Departures and Arrivals

DETAIL

TEXTS AND REVIEWS

55
Rita Natálio

Radouan Mriziga was born in Marrakesh and is currently based in Brussels. He started taking dance classes in Marrakesh at the age of eighteen. He studied at PARTS from 2008 to 2012 and he has worked with Bart Meuleman/Toneelhuis, Anne Teresa de Keersmaeker, Claire Croize, Simon Tangy, among others.

He is one of DNA's Focus Artists for the next two years (2016-2018).

At Alkantara Festival he presented 55, a solo work that is part of an obsessive trilogy around the power of numbers, architecture and live construction.


Presented at Alkantara festival, the 55 solo by Radouan Mriziga uses the body as a tool to measure and draw forms in the floor, connecting us to past ideas on the Vitruvian Man and anthropomorfic constructions. Mriziga’s dance is a projection about architecture and cartography, it deals with the engagement of the body in the construction of abstract forms and it brings forth the importance of tracing a history of forms and images.

In the first part of the piece, Mriziga installs a movement pace in space, made of sharp gestures and displacements. After a while, his dance becomes the “score of the form”, arms and legs become particular “scales” for spatial measurement, which in the end will result in the inscription of a perfect mandala-like figure in the floor, made with chalk and paper tape.

During the construction, the audience is tempted to understand the reason to draw such a figure and, eventually, it will reflect about islamic architecture and the possibility to create a dance knowledge about it. But more than a concrete genetical flux that would take us to a history of Islam or to Mriziga’s biography (Radouan is Moroccan) 55 takes us elsewhere, to the realm of spirituality and connectedness.

In 55, a spiritual mechanism is created where different bodies intersect: the body of the architect, the body of the dancer and the body of the construction worker. In this mechanism, Radouan Mriziga is a transversal subject, a signature that brings forth the intersection. He is not exactly at the center of it, because as the Vitruvian Man, he represents a general human form, instead of a biography. He is ‘the’ marker and ‘the’ maker, which can fatally be read as an attempt to advocate a universal humanity able to de-codify all forms. Nevertheless, instead of indicating a political knot to where all spectators should be dragged, the dramaturgy of this solo work dries excessive interpretations and dives in the possibility to watch someone engaged in the making of something.