Constellation/ diptych:
Until Now, Until there is |
Film | Place: Barn 2

French-born, Freddy Houndekindo’s artistic practice started in the street with Urban Dances. He studied contemporary dance in the Conservatoire National Supérieur de Musique et Danse de Lyon and modern dance at the Folkwang Universität der Künste in Essen. He has worked with artists including Alma Söderberg, Ian Kaler, Malou Airaudo, Samir Akika, Neco Çelik, Eszter Salamon, Sharon Fridman, Sylvia Borges and Heiner Goebbels. In 2020 he was granted the Tanzrecheche NRW 2020 to support his artistic project “N-Ra: Nomade Roaming Algorythm”. He joined Cullberg in the autumn of 2018.

MoveMkrs is born from the desire to deepen the relationship between dance, screen, dancer, choreographer, filmmaker. We developed an interest in how the medium of film could enable us to orchestrate contemporary dance and direct the attention of an audience more precisely than perhaps a live event. This by creating a multi-layering of sounds, images, movements, lights, composed in a manner that a theater couldn’t make possible. In other words, by making dance film into an independent artform thus non-conflicting with the live-performance, rather complementing it.

Film 1. Until There Is
Duration: 7 min length
Location: Torö
Collaborators:
Ilaria Capalbo/ Double Bass – Music and performance
Freddy Houndekindo – Choreography and Performance
Thomas Zamolo – Cinematography and Postproduction
Tilman O’Donnell – Camera assistant & Boom operator
Thamer Alzaidi – ColoristMartin Ekman – Sound engineer
Costume: HOPE – Sthlm

Film 2. Until Now
Duration: 7 min length
Location: Ridhuset, Orlången
Collaborators:
Adrian Lussi/Trumpet – Music and Performance
Freddy Houndekindo – Choreography and Performance
Thomas Zamolo – Cinematography and Postproduction
Martin Ekman – Sound engineer
Camille Prieux – Camera assistant & Boom operator
Thamer Alzaidi – Colorist
Costume: HOPE – Sthlm

The film project Constellation is a diptych that captures the encounter between a dancer and a musician.

In this meeting dance, music and camera are in negotiation with their immediate environment. The resulting dialogue is a direct acknowledgment and investigation of particular ecosystems in conjunction with the human condition.

Dancing here is understood as an interrelation, at once viscerally logical while simultaneously non-deterministic, a means to establish a vital form of kinship.

Similarly, in our collaboration with the composers and musicians, we had the desire to highlight each instrument’s sonic particularity and relation to the given space in which it finds itself.

The double bass and trumpet whisper, colour, punctuate and counterpoint. They provide a sense map, guiding the eye through the ear, to reconsider how we are in relation to our world.

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