Vlaams Cultuurhuis de Brakke Grond, Grote Zaal
Deep Nyx is an intense solo in the format of a concert, that searches for different relationships towards the body. Using tools to expand the possibilities of the body and to throw it out of balance, it brings the body into a constant state of wild movement. How does the rockstar body with upbeat energy transform into a big drumstick or into pure flesh? How does it create both a sensual and a dangerous, violent relationship to itself?
To play the drums one must hold the drumstick in a way that is firm yet not over controlling. The drumstick should rest in the hand but retain the possibility to move up and down in it, so that it can bounce off of the surface of the skin. A drummer can lick speed and rhythm, increasing intensity by letting the stick rebound up naturally to then guide it back to impact. When drumming slow, the stick can fall down, turn around and start to play you. A distortion of the body appears when that stick enters and starts to become part of the player, moving in through the hand up to the scapula. There is a fine balance between control and non-control, violence and abjection, sensation and sensuality when holding the stick.
Deep Nyx takes the form of a fallen concert. To a constant soundtrack of drums, acoustic and distorted sounds, Nyx shifts between playing the drums and playing herself, becoming Prince and becoming a drumstick. As the body moves between subject and object, she subjects herself to violence and abjection, sensation and sensuality. Aiming for ecstasy, yet through the constraints of self-production, every aspect of Deep Nyx was made with the hands – drums, dance, distortion. Using instruments and tools to increase impact, she aims for high intensity always, without ever reaching a readable climax. This work was inspired by Prince’s Baby I’m a Star, Ursula Le Guin’s sci-fi novels and Luce Irigaray’s writing.
Deep Nyx has been shown in the framework of Graduation Works STUDIOS in Brussels (BE), and two short excerpts have been adapted to the context of Dansand! in Ostend (BE).
Juryrapport De Troffel
Mooni Van Tichel is a dancer, performer and maker based in Brussels. She found her way into dance through hiphop and breaking, dancing with her crew and soaking up as many elements of the dance and the culture as possible, always strongly in touch with the social aspect of dance. She later discovered contemporary dance, which eventually led her to P.A.R.T.S., where she completed both the Training and the Studios cycle. Currently, she wants to continue developing her role as performer as well as her own work. In creating performance, Mooni looks for reasons to move through restrictive and difficult tasks or frameworks, trying to find a way to reach a high specificity in movement and in quality. Starting from movement and connection to music, she then allows other images and concepts to seep in. A level of complexity and intensity as well as enjoyment of movement and the specific relation of the performer to her (female) body are currently important for her.
She has performed her own work in Tanzwerkstatt (2018), Open Your Mind (2019), Platform 6a (2021). For her solo, she recently received the ‘De Troffel’ grant, to help develop her work further.
Choreography and performance: Mooni Van Tichel
Music: Mooni Van Tichel
Mentors (within the STUDIOS program): Bryana Fritz, Mette Ingvartsen
Residency support: Zaman, workspacebrussels
Pictures by Anne Van Aerschot (gallery) and Eimi Leggett (promotion image)
Deep Nyx was created in the frame of the Master programme STUDIOS at P.A.R.T.S. Many thanks to Festival Cement and their financial support through the De Troffel prize to further develop this solo as well as to my mentors Bryana Fritz and Mette Ingvartsen. Lastly, I want to thank Eric Van Tichel, Jacinta Meganck and Noa Van Tichel for all of their logistical help and support.