Presentation

 i-clit

Mercedes Dassy

 

A performance-manifesto of the body, in the flesh,  in which the sexual object becomes subject.

A new wave of feminism was born — ultra-connected, ultra-sexualised, and more popular. However, facing the ambivalent power of pop culture, where and how to position oneself in this battle as a young woman? What weapons should be used ? This solo explores the different contemporary feminist trends and movements and their link with pop culture. When can we consider the popularisation of feminism a genuine and accessible social claim rather than a marketing stunt ?

i-clit tracks  these moments of fragility, when one oscillates between new forms of oppressions and genuine empowerment. 

Photos

Teaser

Dates

30 November 2017 //  [try out] // Festival LookIN OUT, Théâtre 140 // BAMP // Brussels, Belgium

 

27 February- 3 March 2018 //[PREMIERE] // Festival Brussels, dance! // Théâtre de la Balsamine // Brussels, Belgium

 

3 September 2018 //Untimely Festival, Téhéran, Iran

 

7 December 2018 // Fabuleus, Leuven, Belgium

 

23 February 2019 // Centre Culturel Jacques Franck, Brussels, Belgium

 

20-22 March 2019 // XX Time // La Balsamine, Brussels, Belgium

 

Credits

Concept, choreography and Dance

Mercedes Dassy

Dramaturgy outside eye

Sabine Cmelniski

Sound

Clément Braive, Mercedes Dassy

Light

Caroline Mathieu

Costumes and scenography

Justine Denos, Mercedes Dassy

Administration

Mercedes Dassy & Hotenslig asbl

COPRODUCTION

Théâtre de la Balsamine, Charleroi danse

Support

B.A.M.P., Théâtre Océan Nord, L’Escaut, Project(ion) x Room, Friends with Benefits

Reviews

Extracts

i-clit by Mercedes  Dassy: happy in her  skin with this joyful,  muscular, choreographed feminism.  The intelligence of  the body. (…)I  allow  myself to  be carried away  by the force of a masterful  body that plays on the essential: affirming  what she is, a young woman who calmly assumes her  double nature, masculine and feminine, power and tenderness  (in which order?). She proposes a kind of self-portrait, a danced  selfie of her spiritual states and her reflections on mastering her  body. She already has a personal grammar of movements, regardless of the  music and perfectly masters the game of quirky erotic seduction… As such,  she forces the spectator to see her not as an object but as a subject that offers poses  and a representation of her imagination, without ever descending into pornography or Femen-style radical  provocation.(…) A beautiful debate that followed the performance confirmed the smiling and benevolent lucidity  of this 27-year-old performer. One mature lady in the audience remarked: “It has been a long time since a performance  moved me so much.” (…)

Christian Jade – RTBF

 

(…) The show, by linking references to these contradictions, avoids all the pitfalls of moralism or guilt. Pop culture can liberate us as much as it can lock us into images and codes from a patriarchal and capitalist society; the only thing to do is probably to subvert these images to question them, and Mercedes Dassy does it with brio. (…)

Lisa Cognaux – Karoo.be

 

(…) Mercedes  Dassy tackles with  powerful physical and  visual commitment the invasion of images  and discourse. The body in states of consciousness, confidence  and constraint. The body present, represented, confiscated and claimed. The reign  of paradoxical injunction. Such a performance, however sparse it may be, cannot be  created in a few months. The creative process of i-clit started well before the Weinstein  affair broke out. But the consequences, including the important #MeToo wave, only accentuate its  resonance. (…) Feminist waves follow one another, overlap and sometimes clash. The feminism of today, protean,  hypersexual, in perpetual mutation, cannot ignore the bodies carrying it, any more than the questions raised by  these incarnations. Without any judgement but with a critical eye, Mercedes Dassy poses as a participative observer  in a larger population of women, reclaiming her body and her identity. i-clit, she  says, is  a manifesto  of the body, of  the flesh, of the  female sex itself, not  for anything else. All  in all, a  daring attempt  to demystify the  female sex coupled  with a frank denunciation  of censure and manipulation. (…)

Marie Baudet – La Libre

Mercedes Dassy

 

Mercedes Dassy

Mercedes Dassy (1990, Brussels) is a dancer, active in the fields of dance, theater, performance and video. In 2009, she enters the S.E.A.D. Salzburg Experimental Academy of Dance and joins a Summer Program in Tisch School of Art/Dance Department – New York University. Back to Brussels in 2012, she works with Voetvolk/Lisbeth Gruwez (AH/HA), Compagnie3637 (Eldorado, L’Enfant qui), Matej Kejzar (raive), Cie PHOS/PHOR (La compatibilité du caméléon), Lucile Charnier (L’Appel du Mutant), Valéry Carnoy (Projet Genêts), MUGWUMP, Justine Denos (APOIL). Since 2013, she also started her own work with PAUSE, TWYXX (with Tom Adjibi) and her solo i-clit presented at La Balsamine in the frame of Brussels, dance ! festival in February 2018 and supported by the Ministry of Culture, Dance department.

 

http://cargocollective.com/mercedesdassy/

Mercedes Dassy – i-clit