Witch Hunting is for 10 yrs+.
An empty stage. Six dancers inhabit the space… And then it all kicks off! An explosion of dance from krumping to popping, to coupé-décalé from the Ivory Coast, ndombolo from Congo, mbolé from Cameroon and urban dance. The dancers use their bodies to reveal how they perceive and understand the world. They ask fundamental questions. What is cultural identity? What does community mean? What connects us as a society?
In Witch Hunting, choreographer Anne Nguyen uses dance to explore power, exclusion and scapegoating in a powerful dialogue about solidarity, community and human connection. This timely performance is captivating, gripping, bold and yet poetic. With joyous dance and an original score, it encourages us to reflect on fairness, solidarity and the concept of ‘the common good’ in a challenging world.
Baboró is delighted to once again present par Terre / Anne Nguyen Dance Company in Galway following virtuoso performances in Matière(s) première(s) and [Superstrat[ last year. You don’t want to miss this show!
Includes Q&A with choreographer Anne Nguyen after each performance.
See associated workshop for 9 - 16 yrs olds here and adults here.
For schools interested in this performance, see baboro.ie/schools for school booking requests.
Witch Hunting brings together krump, popping and African urban and traditional dances to explore the notion of cultural identity and universalist principles. In a system where the dynamics of scapegoating play, in a cyclical manner, to the profit or detriment of each, Witch Hunting invites the audience to reflect on the notion of the common good and the concept of the nation. The original score for Witch Hunting, composed by Pierre Demange, Grégoire Letouvet and Tony Nboumba aka ‘Tony No Script’ using percussion, prepared piano and krump sounds, reinterprets the symbols of France’s collective history.
Witch Hunting explores the human being’s desire for empire and its capacity for empathy. On the bare stage, six dancers, women and men embodying different cultural prisms, find common points of expression and converge physically, alternating between conflict, complementarity and harmony. Their dances, imbued with elements from African and American heritage, represent various harmonies between tradition and modernity. Krump, popping and African urban and traditional dances draw bridges between the bodies, playing on inclusion and exclusion as the collective evolves.