Djibril Sall: evening.haiku – Sophiensæle | Independent Theater in Berlin
Djibril Sall:
evening.haiku
evening.haiku is an invitation to awareness. Titled after Sonia Sanchez’s collection of haikus Morning Haiku, this evening length performance comes from a lineage of “putting the world on pause”—meaning to slow down, be in nature, situate yourself and your situation within the grand scheme of things, and hopefully realize “Oh, I’m present. I’m here. And this is now.” Drawing on racial, gender and queer trauma, Djibril Sall joins dancer Sointu Pere in a search for spiritual tools for self-care and healing. To do this, they use the traditional Japanese poetic form of haikus as a vehicle for open-heartedness, awareness and compassion.
Choreography, Concept, PErformance Djibril Sall Performance Sointu Pere Sound design Ari Robey-Lawrence Light design Thais Nepomuceno costume Emmanuel Pierre DRAMATURGICAL SUPPORT Maxi Wallenhorst With many thanks to Gabrielle Curebal, Luisa Saraiva, Alice Heyward, Nasheeka Nedsreal, and James Batchelor.
A production by Djibril Sall in co-production with SOPHIENSÆLE. The 31st edition of Tanztage Berlin is a production of SOPHIENSÆLE. Funded by the Senate Department for Culture and Europe. With the friendly support of Tanzfabrik Berlin e. V. and Theaterhaus Berlin Mitte. Media partners: Siegessäule, tipBerlin, taz and Berlin Art Link.
Djibril Sall is a queer Senegalese performer, choreographer and writer. Born in Dakar, he grew up in a working-class family in the Deep South of the United States and was educated at the “elite” Wesleyan University. He describes himself in these terms to illustrate the range of privileges he holds – as someone who has worked from the peripheries of the Global South to someone who can now move unencumbered within and beyond the borders of the Global North. His work is situated at the intersection of (racialized) migration and belonging, where he questions the forces that compel people to leave. This inquiry includes his own migration background and his reflections on (non-)belonging and in-betweenness. The central question he poses to himself and to his audience is: “How can trauma become a departure point for exploring pleasure, letting go, disclosure, and open-hearted connection?”