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The word Lounge is both a verb and a noun: an action of sitting or lying in a relaxed way or a public room where people may relax. This dual nature of resting is at the heart of this duet for two female-identifying bodies. Together they move through states of active and passive rest, using each other’s presence to go deeper into themselves and the vibe. Permeating the piece is the notion of the invisible lap dance, consisting of small, nearly imperceptible dances that use the gaze to blur the borders between the giver and receiver. By relying on erotics and building togetherness, Lounge taps into the comfort of rest as an active claim of womanhood.
CONCEPT Marga Alfeirão CHOREOGRAPHY, DANCE, PERFORMANCE Marga Alfeirão, Mariana Benengue CHOREOGRAPHY Myriam Lucas, Cajsa Godée, Mariana Benenge, Marga Alfeirão SCENOGRAPHY Yoav Admoni MUSIC EDITING AND MIXING Hinna Jafri, Shaka Lion COSTUME DESIGN Nani Bazar LIGHT DESIGN Thais Nepomuceno Veiga DRAMATURGICAL SUPPORT Jette Büchsenschütz, Mateusz Symanovka CO-PRODUCTION Tanztage//Sophiensalle. THANKS TO Francisca Spuzi
instagram @margaalfeirao
photo credits Mayra Wallf
Marga Alfeirão uses media to carve safe-spaces for the exploration of intimacy and sexuality through dance and performance. Heavily influenced by dance-genres and sound textures from the african diaspora disseminated through Lisbon’s social tissue, she attempts an active claim of womanhood, making room for lesbian sensualities. Last year together with Camila Malenchini, she premiered Wet Eyez, a work on emotional bodies and fantasy. She has worked with choreographers Tamara Alegre, Antonja Livingstone, architect Afaina de Jong, among others. She is active in the Portuguese Ballroom scene as a founding member of the Casa das Musas. Graduated from HZT’s BA in dance and choreography in Berlin (2017-21), she initiated Lapdances to Ringtones and Lullabies, a research on erotics and rest.
Luso-Brazilian DJ Shaka Lion is the perfect
demonstration of an outside look at the
internationalism of dub – outernationalism – a
Brazilian who grew up in Barreiro. the ITINERARY of his sets IS ALWAYS PINPOINTED WITH CLASSIC REFERENCES, REFRAMED IN CONTEMPORARY EDITS OR REMIXES. In addition to his dub way, we hear emotional soul, hip hop, stargazing jazz brazilian grooves and global club beats. HE CONNECTS MUSICAL WORLDS from his ancestry and upbringing WITH CITIES LIKE PARIS, LONDON and BERLIN.
Myriam Lucas is a dancer, teaching artist and choreographer from San Diego, California.
She began her dancing as a freestyle Hip-Hop dancer and has since moved into other urban dance forms and various contemporary movement techniques.
Choreographers Prize, ‘Audience Favorite’, for her pieceTwo Fridas in 2014. She created Callous in 2014, her frst full-length show inspired by the Frida Kahlo’s paintings. In 2018 she completed her 3-year length BA in Dance, Context and Choreography at HTZ Berlin.
Dancer, choreographer and designer, Mariana Benenge is a free spirit in the Parisian queer community. The young entrepreneur has co-founded P3, an exclusive FLINTA party that celebrates and encourage BIPOC queers lesbian to celebrate their sensuality and to nurture spaces without non-male gaze domination. As a designer, Mariana carries along her Congolese heritage, in close dialogue with colour and texture, she brings forward audacity and unapologetism in her clothing, representing her womanhood.
She has collaborated as a movement directed for several music artists, fashion designers such as Clara Dagin and brands such as Channel. She initiated her education in traditional Congolese dances, in Congo, and later, in Paris, she became a Waacker and an active member on the street dance scene and Ballroom scene.
part 2 · magic sells · Performing Arts Festival · Brussels · Bâtard 2023 ©
The show on the first evening (15th April) is a separatistic evening for people of the global majority/BIPOC. So please only book that evening if you identify with those terms. The show on the 16th of April is open for all. ---- We, Adam and Amina Seid Tahir, see how the terms BIPOC and people of color are less fortunate in their attempts of combating white supremacist andimperialistic ideologies, since they form in relation to whiteness (those ”not of color”) and therefore keeps whiteness as the norm. We rather use the term people of the global majority since we aren’t interested in identifying in relation to whiteness or white supremacy. ---- The term Global Majority was coined by Rosemary Campbell-Stephens. ”Global Majority refers to people who are Black, Asian, Brown, dual-heritage, indigenous to the global south, and or have been racialised as 'ethnic minorities’.” 1 This term was created for people of the global majority to not have to identify in relation to whiteness and to emphasize the fact that these groups make up the majority of the world’s population, specifically 80%. ---- The reason for choosing to use the term BIPOC despite this, is because we’re aware that the term people of the global majority hasn’t received as widespread attention yet. And since our main goal for this showing is to welcome our siblings from the global majority for a showing without the presence of a white colonial gaze, we choose to use the term that seems to be most commonly used in this festivals locality. ---- 1. Global Majority; Decolonising the language and Reframing the Conversation about Race” by Rosemary Campbell-Stephens, 2020
