Performance

Bâtard Festival Amsterdam – Day 1

8 November 2017, 19.00

Nerve Collection

Concept and performance

Caroline Creutzburg

technical direction, light

Rahel Kesselring

video, sound

Hendrik Borowski

supported by

Kulturamt Gießen and Hessische Theaterakademie 

Because I Always Feel Like Running

Collaborators

Ogutu Muraya

Dramaturge & directorial assistance

Leila Anderson

Developed with support from

Bâtard Festival and Veem House for Performance

Bâtard Festival

is supported by the Performing Arts Fund NL

For the second time in its existence this Brussels festival extends its time and space from Beursschouwburg in Brussels to Veem House in Amsterdam. A festival presenting international emerging makers and thinkers. On Day 1 Caroline Creutzburg and Ogutu Muraya will show their latest works.



Caroline Creutzburg | Nerve Collection


Nerve Collection is a contemplative-pamphletic solo; a stroll in the status quo. Caroline Creutzburg grows a sensory thorn that records her empathies and her intolerances. She proceeds like a spy within her own nervous system: Through inconspicuous behavior she remains undetected to herself and is yet able to trace every detail. She comes upon bizarre landscapes, the perpetual pumping of agression-veins, outdated moral principles and sacred auto-bio-matter. Accompanied by songs and costumes the findings are gathered and revealed like in an album.


Ogutu Muraya | Because I Always Feel Like Running


Ogutu Muraya is a writer, storyteller and theatre maker. He presented his graduation piece Fractured Memory at Bâtard Festival last year. This year he will perform the première of Because I always feel like running at Bâtard Festival. 


In Because I always feel like running, Ogutu Muraya navigates the phenomenon and

politics of running. In East Africa, the emergence of athletic prowess in middle and long distance categories coincided with the independence movements. Since the 60s the success of athletes became tied with the process of nation building and the creation of a new identity in a postcolonial context.


In the same way as a marathon runner is always pushing his limits and enhancing his body, the performance also centres on willpower and physical tenacity. Through historical, documentary and personal narravites, Muraya investigates the runners body both as a political repository and a vulnerable, vital and resilient biological organism.  

About Bâtard


Bâtard Festival Brussels has a reputation: it always shows young, new and emerging work by upcoming performance artists, who suprisingly often pop up at international dance and performance festival in the years after. Two years ago the festival first migrated to Amsterdam. This year it will do so again on the 8th, 9th, 10th and 11th of November at Veem House for Performance.


Bâtard means bastard. But it also stands for hybrid, for raw and cutting edge work. The title can never do justice, since Bâtard, just like the work it presents, will always  try to work around labels and categories and question those labels instead. 


What we can say is that this year again Bâtard will show twelve outspoken works in Brussels and Amsterdam. And that in both cities, the work will be varying from dance to cinema. There will again be a Bâtard Reader with inspiring texts and the festival will be closed with a most danceabel closing party. 


Review Bâtard Festival Amsterdam in 2015 in de Theaterkrant