A far-off land

Images in self biography

An inter-generational, bi-communal dance research performance.

A far-off land is an inter-generational, bi-communal dance research performance. It focuses on the ‘far-off land’ of childhood and embodied memory, and also the ‘far-off land’ of shared hopes and dreams for the future.

The piece will be presented at 8.15pm on 2nd, 3rd and 4th June in different spaces hosted at the Home for Co-operation (H4C) in the Buffer Zone, in the framework of the Terpsichore Programme of the Cultural Services of the Ministry of Education and Culture.

Admission is free.
However, the event is a pilot for a larger scale performance.
Spaces are strictly limited and BOOKING is essential.

In order to book, please call Tel +357 99 371870/ (0090) 0533 887 9281.

Bookings begin from 15th of May and onwards

A note about research process
In the first three weeks of our five week project we are working in different sites on either side of the buffer zone, and in the buffer zone itself. Our aim is to create a series of choreographed micro-performances for people who happen to be passing by. These micro-performances are being performed at different times of the day. Then in the fourth week of the project, we are weaving these micro-performances together to create the performances presented at H4C, and fragments of them - mounted against a frame of Taner Bayber’s paintings – as part of the video or audio streams will be integrated into the performances.

Details of ‘micro performances’ for each week will be posted on the following websites on 8th, 15th, and 22nd May:
https://www.facebook.com/Home4Cooperation
http://www.cyprusevents.net/venues/home-cooperation/
http://www.echoarts.info/

A note about language
The performance is inspired by, and incorporates fragments of the writings in English of the Cypriot poet Taner Baybars, as well as autobiographical testimony of the performers. The sound score for the performance is primarily in English with epigrammatic translations into Greek and Turkish integrated into the video stream. In the third part, we have drawn on the last words written by Baybars in his blog before he died in 2010. These words - ‘To be able to dream’ – are recorded and sung by a children’s choir in Greek and Turkish.

A note about three generations of performers
The performance at H4C is in three parts representing three different time perspectives. The first relates to very early childhood memories of growing up in Cyprus before the division in 1974, and is performed by an older generation. The second relates to memories of children growing up in Cyprus after the division in 1974, and is performed by young adults; and the third part relates to an imagined, undivided, Cyprus in the future. It is performed by children who will be joined by the young adults, as well as the older generation of performers: an image of solidarity between generations.

A note about our performers from both sides of the divide
The project is indebted all the many people who have helped us with their support, encouragement and knowledge way beyond the call of duty.

In particular the research has been enriched and informed by the memories and participation of our performers from both sides of the divide:

Performers
PART 1
Charalambos Charalambous, Ilker Kaptanoglu, Gunay Kececi, Antonia Lyra,
PART 2
Ezgin Akpinar, Sevim Akpinar, Gewrgia Andreou, Harry Koushos,
PART 3
4 children, two from each side of the divide

Creative Team

Arianna Economou (co-director and choreographer)

Dorinda Hulton, (co-director and concept designer)

Peter Hulton (video artist and documenter)

Larkos Larkou (composer)

Technical support
Michalis Olympios

Consultant
Gurgenc Korkmazel

Production Management
Pantelis Georgiou

Administrative Support
Christiana Antonoudiou

Recorded Music Score
Vocals
Hatice Ardost
Choir
“Epilogi” Children’s Choir, Conductor Aggelina Nikolaidou

Design
Peter Hulton/Andreas Spyropoulos

Administrative Support
Christiana Antonoudiou

With many thanks to the team of H4C
Marina Neophytou, Lefki Lambrou
With the kind permission from Moufflon publications

and the support of the Baybars Archives, University of Reading U.K.

Sponsored by the Cultural Services of the ministry of Education and Culture in the framework of the Terpshichore Programme for Dance Research