NKF is vistited by the musicologist-, pedagogue-, choreographer-, artist-, Barbara
Crescimanno (It/Sicily), and collaboration LABRYO/ This turning Europe with artist Roberto N Peyre.
18th September kl 13.00 > 19.00 - Performance
19th September kl 13.00 > 19.00 - Exhibition
Entrance for performance every half hour throughout Saturday
Banankompaniet, Frihamnen, Frihamnsgatan 14 (Buss 1, 76 alt. Subway nr.13 exit Gärdet (10 Min walk)
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LABRYO/ This turning Europe
Roberto N Peyre in collaboration with Barbara Crescimanno (It.), Weld & NKF
7 personages
3 days of labour
1 day of play
with You
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Labryo in itself, for itself, as installation performance, temporary ensemble offers a choreographic
work-intensive for 7 chosen performers during 3 days leading up to harvest full moon in Virgo,
engaging in the oldest known votive choreographic pedagogies and techniques at the core of what
has become known as the European cultural heritage.
On a 4th day, the process, and its becomings, will be exclusively presented for 1 day only, when
during 6 hours, Labryo will be transmuted to You, as an immersive passage of bordering throughout
a factory for vehicles, fruits and ancestral voices in the Freeport of Stockholm.
On a 5th day, Sunday the 19th September, 2.00 pm > 7.00 pm, the site is open for public a
installation of traces and other recordings of previous event.
The 7 chosen are Majula Drammeh, Anna Öberg, Shaya Khalil, Caio Marques, Anna Koch,
Roberto N Peyre, Barbara Crescimanno.
Within the resonance of a recent surge in interests and engagements concerned with traditions of
somatic practice and esoteric ritualism, animism, and notions of the sacred, not least in relation to
cultural heritages and the human biotope, Labryo offers itself as a thorough engagement with
traditionalism beyond mere visual representation. It is a careful listening to the programmations of
sustainability and entitlement within tradition in itself. Labryos makes a choreographic mythopoetic
laboratory of de-writing and de-drawing of objecthoods, laying intuition bare and able, for what its
worth. Labryo is a function of de-programming processes utilising a thoroughly hyperstitious
engagement in de-rendering a most prestigious European ethnomusicological heritage of social
music and dance culture understood as so-called votive folkloric traditions, dating back to the
foundations of classical antiquity in the Mediterranean basin.
In the upcoming public encounter with this Labryo on the 18th September, audiences are invited
to pass throughout the premises and zones of a space guided and in negotiation of corporeal sound-,
rhythm-, momentum-, in formation, as multitude yet unique cell. As a polymorph organ we incant,
enchant, evoke, lure and metamorphous sensibilities of the labyrinthine intersection of X.
Participation in this Labryo in any phase, to any degree (even avoidance), equals processual
development of ensemble and movement continuously becoming throughout polymorph reassembling
multitude, a collective body in itself opening up and closing as a temple, a port, a vent, a
mouth, a hunger, as site of the sacred. A revolting feedback enfolding, spiraling.
Labryo take as its departure some of the specific psycho dramatic historicising narratives and
functions at play within the mythos of European ethnogenesis, and the ambiguous passions at stake
therein, with its simultaneous existential, pretentious and political distinctions, classifications,
separations, and alliances. As a process it is an equally practical, critical and poetic approach to the
both historic-, geopolitical- and religio-mythic understandings of the antique classical Labyrinth (aka
Minoan labyrinth, Λαβύρινθος , Troy town, Jungfrudans, Dance floor of Ariadne).
Labryo as a project is the fruit of an artistic research on a set of reoccurring cultural tropes involved
with the very specific frictions between historic-, historicist-, religious- and folkloric reproduction of
a pre-historic curse aimed at detaching Europeanness from its migratory- and intercultural roots, at
times understood as afroasiatic, non-christian, animist, bipoc, feminist, or by any other means, a
threatening other.
The social dance- and game practices we recognise as ”ring dances”, ”line dances” or ”dance games”
constitute a significant modality, and remnant of these ancient choreographic strategies. The
ruptures and (trans)migrations of bodies, substances, seasons, weathers and cultures, through
shifting patterns of micro- and macrocosms, are carrying the potentiality of the poetic accident, and
thus power of transmutation. A celebration of the migratory, and journeying as existence. There are
only a few popular examples (outside secluded museal-, religious-, and martial circles), usually
without conscious ritual context, still practiced in northern Europe such as the may pole
celebrations at summer solstice, Christmas tree dances, the latin American Salsa rueda, versions of
contemporary street dance battle formations, the Kvaddans of Færø Islands, and Morris dances, etc.
And, yet the coastline of the Nordic Countries contains by far the largest number of historical
monumental Minoan labyrinths in the world. The dating on the Nordic labyrinths stretches from
earliest bronze age to the present, and are accompanied by numerous scattered, barely recognised,
associated folkloric- and religious cultural complexes.
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The installation performance and temporary ensemble Labryo is directed by Roberto N Peyre in
chorographical collaboration with the musicologist-, pedagogue-, choreographer-, artist-, Barbara
Crescimanno (It/Sicily), expert on Chorós and traditional musicality of the Mediterranean.
Crescimanno is the director of the etnomusicological Institute Arci Tavola Tonda in Palermo, where
she teaches the course Chorós as part of her research program Ninfe di Sicilia since many years.
Labryo is produced by Weld, in collaboration with Nordiska Konstförbundet NKF, through
generous support by IASPIS/Konstnärsnämnden, Helge Ax:son Johnsons Stiftelse and Institut
Arci Tavola Tonda.
(More about the work online at www.robertonpeyre.com/Labryo/Freeport)
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About:
Barbara Crescimanno:
www.tavolatonda.org/index.php/it/component/sppagebuilder?view=page&id=18
www.tavolatonda.org/index.php/en/lessons/choros-en
Roberto N Peyre:
https://robertonpeyre.com/Info
Weld:
www.weld.se
”This turning. Processing passage. Pass and port. A drawing closer of the first final. Race.
Within ones. Once. There is no likeness here but all, there is.
Suddenly none, and then again each and every one.
Origin become all. Begets. White heat, white flight, in blight knight. Late.
Original sinuous, push and pull, ebb and flow. Sensuousness, transmytharian of desires, will
travel. Origin of all entitlement, in-her-in-tense. Through and through.
You, a call for ever more. A caross. Across roads, a heart a bordering. Heat as Art.
Towards the Godess. Honey”
(Notations & Itineraries, 2021, Roberto N Peyre )