A double bill at HAU2 and HAU3 featuring the dance pieces NKISI by Jolie Ngemi and PEARLS by Joshua Serafin.
NKISI by Jolie Ngemi – 19h at HAU3
Animist beliefs are still widely held in the Congo, but their expression is only a taboo, hidden or even cursed shadow. “Nkisi” is a word in Lingala, the mother tongue of Jolie Ngemi. It can commonly mean “remedy”, “witchcraft”, “medicine”, or designate a sacred fetish. As a large part of the population lives in poverty, any success is questioned. It is said that the person who succeeds must have touched the Nkisi, used witchcraft and called upon mystical spirits. Before the colonization such women were also called Nkisi, who were asked by the kings to carry out magic rituals to prevent misfortunes. The dancer, choreographer and musician Jolie Ngemi places traditional Nkisi knowledge at the centre of her solo performance and rekindles the flame of its healing power. Nkisi aims to transport the audience into a world of female superhero powers. A journey in which one abandons oneself totally as in a daydream where the physical and psychic worlds collide. What has remained of these practices? Can they once again be ascribed power in today’s crisis-ridden world? And who could these powerful Nkisi women be today, these mediators of occult powers who were once the secret advisors of kings?
PEARLS by Joshua Serafin – 20:30h at HAU2
“PEARLS” is the third and final iteration of a larger piece of work entitled “Cosmological Gangbang,” which seeks to create a novel suite of movements for ungovernable bodies and the ecologies they inhabit. With “PEARLS”, Brussels-based Filipino multi-media artist Joshua Serafin, alongside their collaborators from the Philippines – Lukresia Quismundo and Bunny Cadag – incarnates through live performance the nonnormative figures celebrated in the Philippine archipelago prior to empire. In dance, song, and theatre, Serafin, Quismundo, and Cadag abandon the binary they have inherited from colonial culture, gesturing toward their future selves to rediscover an ancestral body promised by the gender-diverse.
The performance takes as a starting point for its various movements a genealogy of indigenous gender identities in the Philippines lived and expressed as fluid and resistant to binary representation. This gender nonconformity is grounded in the divine and was embodied by high priestesses fulfilling themselves in various incarnations of the feminine and passed on through genres of oral wisdom. As tellers of these tales in the present, the performers hope to translate their knowledge of local gender- diverse spirituality through a global idiom that would inspire conversations among peers and co- conspirators beyond their homeland.
“PEARLS” dreams to rewrite history and speculate a possible future, by conjuring reveries where the body transforms into the divine – mortals become gods and goddesses, merge with the cosmos, and create nature out of nonbinary form. As a decolonial fantasy, the work seeks to imagine queer and trans bodies of color from the global south through the particular predicaments and aspirations proposed by Filipino experience.
The title “PEARLS” references “Perla de Oriente,” (Pearl of the Orient) the sobriquet attributed to the Philippines by Spanish missionary Juan José Delgado in Historia de Filipinas (1751) and “Perla del Mar de Oriente,” (Pearl of the Orient Sea) which opens the second line of Filipino national hero José Rizal’s valedictory poem Último Adiós (1896). In this sense, a pearl stands in for the motherland by turns imagined as colony and nation, a tropical paradise that inspired priests and patriots in fulfilling acts of religion as well as revolution.
Ultimately, “PEARLS” is a ritual of healing. As performers, Joshua, Lukresia, and Bunny acknowledge the pain they share as gender-diverse brown bodies, confessing stories of trauma they wish to transform into scenes of beauty, just like when nacre covers a foreign particle that finds its way into an oyster, forming a pearl in the depths of the ocean that would defy all manner of tempest and perhaps even elude the eyes of greed.
“PEARLS” is the last part of the trilogy “Cosmological Gangbang”. The second part, “VOID”, was shown at Haus der Kulturen der Welt in June 2023. Joshua Serafin is also part of the main exhibition of the Venice Biennale 2024.
photo: Michiel Devijver