Välkomna på samtal fredag 24 september 19.00 i NKFs gästlägenhet i Malongen, Nytorget 15 A
om verket
LABRYO/ This turning Europe
Ett samtal mellan Camilla Larsson (NKF), Roberto N Peyre, Salade Hilowle (NKF) och Barbara Crescimanno (It.) samt ur den tillfälliga ensemblen Shaya Khalil, Caio Marques och Majula Drammeh.
Från 18.00 visas dokumentation från LABRYO!
…………………………….
Labryo i sig själv, för sig själv, som installation, performance och tillfällig ensemble innebar en
koreografisk koncentrerad arbetsperiod för 7 utvalda som under 4 dagar, på väg mot skördemåne i
Jungfrun, engagerade sig i de äldsta kända votiv-koreografiska metoder, och tekniker vi känner till i
kärnan av vad vi har kommit att kalla ett Europeiskt kulturarv.
De 7 utvalda var Majula Drammeh, Anna Öberg, Shaya Khalil, Caio Marques, Anna Koch,
Roberto N Peyre, Barbara Crescimanno.
På den 4e dagen, lördag 18e September, presenterades processen och dess tillblivelser under blott
en dag, då Labryo transmuterade till Dig, som en immersiv passage av angränsande, genom en
fabrik för farkoster, frukt och framlidna röster i Stockholms Frihamn. Och på en 5e dag, söndagen
den 19e September, var platsen öppen för publik som installation med spår och inspelningar från
det föregående eventet.
……………………………………………….
Performativ installation och tillfällig ensemble var sammankallad genom konstnären Roberto N
Peyre i koreografiskt samarbete med musikologen-, pedagogen-, artisten- och koreografen Prof.
Barbara Crescimanno (It/Sicily), expert på Chorós och medelhavets musikaliska tradition och
historia i stort. Crescimanno är upphovskvinna och ledare för det etnomusikologiska - Institute Arci
Tavola Tonda, i Palermo, där hon sedan flera år tillbaks undervisar kursen Chorós som del av sitt
forskningsprogram Ninfe di Sicilia.
Labryo är producerat av Weld, i nära samarbete med Nordiska Konstförbundet NKF, genom stöd av
IASPIS/Konstnärsnämnden, Helge Ax:son Johnsons Stiftelse och Institut Arci Tavola Tonda.
(More about the work in following English section and online at www.robertonpeyre.com/Labryo/Freeport)
……………………………………………………..
Welcome to a conversation Friday 24th September 19.00 at the NKF guest studio in Malongen,
Nytorgsgatan 15 A
about
LABRYO/ This turning Europe
A conversation between Camilla Larsson, Roberto N Peyre, Salade Hilowle and Barbara Crescimanno (It.) and from the ensemble: Shaya Khalil, Caio Marques och Majula Drammeh.
From 18.00 documentation from LABRYO is shared.
…………………………….
Labryo in itself, for itself, as installation performance, temporary ensemble offers a
choreographic work-intensive for 7 chosen performers during 4 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.
The 7 chosen are Majulah Drammeh, Anna Öberg, Shaya Khalil, Caio Marques, Anna Koch,
Roberto N Peyre, Barbara Crescimanno.
On a 4th day, Saturday September the 18th, the process, and its becomings, was presented for 1 day
exclusively, when Labryo was transmuted to You, as an immersive passage of bordering throughout
a factory for vehicles, fruits and ancestral voices in the Freeport of Stockholm. And on a 5th day,
Sunday the 19th September, the site opened for a public installation of traces and other recordings
of the previous event.
. . . . . . . . . . . . . . . . . . . .
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.
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, 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.
…………………………………………………………..
The installation performance and temporary ensemble Labryo is directed by artist Roberto N Peyre
in choreographical collaboration with the musicologist-, pedagog-, 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)
…………………………………………………..
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