schon kann man sich wieder zeigen im Adlon! Vergessen Pandemie und jogging Hosen! Karl Lagerfeld, du darfst wieder stolz sein. Und Josef und Barbara sowieso:

Great-grandmother Barbara, who was Modistin in Vienna
Great-grandfather Josef, who was a tailor

Man muss nicht unbedingt von der rohen Alpaca Wolle starten, obwohl, es geht schon auch: enjoy …

Veronica, Hanami & Co

Jetzt ist er da.

Little forrest of moss, lilac, wisteria, peione, almond, Fukubana cherry, maple, magnolia, lily of the valley, akleia, chess flower, anemone with its friends gingko and the japanese larch.

“Nose” category for double smell: wisteria and lilac, “Ears” for all the birdies and “Hands” for all the planting and soil digging action!

The past can always be re-arranged

Strange times bring fabulous discoveries, and here is a late entry that might actually have made it to the top of the 2020 list: the japanese avante garde artist Sh┼źji Terayama and his 1960s to 1980s theatre group Tenj┼Ź Sajiki (named after the japanese title of the 1945 movie “Les enfants du paradis“, itself on the top 10 list of phantasmogoric discoveries this year – “Le publique demande sans cesse du nouveau!”).
Their main venue seems to have looked like this (although performance in public places apparently was very common, too):

Historical photo of the theatre site in Shibuya, Tokyo (source).

Two video art samples, which I can highly recommend are “La cage” (1964) and “The Labyrinth Tale” (1975):

And of course young people should be taught how to do cinema, I agree:

Continued lockdown (please, stop nagging about the first and only political decision in ages which is actually aimed at putting peoples’ lives over economic gain and stop complaining that you can’t go out for a drink, and instead start demanding politics to change the sick economic system – it is Human-chosen, not God-given – into something that decouples money for survival from labour and that favours less consumption or at least stagnation, as well as a reduction of people on the planet, over a blind increase of everything no matter what) provides us with ample time to catch up a bit on or knowledge about 20th century experimental art, and some gem stone examples of grotesque eroticism can be found in Terayama’s “Pastoral: To Die In The Country“. Recommended drinking alone at home beverage: Ki No Bi (Kyoto) Gin Sour (drink three to five of these slowly during the movie) or Absinthe Sour (reduce the number of drinks if need be, but do drink them slowly either way). Recurrent topic of the movie: time, and the inability to stop it, in particular vain attempts of mothers to do so by trying to prevent their children from growing up. Never have the horrors of forced family closeness and false intimacy, an eternal topic, not only but above all in post-war Japan, been displayed in such phantastic colors – a visionary movie, as if made for 2020 ­čśë

Once you’ve watched all this, well, you can continue to dig for yourself, but one not so hidden piece of amusement (it is linked on one of the above wikipedia pages) is a newspaper review about a performance of Jashumon (“Tor zur H├Âlle”) somewhen in the 70s in Munich, Germany. Absolutely worth the read, I can only say: Glotzt nicht so exotisch!

And remember a) “Sometimes we remember things that have not really happened”, and b) “The past can always be re-arranged”!

But now, the year ends and more than ever it’s time to Throw away your books and Rally in the Streets (in 1971. in 2020 keep a bit of distance while rallying ­čÖé )

Honi soit qui mal y pense!