In **Dreamline mothership INC** an enchanted stewardess takes the audience on a journey in the mothership – a guided meditation, a fantastic sci-fi voyage into the cosmic womb, the mythological origin of the universe. On the mothership the audience is transported through a cosmic vaginal pathway, passing several portals which open and deepen the journey towards one’s own intimacy and pleasure in order to generate a dream conception. The cosmic womb is interpreted as a black hole in the universe from which all dreams can be conceived and birthed into being. The story unfolds through spoken text, which sometimes becomes a song and a dance, accompanied by a celestial soundtrack created by Laryssa Kim. Inspired by somatic practices, where one is often guided through words into bodily states, this guided sci-fi journey is blurring genres between guided meditation, somatic scores, workshop, ritual and lecture-performance.
This project is experimenting with collective induction of imagination through the magical properties of spoken words, such as in prayer, invocations or spells. How can words affect bodies, trigger sensations, cause shifts in perception and even invite altered states of consciousness? Inspired by rituals, throughout this session, the audience is invited to access their own imageries connected to this sci-fi feminist mythology and guided to receive their own dream-oracle.
The image of a space-traveling mothership offers a spiraling counter-movement to linear patriarchal structures. The futuristic mother is a spaceship, whose engine is driven by pleasure energy, guiding us into a collective rebirthing of the cosmic womb.
Influenced by both feminist, post-colonial theories and science-fiction, Helena Dietrich‘s (DE) transdisciplinary work is exploring transformative body-experiences and their collective healing potential. Her artistic approach seeks to engage the audience in different ways, challenging preconceived frames of relations. Her immersive installations and performances have been presented at Beursschouwburg, Kaaitheater, STUK, Brakke Grond, Charleroi Danse, Tanznacht Berlin, Centre Wallonie Bruxelles Paris, among others.
The show on the first evening (15th April) is a separatistic evening for people of the global majority/BIPOC. So please only book that evening if you identify with those terms. The show on the 16th of April is open for all. ---- We, Adam and Amina Seid Tahir, see how the terms BIPOC and people of color are less fortunate in their attempts of combating white supremacist andimperialistic ideologies, since they form in relation to whiteness (those ”not of color”) and therefore keeps whiteness as the norm. We rather use the term people of the global majority since we aren’t interested in identifying in relation to whiteness or white supremacy. ---- The term Global Majority was coined by Rosemary Campbell-Stephens. ”Global Majority refers to people who are Black, Asian, Brown, dual-heritage, indigenous to the global south, and or have been racialised as 'ethnic minorities’.” 1 This term was created for people of the global majority to not have to identify in relation to whiteness and to emphasize the fact that these groups make up the majority of the world’s population, specifically 80%. ---- The reason for choosing to use the term BIPOC despite this, is because we’re aware that the term people of the global majority hasn’t received as widespread attention yet. And since our main goal for this showing is to welcome our siblings from the global majority for a showing without the presence of a white colonial gaze, we choose to use the term that seems to be most commonly used in this festivals locality. ---- 1. Global Majority; Decolonising the language and Reframing the Conversation about Race” by Rosemary Campbell-Stephens, 2020