Ramona Nagabczyńska (CA/PL)
Born in Toronto but trained ballet at the Warsaw State Ballet School and contemporary dance at the Hochschule fur Musik und Darstellende Kunst in Frankfurt and the London Contemporary Dance School after which she obtained a degree in Cultural Studies at the University of Social Sciences in Warsaw. Ramona performed with various companies and artists, including Polish Dance Theatre, Fleur Darkin, Emma Martin, David Wampach, Ula Sickle, Rebecca Lazier, Maria Stoklosa, Alex Baczynski- Jenkins, Marta Ziółek, Paulina Ołowska and Clod Ensemble. She has been making her own work since 2009, which includes New (Dis)Order (Aerowaves Priority Company 2014), RE//accumulation, The Way Things Dinge, pURe and More. Ramona is supported by apap, a project co-financed by the European Union in the frame of the Creative Europe program.
Ramona Nagabczyńska (CA/PL): The face
Ramona Nagabczyńska’s new solo performance deals with the use of the face in dance.
Both viewer and performer draw a lot of attention to this particular body part, nevertheless in Western dance, the face lacks a proper body of discourse or even a terminology to describe the face choreographically. When training dance you hardly ever hear any feedback about your face, at the same time the face is very time- and genre- specific, therefore subject to choreographic intent. Contemporary dance uses the famous phrase: “keep your face neutral”. The impossibility of the ‘neutral’ face to stay immutable in character over time suggests that it’s just as much an object of fashion as is a hairdo.
The face, both in dance and in common use, is a cultural, political and ideological battlefield. Post-internet culture, biotechnology and recent developments in neurology have made it impossible to take the face for granted. The paradox of the face is that it is the most looked at body part and at the same time the most invisible one, as it is completely obscured by affect. Ramona’s performance looks at a whole history within a history, a whole choreography within a choreography and asks questions about the current and possible relationships between the face and the body and the face and the everything.