Three underground melodies, rapid instants of abandon and sensuality, moments that mix harmony and vehemence, music, dance and song lead towards ancestral, mysterious places. The strong vitality resulting is nurtured by the heterogeneous nature of the group and by the mixture of genres, exchanging richness and resonance with one another.<\/p>\n
This show, with Davide Bombana<\/strong>\u2019s choreographies, samples distant worlds and supplies the spectator with hints of exotic atmospheres. An important physical and sound presence, that of the dancers and musicians on stage, coming together and \u201cclashing\u201d to bring to life a microcosm made up of rhythms, colours and untoward signs.<\/p>\n Metaphor of a cultural opening now unstable, Arcaico<\/strong> unveils the attraction to an indefinite origin, a harmony that is utopic and profoundly ancestral. It is a work that is perhaps intended as antidote for and protest against growing intolerance, incommunicability and the deep fear at the root of human relations: a warning to retrieve a forgotten, perhaps not yet lost, opening towards and acceptance of the Other.<\/p>\n <\/p>\n <\/p>\n Photogallery<\/strong><\/p>\nBorn in Milan, Davide Bombana<\/strong> studied\u00a0ballet\u00a0at the Ballet School of\u00a0La Scala\u00a0and graduated in 1977. His debut that year, with the Balletto della Scala was in the title role of\u00a0B\u00e9jart’s\u00a0The Firebird<\/em>. He was promoted to soloist and then\u00a0principal dancer, performing ballets by Maurice B\u00e9jart,\u00a0Glen Tetley,\u00a0Rudolf Nureyev,\u00a0Jerome Robbins,\u00a0George Balanchine\u00a0and Louis Falco. He furthered his balletic career at the\u00a0Pennsylvania Ballet\u00a0in Philadelphia, the\u00a0Scottish Ballet\u00a0in Glasgow, and the\u00a0London Festival Ballet\u00a0in London. He was also later the guest star in La Scala’s production of\u00a0John Cranko’s\u00a0Romeo and Juliet<\/em>\u00a0and\u00a0Roland Petit’s\u00a0Proust<\/em>, and has worked at the\u00a0Bayerisches Staatsballett\u00a0in\u00a0Munich\u00a0as a principal dancer from 1986-1991 (and as a choreographer from 1991\u20131998).
\nIn 1998, he was appointed director of the company Maggio Danza in\u00a0Florence.
\nBombana has worked with various ballet companies as a guest choreographer and has either choreographed or restaged\u00a0Aus der Ferne<\/em>\u00a0(Ballet du Rhin France,\u00a0Queensland Ballet,\u00a0Australia), the full length\u00a0Penthesilea<\/em>\u00a0(Maggio Danza Florence),\u00a0Woyzeck<\/em> Fragmente<\/em>\u00a0(Ballet du Rhin France, Zaragoza Ballet Spain, in Florence and\u00a0Basel),\u00a0Beyond Skin<\/em>\u00a0(Ballet du Rhin,\u00a0France, Zaragoza Ballet,\u00a0Spain),\u00a0Petite Suite En Noir<\/em>\u00a0(Paris Conservatory,\u00a0John Cranko\u00a0School,\u00a0Stuttgart), the full length ballet\u00a0Lolita<\/em> (Grand Ballet de G\u00e9n\u00e8ve),\u00a0La septi\u00e8me<\/em> lune\u00a0(Paris Opera Ballet),\u00a0Kunst der Fuge<\/em>\u00a0(Ballet du Rhin Moulhouse),\u00a0Tenebrae<\/em>\u00a0(Badisches Staatstheater Karlsruhe), the full length\u00a0Cinderella<\/em>\u00a0(Aalto Ballett Theater\u00a0Essen),\u00a0Carmen<\/em>\u00a0(Ballet du Capitole Toulouse),\u00a0Century Rolls\u00a0(Bayerisches Staatsballett M\u00fcnchen) and Harpsichord Concerto<\/em> (New York Choreographic Institute – New York City Ballet). He has also been a member of the jury for the International\u00a0Prix Benois de la Danse.<\/h6>\nKatia Pesti\u00a0<\/strong>qualified in piano studies at the Reggio Calabria \u2018Francesco Cilea\u2019 Conservatoire and attended the piano perfectionist course at the Siena Accademia Chigiana with Guido Agosti. She then obtained the diploma in Music Therapy at the Assisi CEP and in Dance Therapy at the Milan Scuola Civica with Maria Fux, studies she continued in Florence at the Centro Danza e Movimento of Lilia Bertelli. She also undertook studies in electronic music with the composer Alessandro Cipriano at the Istituto di Musica Bellini in Catania. She became fascinated by Asiatic music and in Indonesia she studied the Balinese Gamelan, before attending courses of percussion instruments in Italy, held by the Director of the Strasbourg Percussionists M\u00b0 C. Hamouy, and the seminars under M\u00b0 Ben Omar. The results of these courses of study led her to experiment with the possibility of playing the piano and percussion instruments at the same time, thus creating a composition system that was utterly personal, and in which elements of classical language merge with pan-ethnical sonority, thanks to minimalist interlocking, enriched by percussion tone and colour, ranging from the use of the typical Balinese Reyong, to Gongs and Drums. In the Nineties she began her activity as a composer, adding experiences in ethnic and experimental music to her repertory of classical music. In 2013 she was a finalist in the \u201cFranz Liszt\u201d award for composers at the Festival of Bellagio and Lake Como – Centro di Musica Contemporanea of Milan.<\/h6>\n
Gabin Dabir\u00e9\u00a0<\/strong>was born in Bobo-Dioulasso in Burkina Faso. After some experience in his own country, he travelled through Europe increasing a series of musical experiences. In 1975 he settled in Denmark where he came into contact with European experimental music, and then with eastern music which led to prolonged stays in India, where he got to know the religious, classical and ethnical music of the country, relating to the great masters of Sitar Sarod and Tabla. On returning to Europe, he continued his study of African and Asian percussion instruments, the chordophone, singing and composition. Together with a number of Milan artists he created the multi-media group \u201cCorrenti Magnetiche\u201d sounds and images from earliest times to electronic music, with whom he produced \u201cFuturo antico I e II\u201d, \u201cLes Balafons de Haute Volta\u201d, \u201cLes musiques de Haute Volta\u201d, \u201cAfganistan\u201d. During those years, with his group Yelbuna (Sources) he toured throughout Europe, catalyzing great attention from the press and the public. In Italy, his work for the diffusion of African culture is important: in 1984, with the collaboration of Elena Albini Trissino dal Vello d\u2019Oro, in Milan he founded the \u201cCentre for the Promotion and Diffusion of African Culture\u201d, under the patronage of UNESCO, for the development of literature, cinema, theatre, dance and music. After creating the most important manifestations on Africa still thriving in Milan today, he decided to devote himself exclusively to his music, and in 1987 he moved to Tuscany. Eclectic personality and multi-instrumentalist, he moves from chordophones to percussion to ethnic instruments.<\/h6>\n
choreography: Davide Bombana
\ndancers: Paolo Barbonaglia,\u00a0Roberta De Simone, Monika Lepisto, Eleonora Pifferi, Simone Zannini
\noriginal music composed and played live by Katia Pesti
\n(piano, reyong, gong, angklung, bendir, drum, Tibetan bells, soundplate, double bass, hapy drum)
\nVocals: Gabin Dabir\u00e9 (talking drum, kalimba, Africa rattles)
\nlight design: Emanuele De Maria
\nproduction: Balletto di Roma (artistic direction: Francesca Magnini) in co-production with Fabbrica Europa<\/h6>\n
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