WE HAVE TO TURN ON THE LIGHTS !!

Co-Writer and Dancer 

June 2013
Beirut - Lebanon 
Zuqaq - Mansion
 

The performance is an adaptation of Yousef Idrees’s renowned story  “Did you really have to turn the light on Li Li?” 

A dance lab on Sufism. The performance is part of a thesis on spiritual in the modern world and how it is projected in contemporary dance. The performance is an adaptation of Yousef Idrees’s renowned story  “Did you really have to turn the light on Li Li?” A dance lab on Sufism. The performance is part of a thesis on spiritual in the modern world and how it is projected in contemporary dance.

When you do not see around you it does not necessarily imply you are in the dark but that you are not looking towards the light. For your inner glare suffices your self-admiration. Up until this inevitable moment in time that we all encounter crosses your life when you start to see the truth of what is beyond and all light becomes that and nothing else but that. You become such as butterflies that burn by their own passion for that light is one which we know not how to resist.      

Co-writer and Voice

An open stage, an ephemeral cabaret, a temporary construction on the edge of falling apart that openly shows its tricks and ropes. 

August 2021
Uferstudios - Berlin
Choreography: Akiles
Dancer  
The intention of this experiment is to explore social communication created through the body. Together, we will examine the influence of the social environment, and in particular the impact of COVID-19 safety measures and the 1.5-meter distancing rule, on us.

We ask what kind of relationship we enter into as a result and how our relationships change. How much have our personalities and our curiosity as human beings been affected?

Dancers will perform in public spaces, interacting with objects, buildings, cars, trees, and passersby. We will develop a physical practice and work with our presence in the space. The aim is to improvise based on exercises and dialogues to collectively reach a different level of communication. This includes non-responses, people ignoring us, not noticing our presence, or changing direction, as it is about the exchanged influence projected in the spontaneously occurring interaction. How much can the dancer move without being influenced by the reactions of the random audience, including ignorance, inattention, or a humorous incident? How connected are we to our atmosphere, the nature around us, the people and places?