“Kaze Mononke is an enchanting dreamlike gallery of creatures that meet and leave each other as petals carried away by the wind…”
“The element that really surprises is the dance style created by the choreographers Marisa Ragazzo and Omid Ighani” … “they mix their research in this original blending that comes to an impressive maturity” … “a new language in dancing…”
Rossella Battisti – Danza&Danza n°251 (July-August 2013)
Duration: 60 minuti
Idea and direction: Marisa Ragazzo
Choreography: Marisa Ragazzo e Omid Ighani
Musical Editing: Omid Ighani
Visual Artist: Samar Khorwash
Interpreters: Samar Khorwash, Paolo Ricotta, Serena Stefani, Claudia Taloni, Afshin Varjavandi, Tiziano Vecchi
Music: I Monsters, Bon Iver, Steve Reich e Pat Metheny, Apparat, Radiohead, René Aubry, Unkle, Ólöf Arnalds
Co-production: Festival Danza Estate 2012
With the support of Naturalis Labor Company.
5 cm per second is the speed of cherry tree petals falling on the ground. Their pale colour and the shortness of their existence are symbols of fragility but, at the same time, of extreme beauty.
Between the end of March and the beginning of April, in Tokyo, they celebrate the hanami, which is the contemplation of the sakura. The blossoming of cherry trees enchants human beings who, enraptured, let the frail petals pushed by the wind fall on them. An enchant to tell and, above all, to live. Wind and petals: this is what the narration is about.
“Kaze Mononoke” is splitted up into four chapters, focused on different moments of human life, on petals and on wind (Kaze) that shakes, pushes and caresses them. The beginning is Hanami and the journey is backwards, on the discovery of white and quiet winter memories, of distressing and melancholic autumn that colours everything with red and yellow and of bright summertime, sore and loaded with cicadas singing.
It is a poetic, soft novel that dancers write on the scene, a white and essential space, where, caressed by a constant breeze, they change themselves continuously and rapidly. This is what the wind does: it pushes everything to move, even feelings and moods.
The technical language of dancers contributes to create a fantastic connection of eye cheating, switching, as few could do, from hip hop theatre, to contemporary dance, to the most extreme and innovative artistic codes. Their bodies, just as their minds, live what happens behind them: the projection of images, thought as a mute voice telling, describing and underlining life, either of a petal or of a feeling.