CHOREOGRAPHY

#3 DIALOGUE (2014)

 

Three conversations.

Argumentative

Agreement

Trust

 

Choreography: Francesca Tranter

 

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BORN, NEVER ASK (2012/2013)

 

 

The piece stands as a metaphor of the context and situation from its starting point of creation. As human beings we are full of ideas, emotions, thoughts, and experiences that shape us into who we actually are.

 

Choreography: Roberto Olivan (Spain)

 

 

 

 

 

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WELL OF MEMORIES (2012)

 

 

Inspired by tales of memories and dreams.  A fragmented journey in which the dancers reveal chapters of their story that may or may not have happened in the past, present, or possibly the future. The nature of human consciousness, marvels at the fact that consciousness is continuous.

 

Choreography: Francesca Abela Tranter

Music score: Renzo Spiteri

 

 

 

 

 

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Agree to Disagree (2011)

 

Choreography: Francesca Abela Tranter

 

 

 

 

 

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STRUCTURE UNKNOWN (2010)

 

 

This piece explores undefined situations. Moments that happen through chance. I find this energy extremely exciting.  Created with installation design in mind, through a shadow on its journey through every walk, freedom or restraint.

 

Music: Accompanied by musician/composer  Renzo Spiteri

Choreography: Francesca Abela Tranter

 

 

 

 

 

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KITSUNE. (2010)

 

Kitsune is the Japanese word for fox. Foxes are a common subject of Japanese folklore, Kistune usually refers to them in this context, and are akin to European Faeries.  Stories depict them as intelligent beings and as possessing magical abilities that increase with their age and wisdom. foremost among these is the ability to assume human force............... it is night.  A daughter leaves her bedroom and creeps downstairs to explore the formal room that her parents forbid her to enter.......

 

Choreography: Jem Treays (Wales)

 

 

 

 

 

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LETTERS OF LOVE LOSS & LUNACY (2009)

 

 

Not one form of a modern communications marvel can replace a letter.

It is more than a communication.

It is a gift. A letter can have special powers.

It can be more intimate and touching than even a conversation.

It can be more personal than any telephone call.

 

Music: Lisa Gerrard, Gotan Project, Bach

Choreography: Douglas Comely (Wales)

 

 

 

 

 

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CHEWA (2006)

 

Inspired through research, living amongst  the Chewa (Tribe) women from Malawi and Zambia. The strong will and determination to fight for their rights against man's oppression.

 

Music: African Divas, Uakti, Cross Roads

Choreography: Bawren Tavaziva (Africa / UK)

 

 

 

 

 

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HEJA (2006)

 

‘Heja’ is the amalgamation of contemporary dance complimented with Maltese traditional music. The movements within this choreographic piece are inspired by ordinary physical activities of the past. It incorporates rhythmic structures inspired from traditional rhythms.

 

Music: Renzo Spiteri, “Bikja” (T.Pace, V Pule, G Borg)

Choreography: Rachel Grech Axisa

 

 

 

 

 

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ALTERNATIVE MOVES AND SPACES (2006)

 

To improvise skilfully awareness of  responses that are available within each given moment. This kind of awareness develops through practice, discovering and saying yes to what arises from the body and mind. If the dancer doesn’t know herself, hasn’t investigated her quirks and desires, she/he will lose track of form and content. When the dancer is seduced by form, she/he loses her awareness. What happens when qualities of movement are lost and the body forgotten? What triggers the action to create more active connection between all players on stage?

 

Music: Renzo Spiteri

Choreography: Dancers in collaboration with Francesca Abela Tranter

 

 

 

 

 

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WOMEN ON COMMON GROUND (2005)

 

WINNER OF MALTA DANCE COUNCIL UNESCO CHOROGRAPHIC AWARD 2005

 

This dance was inspired by last 2004 nominated women for the Nobel Prize of peace – 1000 partners for peace chosen from various countries, in different political situations. The selected women promote active, non-violent responses to conflict situations, structural injustice and inequalities. This dance is dedicated to all those women who commit themselves daily to the cause of peace and justice, often under the most difficult circumstances.

 

Music: Uakti (I Ching)

Choreography: Rachel Axisa

 

 

 

 

 

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POETRY IN MOTION (2005)

 

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“The pencil sketches out ideas, sometimes frantic and others times in a more pensive manner, until a rhythmic development is traced and develops into metrical vocal phrasing. “

 - Renzo Spiteri

 

“Intentionally sketchy, raw and incisive lightheartedly pierces the myth of Poetry, but, as I turn the pages impatiently, I can investigate the telling of stories in verse? “

-  Francesca Abela Tranter

 

Music Score: Renzo Spiteri

Choreography: Company in Collaboration with Francesca Abela Tranter

 

 

 

 

 

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ARE YOU RIGHT, AM I WRONG?  (2004)

 

 

Quote: 'friendship is worth its weight in gold...but jealousy can severe even the strongest ties.'

How friends being friends fall out then make up again.

There is a cycle that starts with a circle of friends and ends in the same way, and in between we view different stages: Playful, insecurity, jealousy, regret and reunion.

In addition Malta’s backdrop images accompanies the idea that  reflects on the moods that  are portrayed within the dance.

 

Music: Mozart, Sung by Cecilia Bartoli and Bryn Tefel

Choreography: Michael Joseph (UK)

 

 

 

 

 

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TEMPEST (2003)

 

Cage’s invention or discovery of the prepared piano, for which he has remained especially famous, owed more to practical consideration than to deliberate artistic intention. Triggered to experiment to change the sound of the piano, he hit upon the all-important solution of placing suitable objects, such as screws and bolts, nuts, erasers, bamboo, cloth and wood between the strings. Francesca Abela Tranter’s Tempest collaborates with percussionist Renzo Spiteri who forms a vital part of the progress and development of this work. Francesca investigates in riding the surface of unrest and the concept of harmony, self-reflective, and aggressive reflex, through this collaboration identifying speculation and intent this undulating road arrives to a unique adaptation of John Cage’s score through Renzo’s dynamic interpretation.

 

Music: John Cage with live adaptation of Renzo Spiteri

Choreography: Francesca Abela Tranter

 

 

 

 

 

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TVOD  (2003/4)

 

Douglas Comley’s TVOD mixes text and movement, bridging dance and physical theatre, addressing an issue which relates to us all. Without prudence this disturbing game of viewer and performer slices away at the real picture to each and every one of us and the universal effect of Television. Tying it into a rather dark and wry humorous piece of reality that will relate to us all.

 

Music: Omni Trio, The Orbital, Byzantine – Alleluliah, The Disposable Heroes of Hipocrisy

Choreography: Douglas Comley

 

 

 

 

 

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'THREE PIECE' (2002/3)

 

Three Piece is a project that allowed artists oceans apart, to collaborate on common ground through dance.  Each choreographer developed their own dance vocabulary working within the concept of interpretation of music thus using a great sense of cultural identity.  The most interesting part of the whole project is discovering how one dance company becomes versatile through their body language with each choreographer's direction and their thought process.

 

Choreography:  Francesca Abela Tranter

Music: J.S.Bach

 

 

 

 

 

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UNDERCURRENTS (2002/3)

 

Poi are traditional folkloric dance instruments used by the Maori (indigenous people) of New Zealand.  They are balls attached to string which are swung and hit percussively on the hands and body.  This unique piece represents the first time a dance fusing poi with other contemporary dance techniques, has been especially created for and performed by a non - New Zealand Dance Company.

Based on the concept of the sea.  The experience of my ancestors sailing across the Pacific Ocean to inhabit Aotearoa (New Zealand) lies alongside my journey to Europe to meet, exchange and share information and cultures.  The questions of commonalities between two island small nations, are reflected in our shared affinity to the ever present sea natural relationship to the land.   The movement draws on the ebb and flow of the tides, and the sensuous nature of the human body out of your control; Deep emotions run like strong undercurrents hidden beneath a calm surface.

 

Choreography: Jack Gray (New Zealand)

Music: Original score by Eden Mulholland (New Zealand)

 

 

 

 

 

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SAC-RED (2002/3)

 

Sac-red explores the power of group unity and the struggle for individuality - the endless journey to find your sacred place within a group.  Reflections on the origins of the Aborigines Australia.  "I have been interested in the dancers creating a tight and strong connection with each other, but also encouraging individuality in their interpretation of the movement vocabulary".

 

Choreography: Jodie Farrugia (Australia)

Music:  United States of Islam

 

 

 

 

 

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CORPUS (2001)

 

 

This production is a development of a three month workshop with Italian based theatre instructor Stefano Bosco and Maltese composer Ruben Zahra collaborating with the dancers in the use of their individual voice and body sound hence  breaking all inhibitions of movement. The interesting material developed into a produced soundtrack. Through a series of experimental tasks choreographed in collaboration with the direction of the Artistic Director Francesca Abela Tranter created breakthroughs in theatre dance in Malta in this era,  as the material developed solely from the initial source of tools, themselves, the dancers.

 

Music: Reuben Zahra

Choreographic Direction: Francesca Abela Tranter

 

 

 

 

 

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'LIGHTING PASSAGES AND DIALOGUES'  (2000)

 

 

Inspired by Lighting technology, this piece is created around a  lighting design installation where gobos play centre stage. The reversal of roles where light is the dancer and the dancer is the prop and dialogue begins.

 

Music: Shiela Chandra

Choreography: Francesca Abela Tranter

 

 

 

 

 

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'CHOICES' (1999)

 

Choices launched Contact Dance Company as a first production in 1999. Six females Dance to the score of Phillip Glass played by the Kronos String Quartet. The ideology and curiosity of sexual choices of relationships amongst women, explores companionship and affection. The mutual challenging communication plays amongst these six female dancers.

 

Music: Phillip Glass – Performed by The Kronoz Quartett

Choreography: Francesca Abela Tranter

 

 

 

 

 

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