ZU GAST FIM

IN TOUCH

Ludovica Bizzarri (Basel) – Prepared Drum Benjamin Lindh Medin (Basel) – Tanz

Giovanni Vicari (I) – E-Guitar Julian Voneschen (Basel) – Tanz

How do people practice intimacy in their daily lives? Can two friends of same gender cultivate a way of being physically and emotionally close, yet not romantic? Can we be soft without getting hurt, without becoming sick or loosing our integrity as functioning beings? This research aims to look at how we cultivate tenderness and vulnerability in a world which seems to push us towards working more and being incredibly resilient to survive. We live in a time where feminist politics have challenged both roles of gender in society, and as stereotypes are something we’ve tried to change, now it’s time to find a balance. But what is this balance? Who can we truly be? Our wish is to look at the relation between men with the base of what it means to be a soft heterosexual man. We observe and think regards the time we live in of contemporary feminists movements that many men struggle to show complete vulnerability in relation to expressing softness. What tends to happen is that many men as much as women have become very soft or strong struggling to find a way to be both. We wish to bring back awareness of cultivating balance between integrity and vulnerability starting with looking at how men can relate to friendship, intimacy and touch. Our wish of this research and performative work is to find out what happens if we stay present in our vulnerability. Can it be empowering? If we can be present in vulnerability, maybe we find a way to remain connected to the outside world being transparent in who we are. The IN-TOUCH project sees two young men trying out different forms of physical contact. How are gestures interpreted in contemporary fiction? When is the touch between two men a symbol of intimacy, when of challenge/fight? And what other qualities can be expressed in touch? In how many ways can one touch and be in touch? What are the limits we set to ourselves in physical contact and why do we do it? Can one really be oneself? What if one is afraid of one’s authenticity? When do we feel in danger and when do we feel safe? The improvised music of Ludovica Bizarri and Giovanni Vicari, based on shared tensions and gestures, will give these questions a framework in which they can feel safe, as well as the dancers. The movements of the dancers Benjamin Lindh Medin and Julian Voneschen are translated into electro-acoustic sounds on Prepared Drum and E-Guitar. And the sounds in turn generate new movements. And just as in a spiral, there are no definite answers. The questions generate new questions and the answers remain meaningless. And so the arrival of the answers is postponed until the next session, the next day. The idea is partly reminiscent of Becket’s “Waiting for Godot”. “Godot will not come today, but he will come tomorrow’. There are no universal answers about masculinity and touch, but by talking about it, moving, playing and touching, we stay IN TOUCH and this is the purpose of this Performance. Through the technique of free improvisation and thematic improvisation, the four artists explore the different possibilities of touch, both on a physical and musical level. On a musical level, the use of different materials, gestures and techniques with both the snare drum and the electric guitar creates different resonances, different ways to relate, to touch the sound and to explore the vulnerability of being IN TOUCH. The idea is to create a 30 min. performance suitable for both an adult and a youth audience.

DAZ, PIO & SAMI Impro

Diego Aguirre DAZ (Huningue/F) – Gitarre Pio Schürmann (Basel) – Klavier Samuel Dühsler (Basel) – Schlagzeug

Projekt zusammengestellt von Diego Aguirre DAZ, Pio Schürmann und Samuel Dühsler. Die drei Musiker arbeiten seit etwa drei Jahren zusammen und kombinieren hauptsächlich verschiedene Stile wie Jazz, lateinamerikanische Musik und Improvisation. Dies spiegelt sich in ihrem Album Django Jara wieder. Andererseits beschlossen die Musiker, ein paralleles Projekt zu schaffen, das vollständig auf freier Improvisation basiert. Spontane Musik, die für die drei Musiker von grundlegender Bedeutung für die Entwicklung des Hörens und der Kreativität ist