Shay Kuebler / Radical System Art

Epilogos

The Vancouver Playhouse

Epilogos is built around the art of rhetoric and the commodification of morality. The appropriation of moral codes and value systems has been used to exert control by dictators, politicians and royalty. In Epilogos, the performance on stage becomes a device of persuasion, persuading the audience to see the power of each value in the moral code and the strength of the characters within these values. For Epilogos, we base each performance from the moral code of Bushido, the way of the samurai: duty, integrity, compassion, courage, honour, truth and morality. Epilogos builds its performance language off a blending of theatre, dance, martial arts and the interaction of these elements to video and live sound. In Epilogos, all the performance elements are generated from a single character “the orator”. This character acts as a catalyst for the entire performance, wherein the performance itself is a piece of promotion, propaganda or something to believe in. Utilizing bio-mechanical sensors, the simplest gesture has the ability to affect the entire performance environment and its performers.

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FERENC FEHÉR

The Station

KW Production Studio

“Ferenc Fehér’s choreography, in which the dancers act as though animated by some mysterious force, is astonishingly organic and yet mechanical at the same time, simultaneously conjuring up mathematical formulae and natural patterns, the intelligent human particle floating in an abstract plane, and the collective (quantum?) consciousness.
The Station is a super-concentrated ‘interim’ microcosmos both inside and outside real space and time , depicting the incessantly restless state of an urban zombie and the cacophony of an outside world woven from a rich fabric of sounds (also created by Fehér); and in the centre of it all stands its quintessence that is the complex relationship between two people with their own internal rules, which they are all too ready to break at the drop of a hat.”

-Orsolya BÁLINT, curator

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InDance

Śiva kissed Viṣṇu

Roundhouse Performance Centre

Śiva kissed Viṣṇu is a pivotal milestone in the history of Indian classical dance in the same vein as Matthew Bourne’s Swan Lake in ballet.
Śiva kissed Viṣṇu expands on the trajectory of heteronormative mythological themes of love and desire, propelling these popular narratives into the terrain of queer/same-sex relationships. This is a true first.

India is currently home to a hundred million LGBT+ people. In September 2018, India finally decriminalized homosexuality by abolishing the 1864 colonial, anti-gay law, Section 377. The urgency to continue the progressive inclusion of multiple sexualities in the 21st century recasting of Indian dance, compelled the creation of Śiva kissed Viṣṇu.

Śiva kissed Viṣṇu is an honest, sexy, unapologetic work that subverts the heterosexual, rigid vocabulary of Bharatanatyam. For the first time in the history of the dance, two classically trained, out and proud, Indian male dancers perform a provocative work focusing on same-sex love in the here and now.

Śiva kissed Viṣṇu explores the hyper-exaggerated facets of femininity and masculinity prevalent in Indian dance, in two classical solos, while the duet disrupts these cliched ideas of gender and thrusts them into complex worlds where Indian men express sensual intimacy, defying restrictive, archaic ideas about touch and affection.

Śiva kissed Viṣṇu has a burning contemporary resonance as it seeks to achieve the very thing that old India outlawed in the past, to “open the flood gates of delinquent behavior“!

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HINKYPUNK

FakeKnot

KW Production Studio

HINKYPUNK is an unidentified identity – an archetype, a hero, the unreachable.
HINKYPUNK is the idolized/idealized version of the self, a distant mirage of the here and now.
HINKIYPUNK is the most real that real can get. HINKYPUNK is the glamorous façade leading
the construction of cultural identity. HINKYPUNK is the faceless face we look for and who
shapes what we become.
HINKYPUNK is a 50 minute solo dance work that is based on the notion of how identity is
conflated with iconography and pop culture.

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ICHIGO-ICHIEH

Birthday Present for Myself

Roundhouse Performance Centre

Accomplished dancer-choreographer-actor Hiromoto Ida skillfully merges dance, theatre, classical music and voice to tell the story of the old man, raising a glass of sake to himself in celebration on what will be his last birthday. Reminiscing about the richness of his life experience, he is visited by the spirit of his wife (soprano Allison Girvan).

Featuring musicians Nicola Everton (clarinet), Sue Gould (piano), Jeff Faragher (cello), and Martine denBok (violin & viola), performing an evocative original score by Russian composer Pavel Karmanov.

Inspired by the subtlety and simplicity of Japanese Noh theatre through western contemporary dance and music, Hiromoto Ida touches the hearts of audiences. Exploring shared moments through the inner world and emotions of an old man, Ida inspires unexpected beauty through themes of love, transformation and regeneration.

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Kokoro Dance

Reading the Bones

The Vancouver Playhouse

Reading the Bones is an aleatory performance piece where we have thrown the bones of past choreography onto the stage to see if these favourite movement sequences still have significance outside of their original historical context. We looked for phrases and paragraphs from from our past repertoire of over 190 dance works and picked Impending Death (1990), Truths of the Blood (1996), Embryotrophic Cavatina (1998), Crime Against Grace (2001), ( ) (2003), Here to There (2005), Falling Down (2006), Bellatrix (2007), F (2009), Music of Amber (2011), and Life (2013). We set these selections on five women of different generations who each perform all of these excerpts except for Impending Death (only Barbara) and Here to There (only Katie, Molly, Deanna, and Salomé). We structured the piece to allow overlaps in starting points, to allow at least one solo for each dancer, to allow individual freedom of expression, even in ensemble sections, while demanding allegiance to form and sequence. It is our practice to allow dancers to go in and out of phase with one another, to sometimes lead, sometime follow. Spatial and temporal relationships develop spontaneously or, possibly, they do not. Harmony and dissonance arise as a matter of course that is influenced by the prescribed structural sequence. The music and lighting also overlap with the dance as Joseph’s music was composed only with his intuitive sense of what we were looking for and Gerald’s lighting deliberately lingers or foreshadows as movement enters or leaves his pools and shafts of luminosity.

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VIDF Membership 
is included in the purchase of tickets to Vancouver Playhouse, Roundhouse Performance Centre, and KW Production Studio or can be purchased separately for a one-time $5 fee at the VIDF Roundhouse Membership Table. All prices for tickets are in Canadian funds and include the annual VIDF Membership fee, VIDF Endowment Fund contribution and applicable GST.


If you need assistance, please call our VIDF Box Office at 604-662-4966 or email: boxoffice@vidf.ca.

FEES
All prices for tickets and festival passes are in Canadian funds and include the annual VIDF Membership fee, VIDF Endowment Fund contribution and applicable GST. If you experience any difficulties in purchasing tickets online, please call the VIDF Box Office at (604) 662-4966 and we will be happy to assist you.

REFUNDS POLICY
Refunds will be made in full in case of a cancelled performance. No other refunds will be made. There is no refund for tickets, festival passes, or VIDF Memberships after the purchase has been processed, including for missed performances.

RESERVATION CONDITIONS
Latecomers will not be seated. We strongly advise you to reserve your dates as early as possible. For Roundhouse shows, come early to enjoy the free show at 7 PM, art gallery and licensed bar in the Exhibition Hall.

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If you need assistance, please call our VIDF Box Office at 604-662-4966 or email: boxoffice@vidf.ca.