Oogst (Harvest)
A tree draws nourishment from the soil of the past and holds the future in its fruit. Season after season, year after year. In Oogst, four dancers move from one formation to another. Their identities, the way they move, clearly have elements drawn from hip-hop and Surinamese traditional ‘Okanisi' dance. Rhythmic, pulsating movements persist in their search for the essence, the core of the individual. By increasingly divesting the dance of its bravado, the dancers delve deeper into their ‘being’.
In Oogst, Alida tackles the ‘rat race’ in contemporary society. A society in which everything has to always be better, bigger, more beautiful. And we tend to go along with this. But how, as individuals, do we persist among all this? Alida also takes a candid look at the multicultural society. From her own experience and as a sociologist, she concludes that a new generation is growing up, forced to define themselves on the basis of more than one culture to which they are affiliated. Oogst shows the search for an individual identity within different cultures and an achievement-driven society.
Alida also delves deeper into her own roots, adding striking elements drawn from the traditional 'Okanisi' dance from her home country, Surinam. The confrontational, pulsating movements come to life in the remarkable set designed by Loes Schakenbos, where the structure created by man tries to find a way back to nature, to the source. Dutch-Argentinean composer Diego Soifer composed music specially for this full-length production. Through a mix made up from digital soundscapes, live percussion and flute, he creates an affecting atmosphere in which ritual sounds merge with contemporary rhythms.
sidebars
Screenwriter and director Sophie van de Pol delved into the identities of the dancers and musicians with their ‘roots’ in countries such as Surinam, Curacao and Belgium. She interviewed them and asked for their cherished memories and belongings. These personal effects are displayed in distinctive old suitcases. Here, these roots can be discovered while video screens tell the stories behind the personal items and what shapes these identities.
press
“Alida Dors is one of the most interesting, most innovative hip-hop choreographers in the Netherlands. Where hip-hop in the theatre often tends to be too narrative, and/or too moralising, Dors seeks abstraction. [...] with marvellous – and powerful – results."
Bregtje Schudel - Theaterkrant
“Alida Dors is not like most hip-hop choreographers. While many cling doggedly to pure hip-hop, over the past decade Dors has developed from a hip-hop dancer into a choreographer with her own signature.”
Parool
credits
Choreography | Alida Dors
Dance | Donna Chittick, Sarah Mancini, Quincy Ignacia, Jason de Witt
composition | Diego Soifer
flute | Janneke Groesz
percussion | Marijn Korff de Gidts
set, lighting design | Loes Schakenbos
costume design | Asalia Khadjé
dramaturgy | Merel Heering
technical support | Davy den Dulk
sidebars | Sophie van de Pol
business mangement & company management | Gysèle ter Berg
sales | Gysèle ter Berg
marketing & PR | Charlotte Schultz
With thanks to: Krisztina de Châtel
Oogst was made possible with financial support from AFK (Amsterdam Fund for the Arts), Prins Bernhard Cultuurfonds, SNS REAAL Fonds, VSBfonds, the Performing Arts Fund NL, Janivo Stichting, NORMA fonds.
The sidebars were made possible with financial support from C-O.
agenda
-
Theater Bellevue Amsterdam, première
-
Theater Bellevue Amsterdam
-
Tanzhaus nrw Düsseldorf (DE)
-
-
Rabotheater Hengelo
-
Rotterdamse Schouwburg Rotterdam
-
Chassé Theater Breda
-
Verkadefabriek Den Bosch
-
Stadsschouwburg Arnhem
-
Theater Kikker Utrecht
-
Theater Kikker Utrecht
-
Schouwburg De Lawei Drachten
-
Theater Ins Blau Leiden
-
De NWE Vorst Tilburg
-
Theater Korzo Den Haag
-
LUX Nijmegen
-
Bijlmer Parktheater Amsterdam
-
Podium Mozaïek Amsterdam