Ya Beirut
Statement:
After the 2020 Beirut explosion happened on the 4th of August, artists in Jordan are saddened by these events.
We want to send our condolences for the loss of lives and our shared concern for the scale of material destruction.
With the guidance of creative members of Jordanian deaf community and their supportive circle, after two-month intensive rehearsals, a dance performance is created as our statement to express that we will remain by the side of Lebanese people to continue our collective work during these challenging times.
Signatories
Anas Abunahleh, Sanad Abu Assaf, Aya Nabulsi, Obada Asse, Hasan Alresheq, Arthur Tainturier, Abd Al Hadi Abunahleh, Xiaoman Ren
“After Beirut explosion, my co-creators who works closely with Jordanian deaf community and I experimented to combine contemporary dance with United Arabic Sign Language (Al Arabi Al Muwahad), into a performance set to a song which expresses our solidarity with the Lebanese people for the tragedy that has struck the city of Beirut.”
— Anas Abunahleh (Choreographer)
“After Beirut explosion, my co-creators who works closely with Jordanian deaf community and I experimented to combine contemporary dance with United Arabic Sign Language (Al Arabi Al Muwahad), into a performance set to a song which expresses our solidarity with the Lebanese people for the tragedy that has struck the city of Beirut.”
— Anas Abunahleh (Choreographer)
Cast:
- Concept: Sanad Abu Assaf, Anas Abunahleh, Aya Nabulsi
- Producer: Studio 8 & Al Muthana
- Choreographer: Anas Abunahleh
- Sign language interpretation: Al Muthana
- Dance: Obada Asse, Hasan Alresheq Movement consultant: Abd Al Hadi Abunahleh
- Film maker: Arthur Tainturier
- Photography: Xiaoman Ren, Reema Shatat, Arthur Tainturier
“Very much moved by the performance (and the song). On my way to Beirut!
I’ll have the song in my head!”
— Audience
Why Sign Language?
This production is initiated by Sanad Abu Assaf, founder of al Muthanna Project (dual in Arabic), which is a project working on the duality of the Arabic language and the Arabic Sign Language in the art and cultural scene.
The idea behind al Muthanna is making an accessible performances that respects both Arabic and Arabic Sign Language and shows the best in both in order to open new doors on how people see and perceive art projects dedicated to promote the right of engagement of people with disability in Jordan.
After Beirut explosion, Sanad Abu Assaf, together with Aya Nabulsi, the Executive director at Al Balad Theatre met with Abd Al Hadi Abunahleh, choreographer, co-founder of Studio 8, and discussed possibility of creating a dance piece which is inspired by the creation of sign language: the desire to communicate is the primal spark that drives people to sign language; the longing to seek to bring oneself out of the darkness that is imposed up by varies limitation.
Meanwhile, they are trying to push the boundaries of sign language and maximize its spatial and temporal qualities and create an outstanding choreography that bridges the gap between hearing and deaf audience members.
“Thank you so much for this choreographic statement in support of Beirut!
It is very touching.
I am intrigued by sign language and to see it part of a dance movement is very powerful.”
— Audience
The Music
The chosen music of this production is Beirut Set El Donya (“Beirut is the Mistress of the World”) by Lebanese singer Majida El Roumi, which is described by many that its lyrics and melody remain immortal in the hearts of Lebanese people.
“We went through a challenging yet most rewarding journey to try to understand the varied nuances of deaf community and their supporters, from an “outsider” view of the deaf cultural group of Jordan.”
— Anas Abunahleh (Choreographer)
“We went through a challenging yet most rewarding journey to try to understand the varied nuances of deaf community and their supporters, from an “outsider” view of the deaf cultural group of Jordan.”
— Anas Abunahleh (Choreographer)
100 Hours Practice
Both of the performers of this piece, Obada Asse, Hasan Alresheq, are hearing, being the opposite of deaf.
They memorize the signs used in this piece but they are not able to understand fully of meanings of each sign, nor could they tell the subtle difference of meaning, expression of communication with signs.
With the constant guidance of Sanad Abu Assaf, sign language interpreters, members of the deaf community, choreographer, Anas Abunahleh, and the two performers went through a four-month-journey.
While maintaining the recognizability of the signs and dance figures/phrases, they experimented, rehearsed, and practiced more than 100 hours intensively to create this 5 minutes dance work.
This production was realized as part of a talent incubation program, “Choreography Creation Camp” (CCC) . The production process of “Ya Beirut” was detailed explained to all 23 participants of the incubation program, as a case study by Anas Abunahleh.
A series of exercises related to Anas’ conceptualization, movement experiment, movement composition are practiced among all CCC participants.
On 25th of September, 2020, an-in-progress performance of this piece was presented to all CCC participants in Studio 8 dance lab. The performance was released online on the 4th of December of 2020, marking the 4-month-anniversary of Beirut Blast.
Project “Ya Beirut” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Project “Ya Beirut” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Feedback
helpful information that is given to emerging dance makers of what can be done to improve a dance piece.
“I watched this video on mute. Because if we want to create a performing piece for deaf people. we have to act like them.”
“I liked it a lot.”
“I liked the rhythm of the moving bodies, the minimalism of all the performance and the message trying to send.”
“As a hearing person, I feel that I would want to know more about members of the deaf community and I believe there is a lot to learn from them. Regarding to the piece, I would like to comment more on the movement itself. I propose to explore more on how the body can dance on the lyrics, and the music. I wonder how a deaf person will think of the moving body of a dancer that can hear the music. I wonder whether it is possible to find a way, to share our ability to hear music with a deaf person through dance, or movement. For example, I would be curious how would one translate violin, or guitar, or accents and music notes into movements.”
– Zafeiria Tsirakaki – Dancer, Choreographer, Contemporary and ballet teacher
Featured in the Project
Aya Nabulsi
Sanad Abu Assaf
Al Muthana
EUNIC Jordan
European Union in Jordan
Drosos Foundation
Zafeiria Tsirakaki
Nine to Five Box
Cast:
- Director & concept: Jamal Suleiman
- Producer: Studio 8, Jamal Suleiman
- Choreography: Jamal Suleiman, Odai Talal, Mohammad Qattan
- Performance: Mohammad Qattan, Akka Hamdan, Oday Talal, Daniel Issa
- Videography: Amr Abu Eitah
- Visual Art (Clay): Leila Hajbi
- Sound design: Yazan Abu Jarad
- Movement advisor: Abd Al Hadi Abunahleh
- Production adviser: Xiaoman Ren
- Light design: Next Generation International
- Photography: Reema Shatat, Xiaoman Ren, Maria Asenova
“This performance takes a place with 5 performers, to perform a reflection of how we want to escape from our 9-5 routine but we are pulled back to it without realizing.”
— Jamal Suleiman (Director)
Story Behind
“My story started from my experience of engaging the nine to five routine for a long time without being aware about the possible consequences of it.
Most people get up at the same time each morning, follow the same routine at their jobs, socialize with the same people in the evenings, and watch the same television programs.
As a result of not continually challenging their minds, they become dull and complacent. If someone suggests or proposes a new idea or way of doing things, they usually react with negativity and discouragement.
Instead of thinking proactively and creatively, we thinking becomes passive and automatic.
Drawing inspiration of my own experiences living in an environment that there is a tremendous irresistible unconscious pressure that brings us back to doing what we have always done, I started a dance project exploring this idea.
This project is called ‘Nine to Five Box’.
I imagine it to be performed as a live performance, or produced as an audio-visual piece.”
— Jamal Suleiman (Director)
“I have some experience as a dancer. I have done solos before. However, this is my first choreography of a group work. I have to say that the art of making dances, the gathering and organization of movement into order and pattern, is fascinating, yet very challenging.
Additionally, this is my first time experimenting with incorporating live clay art with dance on stage.”
— Jamal Suleiman (Director)
“I have some experience as a dancer. I have done solos before. However, this is my first choreography of a group work. I have to say that the art of making dances, the gathering and organization of movement into order and pattern, is fascinating, yet very challenging.
Additionally, this is my first time experimenting with incorporating live clay art with dance on stage.”
— Jamal Suleiman (Director)
The Process
“To gather my movement materials, a series of improvisation sessions were conducted with dance artists of varies background.
I had a suit prepared in the dance lab. A brief was given to dance artists then a few minutes were given to them to freely express through their bodies of their own experiences of comfort zone, over time, becoming a box, and then a rut, becoming stuck.
I then looked into the materials, starting to piece them together, with a loose storyline, experimenting working with clay maker. It was great fun. Finally, I collaborated with Music producer and audio engineer, Yazan Abu Jarad, to use sound from office equipment and tools, and design an original sound track for this piece.”
— Jamal Suleiman (Director)
Project “Nine to Five Box” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Feedback
helpful information that is given to emerging dance makers of what can be done to improve a dance piece.
“I liked the lighting and the chosen colors for the general aesthetic of the performance.”
“The use of the space is interesting.”
“The stage division with the lights is also interesting.”
“The movement ideas are good. I think there is a possibility to further develop this piece and create a full duration show without adding anything more to the score.”
“Regarding the music, it was very interesting. But it seems that the rhythm and development the music is not corresponding to the action that is happening on stage This nonalignment makes the performance feel more like a video clip than an actual performance. I would suggest to consider to use silence. It helps the audience to build connection of the action on stage with the story the dance maker is trying to tell.”
“In my opinion, sometime when the performers are dancing with silence or more minimal sound, may be more powerful than dancing actually dancing to the music.”
“Remember, music is a performer too. It needs to breathe too!”
“Regarding to the direction, it might be a good idea to imagine the performance is not made for a video, but for a live experience.”
“I would suggest to have less cuts, and editing. How one use a camera could direct the viewers’ attention significantly.”
“Regarding the action, I noticed that there were two actions taking place on stage. It is wise to put the main action in the center, and the minor theme at the corner. I would suggest to play more with the distance of those two.”
“Regarding to the main action, there are actually four sub actions that are four performers. I would suggest to give more time to each front performer to develop his or her movement. Therefore, viewers would have time to actually see what is going on and be able to understand the piece better. Without giving more time to front performers to develop their movement, a spectator is likely to feel that too many things taking place at the same time and a lot of things might be lost to the eyes of a spectator.”
“Regarding the story, I have a note for building characters. It is important for the development of the stories of characters as if the stories were happening in real time. They have to perform their stories as they are happening right now and we need to see what makes them move, makes them get close, where is this closeness to them, why do they decide to approach the clay maker at the end? It is important to show what is the connection of the dancers with the clay maker.”
“I noticed that there seemed that four dancers and the single clay maker were in two parallel universes in most part of the performance. I wondered how has this spatial theme changed to enable all of them to meet at the end of the performance.”
– Zafeiria Tsirakaki – Dancer, Choreographer, Contemporary and ballet teacher
“I enjoyed the dance. Thanks for creating and sharing!”
“I enjoyed the dance, the camera, and the music constantly moving forward into a new phase.”
“I enjoyed the visual artist adding an extra layer.”
“From the very beginning as a viewer, I felt like I was asked to think about the relationship between the dancers and the visual artist and that kept my mind thinking throughout the dance.”
“4 seemed like an important number: the cube, the four figures on the table, the four lights, the four dancers.”
“The ending left an impression to me: the dancers shared the same space with the visual artist who continued playing with the cube as though she was the creator of her own world. Great job!”
– Ryuji Yamaguchi – Dancer, Choreographer, Teacher, Dean of Senior Class at King’s Academy
“I really like the energy in this video and I wish to see it as a performance in real life sometime one day.”
“Here is my feedback. In this 5-minute short video of contemporary dance mixed with work with clay performance, directed by Jamal Suleiman, we watch a kind of a circular story, that starts where it ends.
It starts with a box of clay and ends with it.”
“The change is clear in the end that we see the dancers around the clay player / manipulator. Playing with clay is initiating the appearance of the dancers and slowly we get to know little about their rituals/work, they are wearing formal suits plus there are no real interactions or revealing of any kind of emotions, they are mechanical in what they are doing, so we do not get deep and intimate in our relation to them and to what they are doing. “
“In between these two actions, sequences of positioning figures of clay on a table by clay player/manipulator while on stage a sequence of movements/kind of rituals are taking place.”
“Regarding choreography and presence, I do appreciate the precision of dancers that was sustained throughout the whole piece and the variations of actions in a short film, well done!”
“However, I did not see a developed work with material, the figures were ready-made in advance which I felt pity for; there was no interaction between the manipulator and the material itself apart from touching, pressing, positioning, holding, turning and pointing, which can be done with any object. So why to choose clay if we do not explore its possibilities in expression? We did not see the potential of using such material on stage I am sorry to say. What would happen if there were more variations on how to work with the clay: rough movement, destruction, changing shape, etc. For approaching the clay, what would this add?! I would love to see more details from the work with clay and to take the time for actions to be understood.”
“Regarding to camera work, it was very interesting and exciting work, even though I would love to really give more time for the moments with clay and show more details. Divide the camera between dancers and clay in some parts when needed might be helpful!”
“Regarding the music, choice of electro music gave a trans circular repetitive feeling that fits with the routine concept conveyed by the repetitive movements and rituals by dancers on stage.”
“Regarding the lighting, especially the cold blue color for dancers and warm color for the clay, this contrast created balance somehow but what does it communicate for us as viewers? Moreover, I did not understand the reason behind choosing moving light on the floor.”
“Regarding the space, the dancers start to move in the moment that the clay player is pushing the piece of wood towards the clay box at 0:26 simultaneously. Where are they coming from?! Are they brought to the stage/trap by the one who is playing with clay? If yes, Why are they really pushed to this routine?”
“Regarding the costume, dancers in formal clothes, are they going to work!? So what kind of space is it? Did the choice of clothes for the clay player add any meaning or created contrast?”
“Regarding the relation of the movements of dancers and the clay player, I do appreciate the contrast between synchronized mechanical sharp movements on stage and the delicate sensual approach towards the hands’ movements around/on the clay material with minimum sharp movements yet gentle. However, this did not make the character of the one playing with clay clear enough and if it was a manipulator for the bodies too or not or just someone who is mimicking what is happening. This was not clear by the actions, timing and costumes choice.”
“Regarding playing with clay in relationship to the movements of bodies, the choice was not clear if the actions are happening simultaneously or the clay sequence is provoking what’s happening on stage or the other way around. We could see these three options have been used without building a clear system of communication.”
“Regarding the relation clay and body, I think at the beginning, the voodoos game alike manipulation could add more players to the performance and convey maybe meanings of power relations and authority, God maybe; if playing with the clay is initiating and provoking the movements on stage and if this was sustained in the whole piece. In some moments, I felt this manipulator of clay figures was controlling the bodies on stage for some reason that was not revealed which does not have to be clear too. Also the relation between them and if they are at the same level of power or in different levels also was not clear. The power relation can be understood at the beginning of the video/performance for example, but it was not well developed as in some places the dancers were moving before the action was done on the clay in later stage which made me confused about the choice.”
“Noticeably, there was one moment of interaction between the dancers and the clay player when the dancers decided to go and look at what the clay player is doing with the box of clay. I wonder if the dancers would interact with let us say their clay figures what would happen then? It was a very interesting moment when the camera combined both dancers and clay in one shot, or even to project the figures on the clay. If it would be possible even to project each dancer on one figure of the clay what can this add to us as viewers and to the meaning?”
Regarding the relation between dancers themselves, my questions are Is there any? If yes, what kind of relation is it? How to develop it further? Regarding the relation between dancers and clay player, there was little interaction between the dancers and the clay player until the end of video/performance when suddenly they surrounded the manipulator after pulling the box of clay up in the air away from the table by the clay player. This was following two moments of interactions even touching between the dancers. The first when two dancers shake hands and the other when all of them gather and connect their arms in a central point. Was this kind of agreement to change the routine? What does the manipulator want to show or tell them by pointing at the box? How can this be read through the actions of the dancers on stage and their movement in the end and even throughout the piece?”
– Husam Abed – Theatre director, Puppeteer and Musician, Founder Member of Dafa Puppet Theatre (Jordan), Member of Amman Theatre Lab (Jordan), Arab Puppet Theatre Foundation (Lebanon), UNIMA (France), Co-founder of NARA music group in Prague
Featured in the Project
Jamal Suleiman
Leila Hajbi
Yazan Abu Jarad
Maria Asenova
Next Generation International
EUNIC Jordan
European Union in Jordan
Drosos Foundation
Zafeiria Tsirakaki
Ryuji Yamaguchi
Husam Abed
Fog
Cast:
- Concept: Yazan Setabouha
- Producer:: Studio 8, Yazan Setabouha C
- Choreography: Anas Abunahleh
- Performance: Yazan Setabouha, Hasan Alresheq
- Videography: Amr Abu Eitah
- Sound design: 1800s Internet
- Costume design: Yazan Setabouh, Sarah Suad, Samia Younan
- Production adviser: Xiaoman Ren, Abd Al Hadi Abunahleh
- Photography: Xiaoman Ren, Arthur Tainturier, Reema Shatat
The Process
Dance and Photography
For dance artists, it’s not easy to find a photographer who “can capture the instant of a dance and transform it into a timeless gesture.
There might be a question that photographers wrestle with when working with dance artists:
how do you convey the feeling, emotion and spirit of dance in a fixed image?
For this project, six visual artists were involved, using a variety of techniques to capture the ephemeral quality of dance. It was great lesson. The visual artists and dance artists all agreed that the photography of dance is a unique art form, one in which a split second gesture endures forever.
Project “Fog” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Featured in the Project
1800s Internet
Platform
EUNIC Jordan
European Union in Jordan
Drosos Foundation
Initiation
Cast:
- Concept: Mustafa Al Shalabi
- Producer: Studio 8, Mustafa Al Shalabi
- Choreography & performance: Mustafa Al Shalabi
- Film director: Hiba Nabulsi
- Assistant director: Bader Helatat
- Sound editing: Bader Helatat
- Movement advisor: Abd Al Hadi Abunahleh
- Production adviser: Xiaoman Ren
- Costume design: Mustafa Al Shalabi
- Set design: Jawad Qumseih
- Photography: Xiaoman Ren, Hiba Nabulsi, Reema Shatat
“Inspired by the traditional Islamic funerals, I want to create a ceremony where I shed all my history, washing my past with the old me to rise and face a new present and future.”
— Mustafa Al Shalabi (Choreographer)
Story Behind
“Shedding the old self by killing it, and rebirthing from scratch to start my new life.
This short dance is made of two parts:
Part I – Death, and Part II – Rebirth.
In the first part, I invited my mother to perform with me.
For she is the first person I saw when I was born, and would be the last person I wanted to see at my death bed.
In the second part, I perform ‘a dance of life’, encompass the spirit of the goodness of moon, return to earth.
Additionally, I have designed my costume based on the traditional long robe with long sleeves, worn by men from the Arabian peninsula.”
— Mustafa Al Shalabi (Choreographer)
Project “Initiation” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Project “Initiation” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Feedback
helpful information that is given to emerging dance makers of what can be done to improve a dance piece.
“Very nice aesthetic.”
“Very good quality of image.”
“I liked the music a lot and I found it emotional and inspiring.”
“I liked the location and the symbolism.”
“The costume and all the props were nicely chosen and used.”
“But I got confused with the story, because I read about the two parts of death and rebirth, but it seems that the part of death was only the introduction of the film and not an actual part of it. I think the story line is a little bit scuffled. We see the red cloth with the flowers at the beginning, the they disappeared without any transition. Then we see ecstatic dance. There are some glimpses of the red cloth again but the flashbacks appeared with no clear narrative reason.”
“There is another note that for this short film is that for viewers, it seems that the point of highest tension and drama of the film is where we see the performer dance under the sky. I suggest this scene could happen later in the film. If we have this scene closer to the ending of the film, viewers would likely to feel that they are participating in the excitement of the performer while watching.”
– Zafeiria Tsirakaki – Dancer, Choreographer, Contemporary and ballet teacher
“Beautiful! What’s the name of the song?”
“Wow! So pure and yet intense! So beautiful!”
Featured in the Project
Bader Helatat
Jawad Qumseih
Inner Life Institute
EUNIC Jordan
European Union in Jordan
Drosos Foundation
Zafeiria Tsirakaki
Break Us Free
Cast:
- Concept: Rana Madanat
- Producer: Studio 8, Rana Madanat
- Choreography: Rana Madanat
- Performance: Rana Madanat, Rimas Milhem, Jenna Abdul Alteef
- Videography: Amr Abu Eitah M
- Movement advisor: Anas Abunahleh
- Production adviser: Xiaoman Ren
- Sound editing: Jalal Khaled Bokadj
- Photography: Xiaoman Ren, Reema Shatat, Amr Abu Eitah
“This dance piece is born out of my reflection of reading an article of on Womanly Live.com.
In the article, a survey showed that 1 in 2 women around the world has given up on their dreams.
As a Jordanian female dance artist of eleven years of practicing in my country, I believe that one of the reasons for so many women to give up their dreams is that ‘their dreams’ do not fit traditional definitions of ‘success’ in their societies.”
— Rana Madanat (Choreographer)
Story Behind
“I would love to start the introduction of this project with a quote, ‘Freedom is being you without asking permission.’
I have been preparing for this piece for a long time, long before I joined the incubation program.
I have been dancing, teaching, choreographing since 2009 and these two young female dancers taking part in this project, Rimas, and Jenna, who are now in their mid-teens, have been learning dance from me for more than five years.
Since October 2020, we have been rehearsing nearly every other day for this piece, aiming to create a 30-minute-trio.
The performance in the form of an audio visual piece is an in-progress presentation of our continuous efforts.”
— Rana Madanat (Choreographer)
“Until now, everything has been male dominated, especially in the art world.
Female artists from the Arab world face many difficulties and limitations in creating and displaying their work.
I would want to see more opportunities for talented Arab women to deliver their voices and showcase their work to a global and diverse audience.”
— Rana Madanat (Choreographer)
“Until now, everything has been male dominated, especially in the art world.
Female artists from the Arab world face many difficulties and limitations in creating and displaying their work.
I would want to see more opportunities for talented Arab women to deliver their voices and showcase their work to a global and diverse audience.”
— Rana Madanat (Choreographer)
The Process
“Here is the Storyline of how three of us composed our movements:
- How to stand
- How to sit
- How to speak
- When to go back home
- Who to be friends with
- Which career to seek
The choreography we created reflected our perspective on how our society demands certain standards for females.
It is a glimpse of the internal struggles that society burdens females with and once we acknowledge that it is then that society evolves as a unit.
Therefore, I hope through watching this trio, Jordanian women and girls are at edge of giving up their dreams among the audiences, could feel something, could search for their internal strength, eventually find their own way of self expression and the possibility of breaking free from society chains.”
— Rana Madanat (Choreographer)
Project “Break Us Free” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Project “Break Us Free” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Feedback
helpful information that is given to emerging dance makers of what can be done to improve a dance piece.
“The girls are amazing!”
“I liked the lighting and the chosen colors for the general aesthetic of the performance.”
“Interesting use of the space.”
“This piece has the most decent duration for its theme and the parts in which it is divided.”
“About the music, the score is amazing! It brings out all this desire to break free, to revolt etc.”
“But the movement is getting too seduced by the music in some parts that the performing action is lost.”
“About the story, there are definitely ideas that support the title but I would like to see more the urge for freedom by showing the opposite state more intensely.”
“There is a lot of elements of ‘freedom’ in this piece, such the bench, the grabs. These are a good starting points but there is a need for more involvement with these elements, a need for more research. I would also ask how much is too much for the freedom to come?”
“Regarding to the use of music, I have a few comments. The use of music is an art of its own. Keep in mind that music is a performer itself.”
As a choreographer, you’d ask yourself the questions whether your performers could continuously dancing without a break, when is the breathing space for your performance, what is the relationship between your performers, are they in a group, or are they move individually, whether they’d physically contact each other or now. Try to ask yourself the same questions, imaging your music is a performer as well.”
– Zafeiria Tsirakaki – Dancer, Choreographer, Contemporary and ballet teacher
“Loving the music, choreography and performance!”
“Bravo Rana! Amazing performance. Well done!”
Featured in the Project
Jenna Abdul Alteef
Rimas Milhem
Jalal Khaled Bokadj
Next Generation International
Tempo Dance Academy
EUNIC Jordan
European Union in Jordan
Drosos Foundation
Zafeiria Tsirakaki
Fibonacci Embodied
Cast:
- Concept: Rawan Roshni
- Producer: Studio 8, Rawan Roshni, DragonFly Media Productions
- Choreography & performance: Rawan Roshni
- Film director: Dima Toukan
- Cinematography & drone & video editing: Sami E. Kattan
- Filming 1st Ac: Mo’men Abu Subaih
- Music & sound design: Pess Music
- Movement advisor: Anas Abunahleh
- Dance production adviser: Xiaoman Ren
- Photography: Xiaoman Ren, Hiba Nabulsi, Reema Shatat
“An audio visual piece with original music production and a variety of choreographed movement showcasing the spiraling, circling, and spinning motion that is the embodiment of the pattern of the Fibonacci sequence, the golden ratio.
The piece also explores the duality of light and dark, expansion and contraction, height and depth, and of the dance between seen and unseen.”
— Rawan Roshni (Choreographer)
Story Behind
“My story started from my experience of engaging the nine to five routine for a long time without being aware about the possible consequences of it.
A major obstacle to creative thinking is called ‘homeostasis.’
This is a deep subconscious desire to remain consistent with what you have done or said in the past.
People may say we shall think outside of the box, but very often the homeostatic impulse holds people back from becoming all they are capable of becoming and from achieving success,
Drawing inspiration of my own experiences living in an environment that there is a tremendous irresistible unconscious pressure that brings us back to doing what we have always done, I started a dance project exploring this idea.
This project is called ‘Nine to Five Box”.
I imagine it to be performed as a live performance, or produced as an audio-visual piece.
I have some experience as a dancer. I have done solos before. However, this is my first choreography of a group work. I have to say that the art of making dances, the gathering and organization of movement into order and pattern, is fascinating, yet very challenging.”
— Rawan Roshni (Choreographer)
Project “Fibonacci Embodied” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Project “Fibonacci Embodied” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Feedback
helpful information that is given to emerging dance makers of what can be done to improve a dance piece.
“Very nice aesthetic.”
“Very good quality of image.”
“I liked the music.”
“I saw the connection between the two worlds.”
“The locations were chosen wisely.”
“I wish it was more! There are some possible improvements with the editing. But whirling is not my field, so I would not to elaborate. There is one more note I’d like to make is that red ribbons were introduced quite sudden in the short video. I would suggest that red ribbons to be introduced more naturally, gradually.”
“I have a few suggestions regarding to the artistic choices. When it comes to your artistic choices, make conscious choices, such as performing with shoes or with bare foot.”
“It is important to know ‘why’ behind everything that is happening in the performance.”
“You make your artistic choices, knowing that your audiences may, or may not understand the reasons behind your choices. Your audiences do not have to understand all the reasons.”
“If you have expected elements happening by chance during your performance, ask yourself whether you’d like to have this chance element again.”
“This is as beautiful as a painting!”
“It is stunning! It is magical!”
Featured in the Project
Dima Toukan
Sami E. Kattan
Rakan Jresat, Pess Music
DragonFly Media Productions
EUNIC Jordan
European Union in Jordan
Drosos Foundation
Zafeiria Tsirakaki
Seed
Cast:
- Concept: Majdal.PDT
- Producer: Studio 8 & Majdal.PDT
- Choreography: Majdal.PDT
- Performance: Rahaf Abu Doha, Besan Jeara, Noor Abu Aziza, Arwa Al Haj, Akka Hamdan, Eshtar Hamdan, Lina Batmani, Raneem Abu Doha, Suhaib Al Naser, Jaafar Armoush, Yazan Al Terawi, Yaser Anabtawi, Nabeel Al Ghalith
- Film maker: Arthur Tainturiern
- Photography: Arthur Tainturiern
The Idea
Majdal is a folk dance troupe of Dabkeh. It has a total of 25 members.
Members of Majdal have been practicing once or twice a week in varies venues. For the past year, Majdal has been working own its own production.
For this project, members of Majdal drew inspirations from food independence, and how it relates to agriculture.
Their plan was to create a dance video of the comparison of the relationship between our day-to-day life and farming and food in the past, and in current days.
The dance video was planned to be divided in two parts. Part one would be situated in the past, perhaps in our grandparents’ time. It would show that there their generation were using the available recourses and agriculture to sustain themselves. Part two would be situated in the presence. It would show how we live now, local farming industry has weakened, and food supply relies heavily on import.
For more than a month, members of Majdal had been intensively training and rehearsing.
However, due to a national lock-down, the closing of dance studio in mid-November of 2020, the domestic travel restriction, and a major winter storm, Majdal could not realize its dance video which was planned to be shot in varies locations in Amman, and in the rural areas around Amman.
Hence only an in-progress video was made presenting a glimpse of choreographic work Majdal has been working on, and short interviews of members of Majdal, with hope that the dance video could be released in the coming future.
Project “Seed” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Project “Seed” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Featured in the Project
Arthur Tainturiern
Oxford Schools
EUNIC Jordan
European Union in Jordan
Drosos Foundation
Morning Exercises
Cast:
- Concept: Sarah Raji
- Producer: Sarah Raji
- Performance: Sarah Raji
- Videography, video editing: Sarah Raji
- Sound: Sarah Raji
- Production adviser: Studio 8
- Photography: Reema Shatat
“What is this project?
It’s a short film, or I would call it a piece of video art.
What is it about?
It is a morning monologue of anxiety, disorientation, breathing, and freshness, with a little day dream of my past life being a mermaid or a fish.”
— Sarah Raji (Concept)
“What is this project?
It’s a short film, or I would call it a piece of video art.
What is it about?
It is a morning monologue of anxiety, disorientation, breathing, and freshness, with a little day dream of my past life being a mermaid or a fish.”
— Sarah Raji (Concept)
Story Behind
“I have this idea to experiment with water, and movement for quite some time.
Previously, I had made a short video while floating in a swimming pool.
It was a magical experience to move my body, to breathe in water, and drink pool water, feel the slash.
I felt more alive than any other time while I was in the water.
Interestingly, there is another experience made me feel very alive. That was the time I started to go to the gym to do yoga. Then I realized that when I concentrate on breathing, trying to feel my muscle moving, I feel very good.
For this project, initially I emptied my own fish tank and made a short video of my hand moving in the water.
It looked like another universe of strong visual distortion, and my cat’s reflection was part of it. Later, I decided to expend this universe.
On the 21st of October of 2020, I went to the pet shop street of Amman, and bought a fish tank which is big enough to put my arms in.
Since then, I moved the fish tank around, from dance studio, to my home, then my own studio, played with water, lights, shadow, and objects.
Meanwhile, I recorded my own voice. Together the water, my hand, my movements, my voice, the fish tank, and a rubber duck, a playful, short video is created which is peephole of my imaginary world where strange dreams come true and the light path bends.”
— Sarah Raji (Concept)
Project “Initiation” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Project “Morning Exercises” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Featured in the Project
EUNIC Jordan
European Union in Jordan
Drosos Foundation
Artist’s Sanctum
Cast:
- Concept: Seba Nasser, Waseem AlBado, and Saleem Asfour
- Producer: Studio 8, Art Vision
- Drama specialist: Abdulhadi Khalil Al Rakeb
- Performance: Marah Remawi, Omar Sallam, Mohammad Nasser, Hosne Jamel, Sara Sa’ed, Dea’a Alhmoud, Omar Yassin, Rakan Alhmoud, Bashar Smerat, Mohammad Aydi, Esra’a Mousa
- Light design: Maher Jaryan
- Videography, video editing: Wa’ed Almahameed, Xiaoman Ren
- Photography: Xiaoman Ren, Reema Shatat
“This performance is a try-out of a program called ‘TheaDonce for Youth’ we plan to develop.
We envision this program to include theater, dance and music, using a participatory approach to invite young people from various communities across Jordan to co-create an art work, and tell their stories.”
— Art Vision (Concept)
The Process
This project is created by three young artists Seba Nasser, Waseem AlBado, and Saleem Asfour, who founded a multidisciplinary collective call “Art Vision”.
To conceptualize this project, Art Vision has conducted a series of movement exploration sessions in September, 2020, which resulted a six minutes of dance trio. Based on this experience, Art Vision designed a 10-session-participartory-workshops for members of the public.
Through an open call, 11 participants for the workshops were selected. From 7th of November to 28th of November, these 11 participants were lead by Art Vision, and external drama specialist Abdulhadi Alrukb, video maker Wa’ed Almahameed, went through basic acting trainings, script development, in-progress rehearsal and on-stage rehearsals for more than 40 hours.ion.
“For this project, we have also designed our own poster of the performance, business card of our collective, and shared them with invited small group of audiences.
We are planning on developing its own website, social channels, and more of its programs.”
— Art Vision (Concept)
“For this project, we have also designed our own poster of the performance, business card of our collective, and shared them with invited small group of audiences.
We are planning on developing its own website, social channels, and more of its programs.”
— Art Vision (Concept)
The Result
The result of the workshops is a 30-minute-play, which has music and dance elements, called “Artist’s Sanctum”, exploring the subject of the rights to liberty of opinion, expression and association of young people in Jordan. The play was premiered on 26th of November of 2021, at Osama Mashini Theatre, Amman. A small group invited audiences were present at the premiere. Art Vision, and the performers of the play had a short Q&A session with the audiences. The general feedback was positive.
Noticeably, many of the performers who took part in this project had never participated in theatre production and performance making before. When the play ended, the performers were given a certificate that indicates they completed the product
Impact
In an informal reflection photo shooting and reflection session after the paly, many of the performers said they believe taking part in this kind of projects benefits them in various aspects in life, such as personal development, self-esteem, self-reliance, self-worth, confidence, responsibility, heightened awareness, deeper consciousness, better and broader social skills, tolerance, understanding, friendship, romance, community development, group dynamic, cross-cultural exchange, and collective identity.
Additionally, Seba Nasser, Waseem AlBado, Saleem Asfour, and videographer Wa’ed Almahameed had been documenting the entire process and created an Instagram account to share the highlight videos, short interviews, and practice photos to public.
Project “Initiation” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Project “Artist’s Sanctum” has been realized as part of “Choreography Creation Camp” (CCC) organized by Studio 8, with the support of Drosos Foundation, EUNIC Jordan and European Union in Jordan.
What is CCC?
CCC is a pilot version of a talent incubation program that supports emerging local young choreographers, dance makers, performance directors to sustain their individual or collaborative creativity, and, in the process, finding new ways to be connected with their audiences.
To know more about CCC program, click on the big C button below. Get digital access to the teaching manual of CCC program, click on the on the big M button below.
Featured in the Project
Seba Nasser
Waseem AlBado
Saleem Asfour
Wa’ed Almahameed
Abdulhadi Khalil Al Rakeb
Maher Jaryan
Art Vision
Osama El Mashini Theater
EUNIC Jordan
European Union in Jordan