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Contextualizing the artistic, communitizing the institutional.
Gallery
A Caring Dance World for Sensory Disability
'10'
The new performance of the choreographer Artemis Lampiri explores what freedom means, as an experienced experience that leaves its mark on the body. 10 performers of different ages embody their own freedom and negotiate on stage the boundaries between personal and collective freedom, letting the body talk about what it remembers, feels, has lived and recorded. Experiences of repression and liberation become the focus of the choreographic process and creation. How is the concept of freedom defined, not only historically and philosophically, but through the personal stories of each of us, as well as the performers who are called to coexist and create a common place through their diversity.
What shape, what color, what forms does freedom take in our daily lives?
Freedom is blue and has purple gold dust. Freedom is calm, it is the view of the horizon, it is in coexistence and loneliness, in fear. Freedom is born with struggle and it is a right. Freedom is the unhindered breath. Interviews with people of different generations are the trigger for choreographic research and are transformed into kinetic material that simultaneously explores the concepts of respect, empathy and the boundaries that co-shape a social whole. In a period of restriction of individual freedoms, the choreographer deals with a topical issue and through improvisational practices creates together with the performers 10 different performances.
Credits:
Concept / Research / Choreography: Artemis Lampiri
On stage: Nikos Vlachogiannis, Maria Vourou, Antigoni Gyra, Nanti Gogoulou, Nontas Damopoulos, Nikos Dragonas, Eleanna Zoi, Nikoletta Karmiri, Efthymis Moschopoulos, Alexis Tsiamoglou.
Dramaturgy: Betina Panagiotara
Music Teaching / Coordination: Natasha Martin
Lighting: Eliza Alexandropoulou
Assistant choreographer: Mina Dali
Contact: Marianna Papaki
Promotional material design: Mavra Gidia
Photos: Pavlos Mavridis
Production MANdancecompany
With the support of the Ministry of Culture
What shape, what color, what forms does freedom take in our daily lives?
Freedom is blue and has purple gold dust. Freedom is calm, it is the view of the horizon, it is in coexistence and loneliness, in fear. Freedom is born with struggle and it is a right. Freedom is the unhindered breath. Interviews with people of different generations are the trigger for choreographic research and are transformed into kinetic material that simultaneously explores the concepts of respect, empathy and the boundaries that co-shape a social whole. In a period of restriction of individual freedoms, the choreographer deals with a topical issue and through improvisational practices creates together with the performers 10 different performances.
Credits:
Concept / Research / Choreography: Artemis Lampiri
On stage: Nikos Vlachogiannis, Maria Vourou, Antigoni Gyra, Nanti Gogoulou, Nontas Damopoulos, Nikos Dragonas, Eleanna Zoi, Nikoletta Karmiri, Efthymis Moschopoulos, Alexis Tsiamoglou.
Dramaturgy: Betina Panagiotara
Music Teaching / Coordination: Natasha Martin
Lighting: Eliza Alexandropoulou
Assistant choreographer: Mina Dali
Contact: Marianna Papaki
Promotional material design: Mavra Gidia
Photos: Pavlos Mavridis
Production MANdancecompany
With the support of the Ministry of Culture
Argonautica Vivlio Gamma
3rd year professional drama school 'Dilos' presentation directed and movement coached by Aleksandra Kazazou.
Body percussion by yours truly.
(2002)
Thision Theatre for the Arts , Αthens, Greece.
Karol Jarek Photography.
Body percussion by yours truly.
(2002)
Thision Theatre for the Arts , Αthens, Greece.
Karol Jarek Photography.
ARVYLA
“ARVYLA” (meaning army boot in Greek) is the link between two Children Born of War stories and the
main musical instrument of a percussive dancer: the stomping boot. Stemming from the common need
for everyone to be heard, “ARVYLA” plays with this concept metaphorically and literally in the form of
an inspiring fusion of true testimonies, research material and historical facts from two distinct situations
experienced by Children Born of War and body percussion styles from around the world.
Read about my experience in my first commision by copying-pasting this link on your browser: https://issuu.com/natdancemartin/docs/reader-chibow-medizinische-psychologie-uniklinikum/s/42395384?fbclid=IwZXh0bgNhZW0CMTEAAR3MssVtVtTMYFlkFKgb_TlReB2tw4UOcJrDoeoYHeA8qyldBkfOwDadBSc_aem_AaoqQChuas_gy1DAoH8ADlC4NP4XxXnWZX2cbqhzxbOfx3oc3kj2ICWP_yh9NRzzFFu4b3unGPWlTbCpWBrBytYM
main musical instrument of a percussive dancer: the stomping boot. Stemming from the common need
for everyone to be heard, “ARVYLA” plays with this concept metaphorically and literally in the form of
an inspiring fusion of true testimonies, research material and historical facts from two distinct situations
experienced by Children Born of War and body percussion styles from around the world.
Read about my experience in my first commision by copying-pasting this link on your browser: https://issuu.com/natdancemartin/docs/reader-chibow-medizinische-psychologie-uniklinikum/s/42395384?fbclid=IwZXh0bgNhZW0CMTEAAR3MssVtVtTMYFlkFKgb_TlReB2tw4UOcJrDoeoYHeA8qyldBkfOwDadBSc_aem_AaoqQChuas_gy1DAoH8ADlC4NP4XxXnWZX2cbqhzxbOfx3oc3kj2ICWP_yh9NRzzFFu4b3unGPWlTbCpWBrBytYM
MoAM - Moving Around Music Vol. II (Athens. Greece)
'MoAM- Moving Around Music: The Intergenerational Percussive Dance Project' is a cultural initiative which aims at bringing together two populations in Greece which have been forgotten from society: unaccompanied minors and senior citizens. The tool for giving them voice but also facilitating this unusual intergenerational and multicultural connection is the music-dance genre of Body Music. MoAM's pilot attempt took place in Ludwigsburg, Germany in October 2017. The full scale project took place in Athens from December 2017 until May 2018 and got extended funding till December 2018. MoAM was supported by START - Create Cultural Change, a program of the Robert Bosch Stiftung, conducted in cooperation with the Goethe Institut Thessaloniki and the German Association of Sociocultural Centers, supported by the John S. Latsis Public Benefit Foundation and the Bodossaki Foundation, as well as the National Opera of Greece.
b(l)alloon_acoustic performative installation
Choreographers Yiota Peklari and Vassia Zorbali explore the embodiment of time through materiality - organic and inorganic - towards the direction of a multisensory accessible artistic work.
The choreographic research balances between the visual and the acoustic, addressing sighted, non-sighted, hearing and non-hearing individuals in parallel. Delving into an interdisciplinary performative practice, the kinetic performance explores the corporeality of sound, which manages to resonate both ears and eyes/gaze. The non-verbal vocabulary of b(l)aloon transforms audience participation into a universally perceivable experience, an artistic encounter-proposal that is not limited to conventional accessibility tools but discovers and cultivates innovative, alternative tools of inclusion.
CREDITS
Conception, Choreography: Yiota Peklari, Vassia Zorbali
Visual installation: Vassia Zorbali
Acoustic design: Yiota Peklari @yiotapeklari
Assistant Choreographer: Natasha Chanta-Martin
Performed by: Vassia Zorbali, Yiota Peklari, Natasha Chanta-Martin, Olga Dalekou, Christos Koutsovasilis
Costumes: Eleftheria Domenikou
Photos, Cinematography: Archlabirynth
Contact: Evangelia Skrompola
Visual identity design: Matina Nikolaidou
Prints: DOLCE
Set designer: Artemis Flessa
Production organization: PLAYGROUND for the arts @PLAYGROUNDforthearts
With the support of the NEON Organization for Culture and Development, the Greek Ministry of Culture, the Ioannou F. Kostopoulos Foundation and Flux Laboratory Athens.
The choreographic research balances between the visual and the acoustic, addressing sighted, non-sighted, hearing and non-hearing individuals in parallel. Delving into an interdisciplinary performative practice, the kinetic performance explores the corporeality of sound, which manages to resonate both ears and eyes/gaze. The non-verbal vocabulary of b(l)aloon transforms audience participation into a universally perceivable experience, an artistic encounter-proposal that is not limited to conventional accessibility tools but discovers and cultivates innovative, alternative tools of inclusion.
CREDITS
Conception, Choreography: Yiota Peklari, Vassia Zorbali
Visual installation: Vassia Zorbali
Acoustic design: Yiota Peklari @yiotapeklari
Assistant Choreographer: Natasha Chanta-Martin
Performed by: Vassia Zorbali, Yiota Peklari, Natasha Chanta-Martin, Olga Dalekou, Christos Koutsovasilis
Costumes: Eleftheria Domenikou
Photos, Cinematography: Archlabirynth
Contact: Evangelia Skrompola
Visual identity design: Matina Nikolaidou
Prints: DOLCE
Set designer: Artemis Flessa
Production organization: PLAYGROUND for the arts @PLAYGROUNDforthearts
With the support of the NEON Organization for Culture and Development, the Greek Ministry of Culture, the Ioannou F. Kostopoulos Foundation and Flux Laboratory Athens.
CONNECTING BODY_online
The workshop Connecting body focuses on the development process of kinesthetics and music perception, as participants learn to harmoniously share space and time. A basic instrument for attaining this result is body music, which proposes an experiential way of co-existing and communicating based exclusively on the use of the body for producing music. The workshop is targeted at people of all ages and it can simultaneously include persons with or without sensory disabilities. The result is every time unique and it depends on the group’s special character.
CONNECTING BODY_the doc
0:05 / 29:00
CONNECTING BODY _ fully accessible documentary [SDH, ISL & AD]
During the pandemic, a mixed group of adults with or without visual or/and hearing disabilities, communicate through the sound of their movement.
The fully accessible documentary captures the personal experiences of the participants attending a workshop of the inclusive method Connecting Body. The method brings together social groups that rarely or never communicate using a non-verbal sound-kinetic language, which relies exclusively on the voice and the movement for the production of music.
The workshop material draws inspiration from the teachings of our beloved mentor and
friend, Keith Terry.
**
Direction: Yiota Peklari & Chrysanthi Badeka
@yiotapeklari @chrysanthibadeka7626
Director of Photography, Cinematography, Editing: Chrysanthi Badeka.
Participants: Christos Koutsovasilis, Nikos Leventakis, Maria Mamantaki, Nefeli Kouvela,
Virginia Petrinoli, Kostas Vassilis, Marianna Desypri, Kelly Alivanistou, Sofia Stavrakaki.
Design & Implementation: Yiota Peklari & Natasha Martin
www.yiotapeklari.com
AD & SDH in Greek Language: Kerasia Michalopoulou
English adaptation: Yiota Peklari
Quality Control: Kerasia Michalopoulou, Patra Marousi
Recitation: Natasha Martin
Transliteration in International Sign Language: Olga Dalekou
Accessibility Service: Liminal Access
Production\ Organisation:
@PLAYGROUNDforthearts
www.playgroundforthearts.com
With the financial support of Greek Ministry of Culture
.
.
#bodymusic #inclusion #deaf #hardofhearing #blindness #visualimpairment #disabilitiesawareness #connectingbody #inclusivemethod #inclusivity #performingarts #visuallyimpaired #community #disabledartists #accessibility #accessibilitymatters
The fully accessible documentary captures the personal experiences of the participants attending a workshop of the inclusive method Connecting Body. The method brings together social groups that rarely or never communicate using a non-verbal sound-kinetic language, which relies exclusively on the voice and the movement for the production of music.
The workshop material draws inspiration from the teachings of our beloved mentor and
friend, Keith Terry.
**
Direction: Yiota Peklari & Chrysanthi Badeka
@yiotapeklari @chrysanthibadeka7626
Director of Photography, Cinematography, Editing: Chrysanthi Badeka.
Participants: Christos Koutsovasilis, Nikos Leventakis, Maria Mamantaki, Nefeli Kouvela,
Virginia Petrinoli, Kostas Vassilis, Marianna Desypri, Kelly Alivanistou, Sofia Stavrakaki.
Design & Implementation: Yiota Peklari & Natasha Martin
www.yiotapeklari.com
AD & SDH in Greek Language: Kerasia Michalopoulou
English adaptation: Yiota Peklari
Quality Control: Kerasia Michalopoulou, Patra Marousi
Recitation: Natasha Martin
Transliteration in International Sign Language: Olga Dalekou
Accessibility Service: Liminal Access
Production\ Organisation:
@PLAYGROUNDforthearts
www.playgroundforthearts.com
With the financial support of Greek Ministry of Culture
.
.
#bodymusic #inclusion #deaf #hardofhearing #blindness #visualimpairment #disabilitiesawareness #connectingbody #inclusivemethod #inclusivity #performingarts #visuallyimpaired #community #disabledartists #accessibility #accessibilitymatters
BodyNatyam
A female dance collective working on the intersection between Bhārata Nāṭyam and Body Music. Presented as a performance at Footprint Dance Festival (London, 2014), PLAYGROUND for the arts (Athens, 2017), Konstnärsnämnden (Stockholm, 2019) and at Jorden Är Blå Som En Apelsin (Uppsala, 2019), as well as a workshop at various independent artistic spaces in Clermont-Ferrand (France, 2013), at PLAYGROUND for the arts (Athens, 2017) and at the Choreomundus International Dance Festival (Szeged, 2018).
3 Tails
3Tails attempts to bridge Body Music and South Indian rhythmology as a way to track historical musical memory through the body.
Indian rhythms have become very popular in world music and have affected the way rhythm is taught and transmitted outside the traditional and local contexts they were born in.
Their migration to other rhythm cultures have inspired artists to use their craft to find a cultural bridge. As a dance practitioner, educator and baby-steps choreographer, I am able to memorise a rhythmic pattern only if I embody it, creating my body into a transcription canvas where an intangible cultural element becomes ephimerally tangibile.
The rhythms I have attempted to embody were transmitted to me through a teacher and I transmitted them to my students in order to better re-learn them and keep them in my memory for as long as possible. The magical confusion that body percussion causes by blurring the lines between movement and sound, dance and music, visualising and sounding, create a unique mutlisensorial practice that reunites the arts and reconfirms the non-duality of performing arts.
A memorable blend between vision, hearing and touch manages to bring us closer to our past. By practising the historical syllables of konnakol through the body, I am reminded of the first syllabic language of Ancient Greece, the Mycenean Linear B. But Ancient Greek is so ancient, is it still mine? Is it part of my history or just my history books?
By practising two intangible memories from two very far and different parts of the world, 3 Tails contributes towards bringing the pasts into the future with a unique tool that co-constructs thepresent.
Credits:
3Tails is based on traditional and original North and South Indian compositions taught by Jim Santi Owen.
Body Music arrangements by Natasa Chanta-Martin
Choreography :
Study I: Natasa Chanta-Martin
Study II: Natasa Chanta-Martin, Stefanos Barzoukas, Marilena Sypsa
Study III: Natasa Chanta-Martin, Marilena Sypsa, Stefanos Barzoukas
Performed by:
Stefanos Barzoukas
Natasa Chanta-Martin
Marilena Sypsa
Many thanks to :
Manjunath BC's footage from his video Fun with Kids (-:
Prasanth's footage from his video Damaru
Rehearsals took place at:
PLAYGROUND for the arts
Recording studio, sound mixing and mastering:
EnD Productions
Filmed by: Ladies' Fingers directing duo
Edited by: Vasia Ntoulia
Indian rhythms have become very popular in world music and have affected the way rhythm is taught and transmitted outside the traditional and local contexts they were born in.
Their migration to other rhythm cultures have inspired artists to use their craft to find a cultural bridge. As a dance practitioner, educator and baby-steps choreographer, I am able to memorise a rhythmic pattern only if I embody it, creating my body into a transcription canvas where an intangible cultural element becomes ephimerally tangibile.
The rhythms I have attempted to embody were transmitted to me through a teacher and I transmitted them to my students in order to better re-learn them and keep them in my memory for as long as possible. The magical confusion that body percussion causes by blurring the lines between movement and sound, dance and music, visualising and sounding, create a unique mutlisensorial practice that reunites the arts and reconfirms the non-duality of performing arts.
A memorable blend between vision, hearing and touch manages to bring us closer to our past. By practising the historical syllables of konnakol through the body, I am reminded of the first syllabic language of Ancient Greece, the Mycenean Linear B. But Ancient Greek is so ancient, is it still mine? Is it part of my history or just my history books?
By practising two intangible memories from two very far and different parts of the world, 3 Tails contributes towards bringing the pasts into the future with a unique tool that co-constructs thepresent.
Credits:
3Tails is based on traditional and original North and South Indian compositions taught by Jim Santi Owen.
Body Music arrangements by Natasa Chanta-Martin
Choreography :
Study I: Natasa Chanta-Martin
Study II: Natasa Chanta-Martin, Stefanos Barzoukas, Marilena Sypsa
Study III: Natasa Chanta-Martin, Marilena Sypsa, Stefanos Barzoukas
Performed by:
Stefanos Barzoukas
Natasa Chanta-Martin
Marilena Sypsa
Many thanks to :
Manjunath BC's footage from his video Fun with Kids (-:
Prasanth's footage from his video Damaru
Rehearsals took place at:
PLAYGROUND for the arts
Recording studio, sound mixing and mastering:
EnD Productions
Filmed by: Ladies' Fingers directing duo
Edited by: Vasia Ntoulia
Athens Tap Jam
since 2014, co-founder of. Improvisational events between tap dancers and jazz musicians.
When Language Makes you Dance
Working Surface
Working Surface is my new interdisciplinary work which is being co-produced during the 2024-2025 season among Germany-Greece-USA. It focuses
on body percussion, contemporary dance and physical theatre and uses the sounding body, the moving body and a
camera (on screen) as working surfaces and objects that take up space. The choreutic format is based on the concept
of improvography, a blend between improvisation and choreography which is very common in my creation process
because it makes every show full of surprises for both the audience and the performer.
on body percussion, contemporary dance and physical theatre and uses the sounding body, the moving body and a
camera (on screen) as working surfaces and objects that take up space. The choreutic format is based on the concept
of improvography, a blend between improvisation and choreography which is very common in my creation process
because it makes every show full of surprises for both the audience and the performer.
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