Borders and Distances – One more step Beyond Borders
Going beyond limits, personal, cultural, ethical e geographical with the language of contemporary dance
by Laura Sestini
The PerformAzioni Festival, conceived and directed by Anna Dora Dorno and Nicola Pianzola of the Bologna-based company Instabili Vaganti, has reached its 13th year.
This year’s festival included two artist residencies, featuring performers and choreographers from countries involved in Instabili Vaganti’s international Beyond Borders project, launched in 2020. The first residency culminated in Confini (Borders), which opened the festival in the captivating setting of the Oratorio di San Filippo Neri in central Bologna. The second, Distanze (Distances), was the final outcome of choreographic research held in Casalecchio di Reno, in partnership with Teatro Laura Betti and ATER Fondazione, the organization managing the theater. This work presented a fusion of micro-performances and multimedia elements.
The themes of borders and distances are central to the contemporary dance project, in which performers from India, Venezuela, Mexico, Nagaland, New York, Senegal, and Tunisia joined young Italian dancers under 35 selected specifically for the project.
The festival days serve not only as performances but also as spaces for reflection. Through the dancers’ movements, the words of industry professionals, the dramaturgies of Instabili Vaganti’s projects shown on video, and the audience’s feedback, the festival explores the many nuances of Beyond Borders. This theme – “Beyond Borders” – is embodied in the fusion of traditional, ethnic, and contemporary choreographic languages on stage. Distanze was inspired by a real-life occurrence during the festival’s planning: the denial of an entry visa for a young Tunisian dancer who was scheduled to join the artistic residencies.
Distance also brings with it absence, necessitating a reorganization of all the performers within the choreography to address the void left by their colleague’s physical absence from the south shore of the Mediterranean. This sense of absence resonates beyond a single “ballet,” emerging whenever borders and forced separations come into play. Beyond Borders has evolved over time into an expansive international and dramaturgical project. Each new iteration adds a layer: a new country, an additional step, new performers, or a fresh theme to explore, develop, and bring to the stage through the distinctive languages of theater.
Photo: Stefano Scheda
The PerformAzioni Festival is more than just a showcase of performances; it brings performers as individuals to the forefront, people with their own personal boundaries. On stage, they not only demonstrate their artistic skills but also share personal reflections on the concepts of borders and distance.
Following the debut of Confini on May 24, much of the next day was dedicated to a thematic symposium where all participants—both theater professionals and performers—exchanged their impressions, reflections, doubts, and the obstacles they encounter. They discussed how being part of the Beyond Borders project, especially during the exceptional period of the pandemic, has reshaped their understanding of physical, mental, cultural, and geographical barriers. This undertaking has been a significant challenge, partially mitigated by the use of digital technology.
Photo:Nicola Pianzola
Nicola Pianzola, co-founder of Instabili Vaganti, playwright, and performer, was an active part of the Confini performance. The choreography drew on a blend of traditional, ritual, and contemporary movements, a fusion largely inspired by the diverse cultural backgrounds of the predominantly female dancers, along with fewer male performers. They moved in a circle, eventually extending the performance by drawing the audience into new interactions, creating an improvised, communal jam session of movement.
Anna Dora Dorno, the company’s co-founder, playwright, and attentive director, supervised the event from behind the scenes and participated in the symposium. Although voiceless, she entrusted the role of spokesperson to her artistic and life partner.
The musical compositions, some original works by Riccardo Nanni, featured sounds created from natural objects, such as stones, while others were contributed by international performers. These musical elements supported the theatrical and choreographic expressions, enhancing the already evocative ambiance of the location.
Contemporary dance, often more challenging to interpret than classical or traditional movements, rewards viewers with the fluid grace of the performers, compensating for what might be harder to translate into familiar meaning. Spectators are encouraged not only to watch but to relax, release, and feel their own bodies—a respite from the hurried rigidity of hyper-globalized life. Even while seated, viewers can attempt to connect and merge with the performers’ spirit, going beyond the surface of the choreographic movements to experience a deeper connection.
Photo: Sonia Giudici
The symposium featured not only the experiences and insights of Antonella Babbone (from Teatro Laura Betti in Casalecchio / ATER Foundation), Clemente Tafuri and David Beronio (Teatro Akropolis), and Micol Vighi (Sblocco 5 and other emerging Italian initiatives) but also included an academic component. This was led by Daniela Sacco, a PhD researcher specializing in performance studies from the Department of Project Cultures at the Iuav University of Venice.
Throughout the symposium, videos from various geographical and dramaturgical projects by Instabili Vaganti were projected between sessions, creating a thread connecting the company’s original, dynamic, and vibrant productions. Despite the profound and often politically and ethically charged themes, these videos highlighted Instabili Vaganti’s activist spirit.
A noteworthy contribution was the performance/conference by Mexican playwright Angel Hernandez, who presented research on the current war in Gaza, where he recently traveled to explore the theme of violence—a subject Mexico knows all too well. Hernandez’s project was delivered in his native language, blending video imagery with live recitation.
Following Hernandez’s performance, Nicola Pianzola shared a powerful moment with the audience. He revealed how deeply he was moved by the young playwright’s text and recounted his efforts to translate it into Italian, a challenging process in his search for the right words. Standing alone at the microphone, Pianzola performed Rafah – fueling the dust cloud, a haunting piece with a deeply poetic lexicon. The text reflects on the tragic realities faced by the Palestinian people, their enduring quest for peace, and the recurrent cycles of unimaginable violence amid an uncertain future.
Confini
- Director: Anna Dora Dorno
- Playwright: Nicola Pianzola
- Choreographers: Nicola Pianzola, Anuradha Venkataraman, Moayed Ghazouani, Elena Copelli
- Choreographic Supervisor: Elena Copelli
- Performers: Nicola Pianzola, Arianna Terreno, Camilla Paris, Moayed Ghazouani (Tunisia), Anuradha Venkataraman (India), Mengu Suokhrie & Ethel Wanga (Nagaland), Cecilia Seawars (USA), Angel Pelay (Venezuela)
- Production: Instabili Vaganti
- Supported by: MIC, Municipality of Bologna – POn Metro “The City that Dances”
Published Saturday, June 1, 2024 – Year IV – No. 22/2024
Cover Photo: Confini – One more step Beyond Borders by Stefano Scheda