Bio NL

Het werk van choreograaf Martens wordt gevoed door de overtuiging dat elk lichaam kan communiceren, en daadwerkelijk iets te vertellen heeft. Met elke nieuwe voorstelling tracht Jan Martens de relatie tussen publiek en performer te hertekenen. Zijn debuut I can ride a horse whilst juggling so marry me in 2010, werd snel gevolgd door meerdere solo’s, duetten en groepsstukken, o.a. The dog days are over (2014 - selectie het theaterfestival), Ode to the attempt (2014), The common people (2016) en Rule of three (2017). In het seizoen 18/19 creëerde hij Passing the bechdel test en de solo Lostmovements. In 2020 richt Jan zijn pijlen op de grote zaal, met Any attempt will end in crushed bodies and shattered bones, een productie voor en met zeventien dansers. De première werd al enkele keren uitgesteld door de huidige sanitaire crisis en staat nu gepland voor 4 februari 2021 (in ThéâtredelaCité – CDN Toulouse Occitanie). In mei 2021 gaat Elisabeth gets her way in première. Een solo van en met Martens geïnspireerd door de Poolse Elisabeth Chojnacka (1939 -2017), een uitzonderlijke muzikante die midden 20e eeuw medeverantwoordelijk was voor de revival van klavecimbelmuziek. 

In 2014 richtte Martens samen met zakelijk leidster Klaartje Oerlemans het choreografisch platform GRIP op, van waaruit ze samen zijn werk produceren en spreiden alsook het werk ondersteunen van Bára Sigfúsdóttir, Cherish Menzo, Steven Michel en Michele Rizzo. Martens is tevens creative associate bij deSingel internationale kunstencampus (Antwerpen, BE) van 2017 t/m 2021.

Bio EN

The work of Martens is nurtured by the belief that each body can communicate, that each body has something to say. In each new work he tries to redraw the relation between public and performer.

His debut I can ride a horse whilst juggling so marry me in 2010 was quickly followed by several solos, duets and group pieces, including The dog days are over (2014 - selection of the theater festival), Ode to the attempt (2014), The common people (2016) and Rule of three (2017). In the 18/19 season he created Passing the bechdel test and the solo Lostmovements. In 2020 Jan will aim his arrows at the big stage with Any attempt will end in crushed bodies and shattered bones, a production for and with seventeen dancers. The premiere has been postponed several times due to the current sanitary crisis and is now scheduled for February 4, 2021 (in ThéâtredelaCité - CDN Toulouse Occitanie). Elisabeth gets her way will premiere in May 2021. A solo by and with Martens, inspired by the Polish Elisabeth Chojnacka (1939-2017), an exceptional musician who was partly responsible for the revival of harpsichord music in the mid-20th century.

In 2014, Martens founded the choreographic platform GRIP together with business manager Klaartje Oerlemans, from which they produce and distribute his work together as well as support the work of Bára Sigfúsdóttir, Cherish Menzo, Steven Michel and Michele Rizzo. Martens is also a creative associate at deSingel international arts campus (Antwerp, BE) from 2017 to 2021.

(SCROLL DOWN IF YOU DON’ T WANT TO BOTHER AND JUST WANT TO GET PEACE)

Living in (semi-)lockdown makes us long to the pre-epidemic era.
When even 15-year-olds say that “the old times were better” it might be good to indulge in resonances from times past and forgotten.

When I’m in the studio these days, I return to a practice I unconsciously did when I was a teenager and my parents and siblings were out and I had the living room all by myself. I write “unconsciously” because I wasn’t dancing yet, I didn’t consider it as a practice back then, it just happened when I had the urge to do so.
My soundtrack for these weird dancing fests were the albums Blue Wonder Power Milk and A New Stereophonic Sound Spectacular by the Belgian band Hooverphonic, or Lamb’s nameless debut album. The year was 1999. Trip-hoppy kid I was.
This practice utterly satisfied - and still does satisfy - the autistic side of me. I wish I could prove this with a gritty video of a 15-year-old me (skinny, ugly, pimples, insecure, long wavy curly hair - the whole teenage angst shebang), but alas - it just ain’t there.

This practice gave me a feeling reminiscent of a runner’s high, it became an addictive act as it was both comforting and extremely pleasurable. It gave me a deep love for minimal and repetitive dance, which still echoes in my work today.

This practice is best to do on your own, so no eyes can stop you from moving as exuberantly as you wish to.

This is how it goes:

1. Find a piece of music that casts you back to untroubled times, doesn’t matter if it’s a bad taste or a bit dated. It should just have a steady rhythm that invites you to move. When you start the practice make sure the track begins all over again from itself when it’s finished. It will allow you to dwell deeper into the joy of your practice.

2. Start the music.

3. Find a simple repetitive movement, using the beat of the music.

4. Repeat that movement over and over again.

5. If you want, add some slight variations to the movement, for example in size.

6. Try to not get bored. Instead, get into a state.

7. Do it as long as you please. Remember: sweating is good.

Don’t give up too soon if it doesn’t give you a good feeling. It might take some days before it has an effect or before you don’t feel stupid or awkward.

Some extras:
When you get the hang of it and you do this practice again and again, change some of the parameters. Other music for example, or in a different space, or do it butt naked: that’s good for body acceptance.

THE JOYS OF REPETITION 


IF YOU JUST WANT TO GET PEACE

HERE