Impro­vi­sed Pia­no Score for The Immi­grant & Win­dy Days

Impro­vi­sed Pia­no Score for The Immi­grant (1917) by Omer Gottesfeld

Win­dy Days

con­cept and direc­tion: Ceci­lia Xue­tong Feng

move­ment rese­arch: Alexz Grieco

per­for­mance: Alexz Grie­co, Chel­sea Rei­chert, Luca Schüssler

sound com­po­si­ti­on and live music: Mar­ta-Liisa Talvet

cos­tu­me design: Ama Tomberli

The inspi­ra­ti­on for Win­dy Days beg­ins in the obscu­re moments when oppres­si­on is reve­a­led within the storms of histo­ry, like a breath of wind dis­sol­ving what blocks our view and reve­al­ing unvoi­ced or unseen indi­vi­du­al sto­ries. The work com­me­mo­ra­tes tho­se who dis­ap­peared, invo­king his­to­ri­cal dances of eman­ci­pa­ti­on and remem­brance such as Cue­ca Sola on Pla­za de Mayo.

Win­dy Days unfolds in seven frag­ments, dra­wing on folk ele­ments, oscil­la­ting bet­ween cha­os and order, each initia­ted with a game rule. Like pas­sing days, the­se frag­ments con­tain the moments when a social struc­tu­re emer­ges and then fails, as is ine­vi­ta­ble with time. Does cha­os eman­ci­pa­te us from order, or vice versa?

At Hošek Con­tem­po­ra­ry, a boat floa­ting on the Spree, the river gives tan­gi­ble pre­sence to the wind and the space we share, as dis­em­bo­di­ed voices from far away and long befo­re are brought forth by the per­for­mers in an act of remembering.

After all, we are all human in the hurricane.