Dance maker Robin Nimanong is currently working in HUIS Conny Janssen Danst on an initial study for the – eventually – full-length performance Children of Zeus. This study focuses on the harmony between technology, man and nature, as well as queer ecology. Robin and visual artist Valentina Gal are happy to share the initial research results with a curious audience.
Are you curious about what Robin’s studio time will lead to?
You can see the results on Wednesday 9 April at 8 p.m. in HUIS Conny Janssen Danst. Entrance is free.
If you are interested, you can register for a seat via this online form. (limited capacity, please register no later than 7 April 2025)
We asked Robin a few questions about this special residency:
Where are the connections between body, nature and technology? Robin Nimanong
With what plan or question did you start your residency at HUIS Conny Janssen Danst?
“My starting point is my fantasy. I am looking for my feminine side – the elf, the mermaid, the Garden of Eden. The theme of decolonization, which is increasingly discussed in everyday life, inspires me to further explore my origins and indigenous cultures.
This led to the question: how can non-Western approaches to the body and technology help us to find a deeper connection with nature? Not only the physical nature, but also the spiritual, mental and energetic aspects of it. Is it possible to bring technology, humans and nature together in harmony?
At the same time, I am delving into queer ecology, a movement that makes us think about gender, the language we use and how we shape our identity. My queer identity and the subcultures in which I move, such as ballroom, queer nightlife and theatre dance, teach me a great deal. They give me the strength, both as a creator and in everyday life, to follow my own path, independent of existing scripts. I want to create space to shape our own identity and environment, especially now that we are in a kind of survival mode due to Western and imperialist structures. Consciousness is growing, but so is fear and despair. How can we make a conscious journey in this chaos? In a world where pride and hierarchy dominate, I ask myself: can we let that go? Our urge to consume is driving us further and further away from nature. We really have to ask ourselves: what is important? What can be different? Why does everything always have to be bigger and faster? If we want to change, we just have to start, right?
God is dead, the Goddess is dead, Hollywood is dead. So what is alive?
That is what I investigate – small and personal, in Children of Zeus, and in dialogue with Valentina Gal and a great queer team.”
We learnt the art of medicinal protection by the summoning of water spirits and by the homo-erotic act of bathing, and dark and chambers, steamed with rosewater. Children of Zeus
Who are you working with in this research and what is their role?
“I am working with visual artist Valentina Gal, who is developing a scenography for Children of Zeus. She is starting from her exhibition Troubled Waters and is creating a landscape that we will use. But I also want to involve a larger queer team, because these collaborations are part of my daily life. I am working with dancers I have worked with before, but also with make-up artists and coaches from the ballroom scene, such as Shiva Mugler. We also want to involve vocal coaches, such as Maya Link. These people are already important figures in my work and it feels great to bring them together in this research.
In recent years, I have presented my work within my queer friend groups, the trans community and the dance world, without major subsidies or support. But thanks to this residency at HUIS Conny Janssen Danst and the Nieuwe Makers scheme, I have the opportunity to work on this project for a year. Hopefully this will help to position my work more firmly within theatres and festivals.”
What is it like to work in the studios of HUIS Conny Janssen Danst?
“It’s inspiring! And I’m not saying that out of politeness. The dance studio is fantastic – so far we’ve had a lot of sun and the view of the Maashaven is beautiful. It’s also very nourishing to teach and get in touch with a new generation of dancers. It brings fresh energy and new ideas to our research and helps me to further develop my vision as a queer dance artist and maker.”
Robin will be giving a few more Open Classes this spring, check out the dates here
On April 9, you will present the first results of your research. What do you expect from this presentation and what do you want to convey to the audience?
“For the presentation on April 9, I will select various scenes from the research and present them as a whole. I hope to get feedback: what works well and where is there still room for development? Where does the potential lie?
Ultimately, a full-length performance is no longer about me, but about the work itself – the dance performance. It is a collective process in which the entire artistic team works together towards the performance. But now we are still in the initial phase, and I am allowed to lay the first foundations. That gives me the freedom to incorporate a lot of my personal expression and identity into the work. Valentina has already developed test objects for the landscape, which makes the research more tangible. This also allows us to identify production challenges early on, before we really dive into the creation and rehearsal process. That helps us to be well prepared, before the time pressure increases.”
