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Sadim  سديم

Sadim سديم

سديم \Sadim By Sahar Damoni Commissioned by Staatstheater Kassel, Germany "Sadim" is a natural wonder. It's a thin fog, which contains drops of water swimming in the atmosphere, close to the surface of the Earth. This Unique wonder, reflects the seen and unseen, the known and unknown, the darkness with the light, the enturpetaion of what each individual person sees in front of her/him. How do I/we react to this wonder in front of me/us? How Does it make us react to it? Do I/we choose to just look at it? Do I/we go closer to it, run away from it, maybe go through it? How does it make me/us feel? Does the feeling change if we are individuals in front of it or as a group of people in front of it? Does this wonder reflect the way I \ we see ourself, the way I\ we know ourselves? "Sadim" questions what home means to each one of us - is it a physical matter or peace of mind? How does it affect my identity and the identity of each one of us? Choreography & Staging: Sahar Damoni Dancers \ Co-creators: Emily Paige Anderson, Anna Gorokhova, Yannis Brissot, Vincenzo Minervini, Safet Mistele, Shafiki Sseggayi Rehearsal Direction & Artistic Advisor: Luisa Sancho Escanero Dramaturgy: Thorsten Teubl Stage Manager: Swarna Rautianen Sound Design: Donato Deliano Stage Design: Isabell Heinke Costume Design: Ama Tomberli Light: Oliver Frees, Dirk Thorbrugge Co- studying Felicia Nilsson, Astrid Ottosson, Iris Posthumus Press: “Sadim” by Sahar Damoni made it clear how far-reaching the conversation about gender and identity can be. Sahar made it almost physically clear to the audience what dance as an art form is capable of: uniting the past and the future in the present. At the moment of movement . The choreographer clarifies her constant search, her conflicts that she has to overcome as an artist, as a woman from an Arabic culture. The language of movement is complex, provocative and plays with the changing dominance of the actors. Sometimes intimate, sometimes aggressive, Damoni tells of a search for one's own self. longing and loss, The past and the future are sung about here and reflected on the stage through the fleetingness of the movement. (Kirsten Ammermüller, German, article HNA, December, 2021)
Do Not Title Me (Trailer)

Do Not Title Me (Trailer)

Sahar Damoni was born and raised in a controversial piece of land and lives in a severely complicated reality. As a female Palestinian artist, she has more than enough barriers to break yet the political aspect of her identity adds more frustrations. In Do Not Tittle Me, she expresses, observes, and wanders through her frustration. She attempts to capture the reality and the future of her individual Palestinian body physically, mentally, and socially. “Accept the position you are in, do not force it, do not push it. Your body will let go eventually, Just be patient with yourself, simply focus on the breathing. Do not worry about what you look like. Focus on how you feel” Choreography, Performance, Styling, Set : Sahar Damoni Artistic Management: Nitzan Cohen Music: Hadi zidan- Safar Barlek Lighting Design stage: Amir Castro Lighting Design video: Yair Segal Directing and editing: Nitzan Cohen, Erez Schwarzbaum Cinematography: Ophir Ben Shimon Camera and light assistant: Erez Schwarzbaum Sound recording: Shוval Fixler Recording assistant: Valen Solomenko Production assistant: Ela Pollak Artistic Direction of Intimadance Festival: Stav Marin, Merav Dagan Acknowledgments: Jonathan Hollins, Frida Danieli, Aziza Diab, Rwan sheikh Ahmad, Lishay Shechter The video was produced by Tmuna Theater, Intimidance Festival 2020 In “Do Not Title Me,” Damoni, a Palestinian choreographer who lives in Shafaram, confronts the audience directly through the title of her work, and presents physical expression of the struggle between conflicting claims through small limited movements and at the same time in a free movement.. Her presence is mesmerizing. Damoni offers to observe her and "oriental" dance in a different way, not only because the person looking at her from behind seemingly does not know who she is, but because it is an offer to pause to observe for a moment the same "me" or “I”...Damoni adopts a strategy of resistance, of refusal. Damoni also drags her identity behind her in the form of the burning shoes, which she eventually fills. Damoni's claim to the absence of definition is is the definition of political identity, and her choreography embodies this complicated conflicted struggle perfectly well.” (Haaretz, Ran brown, August, 2022)
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