CAC Commission
Can you use choreography to fill in the gaps in our historical memory? In Akal, the final part of his latest trilogy, Radouan Mriziga once again focuses on the knowledge of the Imazighen, the indigenous people of North Africa. Their oral culture was left unrecognized for centuries but, for Mriziga, it is a source of inspiration for the future. Each part of the trilogy is a solo for a dancer and revolves around a mythological female figure who in her own way embodies and passes on the knowledge of Amazigh culture.
In Akal, (Earth in Tamazight language) the ancient Egyptian goddess Neith, the guide for the souls of the dead to the underworld, is central. For this solo, Mriziga has invited the Rwandan dancer, singer and choreographer Dorothée Munyaneza to bring Neith to life. In an intimate setting, you are treated to a mix of rituals, traditional dance, architecture, storytelling, singing, poetry and rap. This fresh look at an oppressed past makes you dream of a more inclusive future.
“A remarkable dance: fierce and powerful as well as extremely controlled, even solemn or ritualistic.” – Pzazz
CAC Black Box
April 8–9, 8 p.m.
April 10, 4 p.m.
concept & choreography: Radouan Mriziga
by and with: Dorothée Munyaneza
movement transmission: Maïté Minh Tâm Jeannolin, Sondos Belhassen
research support: Hajar Ibnouthen
scenographic concept: Estelle Gautier, Tewa Barnosa, Radouan Mriziga
visual artist: Tewa Barnosa
light design: Estelle Gautier
live lighting: Milan Van Doren
technical director: Estelle Gautier
costumes: Lila John
production: A7LA5
distribution & tour management: Something Great
funded by: De Vlaamse Overheid
Akal is co-produced by Kaaitheater (BE), DeSingel (BE), Tanzquartier Wien (AT), PACT Zollverein (DE), Festival de Marseille (FR), C-Mine (BE), Contemporary Arts Center (Cincinnati), Walker Art Center (Minneapolis), and Wexner Center for the Arts (Columbus)