'Not yet': the Santarcangelo Festival insinuates itself into the doubts of everyday life

It is to underline the uncertainty of our daily lives that the 55th edition of the Santarcangelo Festival (opening on Friday 4th July and ending on the 13th) is entitled ' Not yet '. Because that 'Not yet', according to the Polish critic Tomasz Kirenczuck who is curating the festival for the fourth time, underlines the sense of a contemporaneity in which the future is not yet defined and the past remains alive in its interpretation. "Uncertainty - he argued yesterday at the presentation of the festival hosted at MAMbo in Bologna - should not be considered a threat but a space for comparison between different visions".

Thirty-eight Italian and international companies (about twenty of which are national premieres), 140 shows (more spoken theatre than dance ), over twenty DJ sets and eight public meetings make up the programme of a festival that, as tradition dictates, questions the new languages ​​of the stage. It begins at 7:30 pm on the 4th at the Itse Molari with 'Boujloud' by Kenza Berrada and ends at 9:30 pm on the 13th at the Galli in Rimini with 'Unarmoured' by Canadian choreographer Clara Furey. A feature of this year is the revival of Piazza Ganganelli with three noteworthy productions. That is, by Xenia Koghilaki, a Greek dancer living in Berlin, who with 'Slamming' is on stage at 10 pm on the opening night; by Tiran Willemse, a South African dancer and researcher who in collaboration with the Congolese electronic musician Nkisi signs 'When the calabash breaks'; of La Chachi, or rather of Maria del Mar Suarez, who in 'Los inescalables Alpes, buscando a Currito' invents an intense, deconstructed and hypnotic flamenco. Alongside the traditional places of the town (Lavatoio, Supercinema, Itse Molari, Palazzo della poesia) and the theatres of the surrounding area, this year the festival returns to the ex-Corderie, the industrial complex of via Dante Di Nappi that had been used before 2013: here you can see, among other things, the national premiere of 'Echo Dance of Furies' by Dewey Dell, the company composed of Teodora and Agata Castellucci, Vito Matera and the musician Demetrio Castellucci (5-6 and 8 July). Also at the ex-Corderie, the three-hour long show 'This resting patience' by Polish choreographer Ewa Dziaranowska will be performed, as well as 'Entepfhul' by Alina Arsi (and speaking of dance, keep an eye out for Polish artist Wojciech Grudzinski who in 'Threesome' evokes the figures of three famous twentieth-century dancers from his country).

The Italian 'quota' is not represented only by the Castelluccis. Alessandro Sciarroni takes care of the dramaturgy of 'U. un canto', a musical performance made up of choral songs (at the Galli in Rimini) while Silvia Calderoni and Ilenia Caleo with 'Temporale (a lesbian tragedy)' investigate the restlessness of the present time (at the Petrella in Longiano on 5 and 6 July). And again Muna Mussie, an artist of Eritrean origin, who with 'Cinema Impero' analyses colonial propaganda in a performance for one spectator at a time (from 5 to 13 July) and the Bolognese Flavia Zaganelli who in 'Placebo Dance' investigates the concept of pleasure (from 10 to 12 July). This year the ex Buzzi complex will be used to host the Grandi Magazzini Criminali project 'Ogni creatura è un popolo' (9-10 July), while a private apartment will host 'Feral' by Josefina Cerda (10-12). There are obviously many intriguing proposals. For example, 'Language: no problem' by the Palestinian artist Marah Haj Husseien is striking, as she tells the story of the relationship between her mother tongue and Hebrew, the official language of the state where her family lives (12 and 13 July). But it is the body (especially the female one) that is at the centre of many performances, starting with that of Hana Umeda who in 'Rapeflower' tells the story of many women who suffer violence (4-6 July) or Mathilde Carmen Chan Invernon who with 'Bell End' appropriates chauvinist attitudes (8-10 July). Last but not least: this year 'Imbosco', the usual after-festival night space, is also changing, with its curatorship being passed to Industria Indipendente, Kem and Parini Secondo: nine evenings of after parties and DJ sets that promise a new self-awareness.