Agate Bankava and Andris Kačanovskis (Latvia)
Idea, choreography, performance: Agate Bankava and Andris Kačanovskis
Video: Paulīne Kalniņa
Music: Domas Uselis
Producer: Theatre Ģertrūdes ielas teātris
(c) Anna Rosalie Uudre
Professor Yuval Noah Harari introduces his proposal for the human of the future as Homo Deus. Our proposal is far more frivolous and far less aggrandizing – Future Freak.
Future Freak imagines and conjures up three of the thousands of possible scenarios of the possible effects of ecological pollution, information density, historical baggage, canonized art, and the wish to remain forever young and healthy on the humans of tomorrow. Nobody knows what may come. This is purely a speculation.
Agate Bankava is one of the most promising contemporary dance artists of her generation in Latvia. She made a stunning debut on the Latvian contemporary art stage in 2015 with her Bachelor’s thesis Rauts, which was nominated as the Accomplishment of the Year in Contemporary Dance at the National Theatre Awards (the 2015/2016 season) and received the main award at the annual Student Theatre Festival. Agate has worked on several theatre productions and collaborated with notable directors such as Andrejs Jarovojs, Elmārs Seņkovs, Māra Ķimele, as well as created the choreography for her own dance productions (solo piece Membra, 2017, Fafabulala, Nature Morte, both 2016, Slikta, 2017).
Excerpts from the review «Eternal us the sea. About Future Freak»
author: Art critic and curator Jana Kukaine
«Along with an ecocritical perspective the shape of the future is considered through an emphasis on the development of various biotechnologies, new and advancing medical manipulations and means of reproduction. As such, for example, the opening scene of the performance can be interpreted as the hatching out of a golden foil egg or some other surrogate womb. The politics of a new body also initiates certain standards of hygiene, fitness and health, begging to hypothetically ponder the question- what will the future definition of “a body” be and whether, for example, fear of death will still exist; perhaps annual maintenance checks will include the possibility to exchange worn-out body parts for new ones (instead of spending years waiting in line for the planned operation, as is the case now). «
«As if overcoming an invisible resistance, in mute persistence and mutual trust they move towards the goal, which is hard to anticipate before it has been reached- and then it seems self-evident, since it was hinted at in the first minutes of the performance. Having discarded ostentatiousness and the extravagant attributes intrinsic to the characters at the beginning of the performance, clad in simple jumpsuits the bodies form nearly organic connections, blurring the lines between the two bodies, confirming that only qualitative human interaction has and ever will have any meaning. And, even though the events on stage seem to apply only to the two of them, both dancers also sketch out a politics of the future, showing that intersubjectivity is the only comprehensive survival strategy that doesn’t have an expiration date.»