Pina Bausch / Germaine Acogny & Malou Airaudo The Rite of Spring / common ground[s]
Play TrailerSell-out runs, an international tour and five-star reviews herald the return of this iconic double bill.
The idea of ‘exchange’ is central in this two-part programme which marks the first collaboration between the Pina Bausch Foundation (Germany), École des Sables (Senegal) and Sadler’s Wells (UK).
Bausch’s (1975) The Rite of Spring is danced by a newly assembled company of dancers from African countries. In this pioneering work, with music by Stravinsky, a ‘chosen one’ is sacrificed changing the season from winter to spring.
common ground[s] is a new work created, performed and inspired by the lives of two remarkable women: Germaine Acogny, “the mother of contemporary African dance” and founder of École des Sables and Malou Airaudo who joined Bausch in the early days of Tanztheater Wuppertal and later was a professor and director at Folkwang University. This poetic and tender piece, the duo’s first collaboration, examines their shared histories and emotional experiences.
Header image © Maarten Vanden Abeele / Pina Bausch Foundation
Image description: A company of two dozen Black dancers, all facing to the right, heads turned towards us or back over their shoulders. They float just above the ground, bare feet pointing towards the soil, as if they’ve just jumped straight up. The women wear soft slip dresses of creamy silk, while the men have bare chests and black trousers.
A duet filled with grace, tenderness and humour – truly uplifting on every level★★★★★ THE HERALD
Continually unexpected★★★★ THE GUARDIAN
This Rite, even more than relevant, is alive, with blistering clarityTHE NEW YORK TIMES
Play trailer
What is The Rite of Spring?
The Rite of Spring is arguably the most influential piece of music in the 20th century. Written by Igor Stravinsky, this work celebrates the advent of Spring. A young girl is chosen as a sacrifice and dances herself to death as part of an ancient ritual.
“The fateful red dress that signifies victimhood passes from one reluctant woman to another, terror evident in every move as they rush, spin and flock together with no hope of escape.”
Mary Brennan, The Herald