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Isadora Tomasi & Moa Holgersson

“a woman’s war is unoccupied history, nature doesn't seek to destroy if it doesn't make sense” (FKA twigs)

 

Moa and Isadora share a similar feeling around physical performance: movement and sound take equally big parts when they create. It’s like a duality, like parallel thinking, but actually it’s one. 
 
In which ways can a narrative be told?
They want to approach the work through offering various kinds of narratives, through letting different elements be equally important in the research process. Using music, voice, sounds, movement, dancing, language and researching folkloric elements as seeds that have been planted through history in our collective mind / body.
 
They are equally interested in the fact that a lot of work created by females comes to us in fragments and often through the stories told by men. 
Moa and Isadora share a certain sensitivity towards “emotional labour”, raising questions around what is visible and what is not.
How we experience reality is also an answer on history and our social conditioning. 
 
Can a fragmented story still be a whole?
 
Instead of linearity they want to investigate fragmentation.

 
 
Moa Holgersson (SE, 1983) and Isadora Tomasi (IT, 1987) share their working method and interest in creating both sound and movement.
 
 
 
Moa is currently studying at the Gerrit Rietveld Academy. She has previously worked with aerial disciplines and contemporary dance practices in both performative and visual arts contexts. Lately her works have been a fuse of vocal sound, poetry and movement. In the work Emotional Content she deals with visualising emotional labour. Through vocals and hair hanging she uses gravity to play with the composition of the body. The work usually sparks from an ongoing research on societal structures and navigating life from a female perspective.
 
 
 
 
Isadora attended the MimeSchool in Amsterdam after being educated in text theatre in France. She has been working with sound and performance, researching how to introduce elements of a concert in her pieces and vice versa. In her piece RHEA (2015) she explores how to make music with the vibration of sound inside the human body using contact microphones. Her work often addresses philosophical topics and / or situations of inequality. cargocollective.com/isadoratomasi
 
 

CREDITS: Concept and performers: Moa Holgersson & Isadora Tomasi Sound: Isadora Tomasi & Moa Holgersson Lights: M & I in collaboration with Martijn & Karina Advisors: Angelo Custodio, Keren Rosenberg & Suzy Blok Thank’s to: Team Dansmakers (Suzy, Evelien, Ruth, Els, Rory) Jija Sohn, Moreno Perna, Tiana Hemlock-Yensen, Nell Schwan, Francesca Lazzeri, Nadja Voorham, Carlotta Ippolito

 

Part of 

 

In this series, a number of research projects by emerging artists are selected for a residency. During a four week period, choreographers and collectives use the studio and theatre as a laboratory for innovation in dance and performance art. The result is shared with the audience. This edition is a coproduction with ICK Amsterdam.

 

The selected artists are  Moreno Perna (ism ICK), Moa Holgersson & Isadora Tomasi, Chronos, Lois Alexander, Karel Tuytschaever (ism. ICK), Antonia Steffens

 

agenda

 

overview research