LABRYO/ This turning Europe 18-19 Sept.

Roberto N Peyre i samarbete med Barbara Crescimanno (It.), Weld & Er 

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

18e september kl 13.00 > 19.00 – Performance (Insläpp var 30e minut)
19e september kl 13.00 > 19.00 – Utställning

Weld C/o
Banankompaniet, Frihamnen, Frihamnsgatan 14
(Buss 1, 76 alt. Tunnelbana nr.13 avg. Gärdet. 10 Min promenad)

Ingen förbokning krävs
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Labryo i sig själv,  för sig själv, som installation, performance och tillfällig ensemble innebär en koreografisk koncentrerad arbetsperiod för 7 utvalda som under 3 dagar, på väg mot skördemåne i jungfrun, engagerar 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.

På den 4e dagen, Lördagen den 18e September, kl 13.00 > 19.00, kommer processen och dess tillblivelser att presenteras exklusivt under blott en dag, i 6 timmar då Labryo transmuterar till Dig, som en immersiv passage av angränsande, genom en fabrik för farkoster, frukt och framlidna röster i Stockholms Frihamn.

På den 5e dagen, Söndagen den 19e September, kl 13.00 > 19.00, är platsen öppen för publik som installation av spår och inspelningar från det föregående eventet.

De 7 utvalda är Majula Drammeh, Anna Öberg, Shaya Khalil, Caio Marques, Anna Koch, Roberto N Peyre, Barbara Crescimanno.
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Performativ installation och tillfällig ensemble är sammankallad genom 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 is 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 sit forskningsprogram Ninfe di Sicilia.

Labryo är producerat av Weld, i nära samarbete med Nordiska Konstförbundet NKF, med 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)

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.
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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 www.robertonpeyre.com/Labryo/Freeport)
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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

”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 )