Now at its third season, Mamuska has established itself as one of the leading performance platforms in Ireland. During the last two years more than 100 artists have inspired us with a programme of over 140 works, spread across every possible artistic field.
Mamuska remains a unique event: an open platform for experimentation with new and evolving artistic work, and an occasion for the audience to socialise and be inspired.
Every night is different; each programme full of surprises. But the format remains the same: an informal environment, drinks at the table, great music during the breaks and the freedom to move around and chat at any time.
Mamuska Nights are not to be missed. Try one and you will be craving more!
Mamuska Limerick is produced by Daghdha Dance Company and supported by the Arts Council, Limerick City Arts Office, Shannon Development and Failte Ireland.
Flyer: Limerick 2006
Programme: Friday 2 June 2006
DAGHDHA SPACE
LIMERICK, IRELAND
APPEARENCE – Physical presence (2’)
PRESENCE: Davide Terlingo
VIOLENCE IN DISCOVERY, CALM OF ACCEPTANCE – Dance (10’)
DANCER: Daniel Vais
MUSIC: Terre Thaemlitz
TAPPING ON HIGHER GROUND – Dance (6’)
DANCER: Patrick Fitzgerald
BLACK ROUGE – Violin solo (5’)
VIOLIN: Maya Yoshida
SOUNDAN – Live sound interactive dance performance (10’)
CREDITS: Alex Conway and Katarina Mojzisova
ACCADO DA CAPO – Dance video (8’)
PRODUCTION: Bottega Bologna, Italy
CHOREOGRAPHY: Isabelle Preuilh
WHAT’S UP DOC – Sound piece (10')
CREDITS: Jurgen Simpson
MEANING OF LIFE, DEATH AND DANCE. PART 6 – Lecture performance (7’)
TEXT | PERFORMANCE: Katarina Mojzisova
DAISY CHAIN – Movement and dialogue performance (10’)
CONCEPT | DIRECTION: Celene Natasha Murphy
CHOREOGRAPHED | PERFORMED: Celene Natasha Murphy and Tanya Lowe
KOENIGIN II – Dance (4')
CONCEPT AND PERFORMANCE: Seraina Dejaco
MUSIC: Quarks
ONGOING INSTALLATIONS / INTERVENTIONS
SENSINSEVEN – Documentary theatre
CREDITS: Ciarda Tobin and Helena Enright / Amalgamotion
WHISPERS – Sonic intervention
CREDITS: Robin Parmar, Susannah Kelly and Roisin Kelly-Byrne
MR BUBBLES, MAURA’S TECHNICALLY DREAM COAT – Textile sculptures
ARTIST: Maura Gleeson
In collaboration with the Garvey Centre and Daghdha Mentoring Programme.
MAMUSKA NIGHTS CREDITS:
Production: Daghdha Dance Company
Programme curator: Davide Terlingo
Choreographed environment: Davide Terlingo
Sound environment: Jurgen Simpson
Main screen visuals: Conor Buckley
Article: Towards A Choreography Of Change
by Thom Shaw
A microphone is strapped firmly to a woman's wrist using parcel tape and a wooden splint. The wire eventually finds its socket in a large amp, presided over by a musician with a look of the death metal about him. The equipment produces rock and roll style oscillations of reverb and feedback as the woman negotiates her limited performance space and the somewhat cumbersome appendage, whipping it about her like a playful rat would its tail.
In the churchyard outside, people are clustered about, drinking Guinness from plastic glasses in the balmy evening air as children weave snakelike path through them. A large black dog (Wilson, a Labrador I think, and, so I'm told, something of a local celebrity) trots amongst the sinking tombs whilst back inside the deconsecrated church punters either stand and watch or sit at small tables or on low, woven stools. This is a Mamuska night, a bi-monthly evening of performances, installations and shared works in progress, with a loose, UN stylised cabaret structure and an emphasis on ease for all involved. Mamuska may be just one string to the Daghdha bow but it's one which could be seen to represent much of the company's practical philosophy; it manages, in one fell swoop, to cherish and blur the performative, the social, the multi-disciplinary as well as the need for the public to get involved or not. It does all this with clarity and a level-headedness that is often lacking in events similar.
Daghdha is multi-headed to say the least, combining the educational, the professional and the social, and with projects and initiatives spreading out simultaneously in all directions. On first inspection it all seems rather confusing, but at the company's heart there is a clear sense of purpose and a sturdy conviction in the mission.
It is the deconsecrated church on John's Square in Limerick, which acts as Daghdha's central space and, therefore, a physical realisation of their social dynamic. Members are free to come and go, making use of technical equipment of the library, to negotiate use of rehearsal space or simply to make coffee. The public are encouraged in for performances and sharing and Mamuska night recognises the importance of engagement. Perhaps more importantly the company's activities allow for dis-engagement, they recognise that for the public to make connections and choreograph their own involvement, this is by no means a compulsory requirement or, indeed, a measure of successful outcomes.
Davide Terlingo: In a way it would be easier to define the company through our individual interests rather than through our initiatives. In broad terms, one of the key points is a shift from “dance” to “choreography”; another is a broadening of the definition of choreography to all systematic processes of arrangement and change. Brought together under this common framework, a number of Daghdha associated artists have a good degree of freedom to pursue and share different interests. Frankly the range is very broad, however, we are all united by share goals and a strong desire to directly engage with society.
My contribution comes in the form of a Cultural Programme with a broad independence from main dance production activities, which remain the core occupation of the company. Since full time opening of Daghdha Space in February 2006, I have been developing formats aimed at stimulating both company members and public participation. Daghdha is neither a rigidly structured institution nor a collective of independent artists. For instance, the cultural programme develops according to a long-term business plan that I follow decidedly, however there is a lot of fluid reshaping as facts evolve with time; it seems a contradiction but it works. As I mentioned before, all the activities are organically integrated within one common vision. There is equality in the relevance of our views…
TS: In terms of the malleable Daghdha space, and I'm thinking with reference to Mamuska in particular, how interested are you in non-theatrical theatre setting? Are you drawn to the idea of a grey area between the social space and the theatrical space?
DT: The theatrical space is a social space; I don't see a conceptual distinction between the two when discussed within a sociological context. Differences are based on definitions of use. The Daghdha Space has a set up that allows theatrical uses, however it remains above all a social space. In my daily programming of the space I always think in terms of social dynamics and interactions, I consider individual psychology and perception (who are the users?). My vision is constantly shaped around a specific aesthetic sense, a sense of fluidity and exchange. I organise the shape to reflect this vision, to create a landscape that opens new mental and physical opportunities. I see my work as facilitating an endless flow of events, from making a cup of coffee to presenting a major arts festival. I am not actively trying to blur boundaries; I focus on creating a choreography of relations that encircles both audience and artists. Mamuska Nights shouldn't really make sense and shouldn't really work and yet they do because they are a structured choreographic act. Here, I apply choreography to a social context, preparing the foundations and the grammar for a common form of expression. As you have seen, Mamuska is such an odd mix of people, ages, interests, social backgrounds, art forms and expertise. What gives consistency to the night is the overall invisible structure that repeats itself each time: nobody really knows what is going to happen at Mamuska (including me to a degree) and yet everybody comfortably knows what it is all about.
Extracts from Dance Theatre Journal, volume 22 number 1, 2006.
Programme: Friday 7 April 2006
DAGHDHA SPACE
LIMERICK, IRELAND
WELCOME, MAMUSKA & OTHER THINGS – Physical presence (4’)
PRESENCE: Davide Terlingo
BELLY DANCE GROUP - Folk dance & solo performance ( 7’)
CREDITS: Shannon Veils
TWO AUTOMATA - Performance for voice and computer processing (6’)
ARTISTS: Susannah Kelly with Robin Parmar
BODY TECHNOLOGIES – Performance workshop (10’)
WORKSHOP LEADER: Katerina Mojzisova
PERFORMERS: Ann Geneviève Hanway, Bernardine Carroll, Elva Carri, Caroline Martin, Grit Uhlemann
AT THE SHRINE OF LUCK – Dance (4’30”)
CHOREOGRAPHY: Angie Smalis
DANCE: Mark Carberry, Seraina DeJaco
MOLLY & MONKEY GO TO THE PHOENIX - Photographic story with music (3’)
PHOTOGRAPHS | STORY: Ailbhe Keogan.
MUSIC: Graham Watson.
HORSEMEAT – Dance (10’)
CHOREOGRAPHY | PERFORMANCE: Gary Clarke
TECTONIC PLATE II - Improvisation for guitar and radio (8’)
CREDITS: Tactile Surface (John Galvin and Robin Parmar)
MEANING OF LIFE, DEATH AND DANCE. PART 5 – Lecture, performance (7’)
TEXT | PERFORMANCE: Katarina Mojzisova
ME AND MY - Performance (7’)
CONCEPT: Mark Carberry
PAINTER: Christa Sauer
ONGOING INSTALLATIONS / INTERVENTIONS
MINISTRY OF INFORMATION - Structured imagining
Neville Gawley, Limerick School of Arms
MOLLY AND THE CYCLOPS - Book launch
Ailbhe Keogan, Hags Head Press
DRAWINGS – Slideshow TV monitor
Atelier Goldstein
THE DREAM MAKERS – Choreographic project for Limerick
Davide Terlingo
ECOLOGY PROJECT – Recycled paper booklets
Feel free to take one home
MAMUSKA NIGHTS CREDITS:
Production: Daghdha Dance Company
Programme curator: Davide Terlingo
Programme coordination: Siobhan Ryan
Choreographed environment: Davide Terlingo
Sound environment: Jurgen Simpson, Robin Parmar
Main screen visuals: Conor Buckley, Dragana Jurisic, Atelier Goldstein
SPECIAL THANKS TO SEADNA MATTHEWS FOR HIS GENEROUS SUPPORT.
Programme: Friday 3 February 2006
DAGHDHA SPACE
LIMERICK, IRELAND
APPEARANCE – Physical presence (1’)
APPEARANCE: Davide Terlingo
LITERALY SNOB - Dance (3’)
IDEA: Angie Smalis
PERFORMANCE: Daniel Vais
KARAOKE CLOWN – Dance performance (10’)
CONCEPT: Mark Carberry
SLIGHTLY UNDERMINING THE DEFINITION OF INTERESTING – Dance, juggling (4’)
CONCEPT AND PERFORMANCE: Nick Bryson
APOPTOSIS – Short film (3’)
CONCEPT: Peter Delaney
STILL – Dance performance (10')
CONCEPT AND PERFORMANCE: Niamh Condron
LANDSCAPE PART I (FOR FROM INSIDE) - Dance performance (5’)
CONCEPT AND PERFORMANCE: Daniel Vais
MUSIC: Uoon
PROPOSE - Documentary theatre, interactive live performance (6’)
CONCEPT: Ciarda Tobin & Helena Enright/ amalgamotion
LANDSCAPE PART II (FROM FOR OUTSIDE) - Dance performance (5’)
CONCEPT AND PERFORMANCE: Daniel Vais
MUSIC: Trioon
SHANGRI-LA - Video (6’)
CONCEPT, DIRECTION AND PERFORMANCE: Celene Natasha Murphy.
ONGOING INSTALLATIONS / INTERVENTIONS
THE JUST WONDER COLLECTION, exploring the weird and wonderful, PART 4 - Matchboxes
IDEA, MAKING: Angie Smalis
(Feel free to take one at home)
CLITRATURE- ORGASMIC IRISH WOMEN??? - Interviews
CONCEPT: Sorcha Keogan
UNEDITED LIMERICK - Video installation
VIDEO: Peter Delaney
UP FROM OUR KNEES - Rehearsed reading
CONCEPT: Teaspeach Theatre Company
WRITTEN by Niamh Bowen
DIRECTED by Ciarda Tobin.
PERFORMANCE: Karen Fitzgibbon, Stephanie O'Keeffe, Sinead Wall, Bridin Ryan and Wayne Dignam.
ONE HAND ON THE HALF MOON OF YOUR FACE - Looped installation
CHOREOGRAPHER AND PERFORMER: Anaïs Bouts
TWISTER – Physical installation
CONCEPT: Roisin Kinsella, Conor Buckley
FACILITATED by Roisin Kinsella, Gill Jonker
MAMUSKA NIGHTS CREDITS:
Production: Daghdha Dance Company
Programme curator: Davide Terlingo
Programme coordination: Siobhan Ryan
Choreographed environment: Davide Terlingo
Sound environment: Jurgen Simpson
Main screen visuals: Conor Buckley
Flyer: Mamuska Nights 2005/2006 Season
Daghdha Dance Company is delighted to invite you to Mamuska Nights, a bi-monthly appointment of stimulating performances and exciting characters right in the heart of Limerick.
Mamuska is a unique night of creativity designed to offer individuals the opportunity to experiment, in the presence of a live audience, with new and evolving artistic works. It aims to create an open space for all people to present or view artistic work in a friendly and favourable environment.
All forms of talent are welcome. Mamuska is an informal event giving emphasis on "trying out" rather than "doing", yet aiming to present quality works capable of inspiring the audience – be it dance, video, poetry, installation, performance, etc. All works, excluding installations, should be under 10 minutes long.
To submit your work, please contact Davide Terlingo.
Dust off those dreams in the drawer.
Programme: Friday 16 December 2005
DAGHDHA SPACE
LIMERICK, IRELAND
APPEARANCE – Physical presence (1’)
APPEARANCE: Davide Terlingo
MEDITANGO, A GOOL, GIPSY MUSIC – Live music (10’)
VIOLIN: Alan Assiri
ACCORDION: Miroslav Jankech
Meditango - Astro Piazzolla, A Gool - traditional Kurdish folk song
TOUCHING THE WATER – Dance (8’-10’)
DANCE: Michaella
ECONOMY OF EXCESS – Video (9’)
VIDEO: Karen Russo
SEED - Dance performance (2’)
PERFORMANCE: Daniel Vais
MUSIC: opus 4; art of noise
FIVE MINUTES OF PURE PERFORMANCE /LIVE/ – Performance (5’)
ARTISTS | CONCEPT: Katarina Mojzisova and Brighdin Farren
WHO DO YOU THINK I AM? – Video enhanced dance performance (7’)
DANCE: Nick Bryson
MUSIC: Sigur Ros
VIDEO EDITING: Cornelia Tysiak
ODE TO ABJECTION – Performance (10’)
ARTIST | CONCEPT: Brighdin Farren
BIBI'S WALK – Mime, live music (7’)
MIME: Justina Tworek
MUSIC: Mike Oldfield 'Mist', live drums Maciej Cwojdzinski
FOR A SPECIAL YOU - Performance (10’)
CONCEPT: Daniel Vais
ONGOING INSTALLATIONS / INTERVENTIONS
DISCONNECTED STAGE 2
CONCEPT: Siobhan Ryan
PERFORMANCE: Francesca Ryan, Elaine Fahey, Karrie Fitzmaurice
IN THE MAKING
PERFORMANCE: The Garvey Centre Residents
CONCEPT: Daniel, Mark, Seraina and Siobhan (Daghdha’s DMPs)
MUSIC: Kate Bush; The Painters Link
GLOW
CONCEPT: Siobhan Ryan and Seraina Dejaco
ARTISTS: Students from the Limerick School for Deaf Children
GUEST: Richard Siegel
MAMUSKA NIGHTS CREDITS:
Production: Daghdha Dance Company
Programme curator: Davide Terlingo
Programme coordination: Siobhan Ryan
Choreographed environment: Davide Terlingo
Sound environment: Jurgen Simpson
Main screen visuals: Conor Buckley