Ancestrality
Temporalities
Queer
Dialogue
Legacy

estreia nacional

Exotica 4
Exotica 3
Exotica 1

In early 20th century Europe, artists La Sarabia, Nyota Inyoka, François Benga and Leila Bederkhan presented their dances with great success. Amanda Piña breathes new life into their works with Exotica, tracing back the heritage of racialized artists performing in European theatre stages and what she refers as “the brown history of European dance”. Exotica is an exuberant ritual conceived as a séance through which dancers as ancestors, queer and femmes of color from the past and the present re-appear on stage and come into conversation with the gaze and the ancestry of the audience. Their performative presence opens a space for reenactments, initiating invocations, exorcisms and celebration. — Amanda Piña

estreia nacional

12

1H30
6+

Credits

Artistic direction
Amanda Piña

Choreographic research
Ángela Muñoz Martínez, André Bared Kabangu Bakambay, Venuri Perera, iSaAc Espinoza Hidrobo, Amanda Piña

With and by
Ángela Muñoz Martínez, Zora Snake, Venuri Perera, iSaAc Espinoza Hidrobo, Amanda Piña 

Dramaturgy
Nicole Haitzinger

Integral design 
Michel Jimenez

Stage set and scenography
Forêt Asiatique (1921) by Albert Dubosq, reproduced by Decoratelier Jozef Wouters as part of Amanda Piña’s contribution to Infini #18 (2022)

Technical direction
Marcelo Daza

Light
Emilio Cordero Checa

Music
Ángela Muñoz Martínez, Zevra 

Sound design
Dominik Traun

Costumes
Federico Protto 

Director’s assistant
Pierre-Louis Kerbart

Production
Amanda Piña/Fortuna 

Coproduction
Kunstenfestivaldesarts, Holland Festival, Festival d’Automne à Paris, Tanzquartier Wien, PACT Zollverein, DDD-Festival Dias da Dança, La Bâtie-Festival de Genève, NEXT Festival

Distribution
Something Great

Supported by
De Singel, KWP Kunstenwerkplaats, wpZimmer

Thanks to
Stadsschouwburg Kortrijk, Showtex, Bruno Forment, FWF funded project Border Dancing Across Time P-31958, Christina Gillinger-Correa Vivar (archival research), Rolando Vázquez (decolonial theory/interview)

Funded by the 
Cultural Department of the City of Vienna, Arts and Culture Division of the Federal Chancellery of Austria

Performances in Brussels with the support of 
Österreichisches Kulturforum in Brussels

Credits

Text in English with subtitles in Portuguese