Sedrig Choreographed “ Oyster “ with the students of the Urban Contemporary ( Amsterdamse hogeschool voor de kunsten 2017 ).
Sedrig choreographed “0.20” in collaboration with Studio-West Dancelab , meervaart 2019 ,
Choreographed by Christiaan de Donder- de Kort & Sedrig Verwoert , 2018
Tekst by : Mirelva Berghout
Costume by : Christiaan de Donder- de Kort & Sedrig Verwoert
Photo Work in collaboration with Casper Kofi
The piece They/ Them is the brainchild of Sedrig Verwoert en Christiaan De Donder. They/Them has been carefully crafted in the mind over several years and now finally comes together in a powerful piece in which THEY take the stage to show us THEM.
For this piece, the duo draws from a number of experiences they went through separately, though rooted in shared values and a shared identity. Christiaan and Sedrig were both confronted with events that exposed the ongoing existence of systemic racism, toxic masculinity, and queerphobia. Meeting each other at several points over the years they recognized their shared reality which enabled them to support, lean, uphold, but also mirror each other on their individual journeys.
This shared point of departure has given them the tools to build their very own physical language that dares to step outside of the traditional contemporary dance framework and often alternates between feminine and masculine gestures, but most of all they allowed themselves to fully embrace their identity. Even though their movements are seasoned by years of technical training, the emotions evoked are accessible to a broad audience.
They/ Them is a ode to the other, a plea for connectedness and a celebration of the future.
Choreographed by Christiaan de Donder- de Kort & Sedrig Verwoert
‘’ Pure Rubens ‘’
( Premiered on the 24th of Novermber, 2018 in collaboration with Museum Boijmans van Beuningen, Rotterdam )
Just like They / Them, a choreography that the duo performed last summer, the theme of racism plays an important role in this performance. " In the Pure Rubens exhibition, one dark person can be found: the slave in the painting The triumphal procession of Bachus " Christiaan observes. " It is sad to see what four hundred years of slavery have brought about in humanity, even to this day
.” There is still a white privilege in the dance world. Sedrig tells me that as a teenager he painted his ballet shoes black, because there were simply only white shoes on the market. The dancers find it premature to say that a lot has changed in the dance world, but a conversation is slowly starting to take place. " There has never been total recognition for the degrading practices that then took place. This brings a lot of weight: thoughts, emotions, et cetera. If you will translate those reactions physically, you can get started. " How do you do that, translate physically ? I ask. "We create a structure for ourselves in which we make agreements for every scene, but improvisation is being made in that structure."It is the first time that Sedrig and Christiaan perform in a museum. It gives a totally different charge because the space becomes part of the performance, they explain to me. There is no separation between the audience and the performer, such as in the theater, so that all elements, such as paintings, visitors and performers become one. " The course of the performance depends on the position of the visitor so that each performance can be completely different: that is something that happens in the moment, you can not create that in advance ". That something happened during this performance is one thing that is certain: N **** Swan was very busy and for forty minutes Sedrig and Christiaan managed to keep the tension, an experience that is almost impossible to capture.The dancers walked into the exhibition together and immediately grabbed the attention of the public with the striking white colonial clothing. In the round center of the exhibition they let go of each other and moved them over the ground, you saw the pain in their bodies and the empty look in their faces. Slowly they freed themselves from their white clothes, they danced entangled further to the next room and found each other again before the white swan. It was a performance of tragic beauty.
Winner of the ‘’ Leo Spreksel Award ‘’ 2019
the motivation for his choice: "Every artist has an assignment in life and that is the best version of becoming yourself. In addition, the art of giving is a talent that an artist must acquire like no other. Wer bin ich? Was bin ich? The young artist poses these two questions in the epic film drama Werk ohne Autor. Who am I but especially how do I show who I am in my work. The prize winners have asked themselves that question in an excellent and penetrating way. "
"As young makers they are aware of their role model in the still largely white dance world. They link artistic excellence to a fresh and important activism in the field of gender inequality, race, sexuality, class and polemics about prevailing and oppressive norms in this. Their duet They / Them is a beautiful statement, autobiographical, beautifully danced. Their work shows that the questions Wer bin ich, Was bin ich? in their dance art can lead to fundamental artistic considerations that in this Me Too era problematises the classical man woman dance role. Queer is a term that originally means 'strange' or peculiar. In the case of tonight's prize winners, Queer is no less than a nickname.
ARTIST IN RESIDENCE:
- De Appel “ 2019 “
Het Ensemble is het wederkerend educatie programma van De Appel waarbij polyfone stemmen, ideeën en ervaringen verzameld worden in relatie tot het tentoonstellingsprogramma van De Appel.
Gedurende 3 MOVEMENTS zal het Ensemble geluid en expressie van gender onderzoeken aan de hand van bewegingen van het lichaam. Onderstaande vragen, samen met talloze andere, zullen onderzocht worden om zo tot een andere kijk op gewaarwording van het lichaam te komen.
‘’ Het Ensemble of Movements is georganiseerd door De Appel samen met kunstenaars en choreografen Sedrig Verwoert en Christiaan De Donder ‘’