LABRYO/ This turning Europe Sept 18-19.

Roberto N Peyre in collaboration with Barbara Crescimanno (It.), Weld & You

7 personages
3 days of labour
1 day of play
with You

September 18 at 1pm > 7pm – Performance (entrance every 30 minutes)
September 19 at 1pm > 7pm – Exhibition

Weld C/o
Banankompaniet, Frihamnen, Frihamnsgatan 14
(Buss 1, 76 alt. Tunnelbana nr.13 to Gärdet. 10 min. walk)

No pre-booking necessary

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, Saturday the 18th September at 1pm  > 7pm, 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 at 1pm  > 7pm, 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 metamorph 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 polymorf re-assembling multitude, a collective body in itself opening up and closing as a tempel, a port, a vent, a mouth, a hunger, as site of the sacred. A revolting feedback enfolding, spiralling.

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 Labyrint (aka Minoan labyrint, 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.

The installation performance and temporary ensemble Labryo is directed by 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

Barbara Crescimanno:

Roberto N Peyre:

”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 )