What makes a diva within the popular culture?
Can a dance piece function as a diva?
The role of the “mother diva” Judy Garland is particularly interesting to Ludvig. Although Garland was a fantastic performer, her role was transformed into that of a catalyst for the powerful celebration of love that erupted spontaneously during her concerts. For a few hours, her immense mass appeal helped her audience overcome their fragmentation. Within the safe framework of the auditorium, a brief, short-lived community was created. The concerts’ bigger purpose was to host an evening where gay men and women could be themselves. Garland was simply the hostess of an evening where people could forget about their everyday life and enjoy time together.
How could a contemporary dance piece produce this atmosphere? Not through representing diva in any way, but purely focus on the atmosphere the concerts created, and the love the audience felt for each other as a group? The content of the performance shouldn’t necessarily speak about the outside world, it should create a situation in itself, as a whole, as something separate, different, better and more hippie than the world outside.
Initiated by: Ludvig Daae. Created and performed by: Marcus Baldemar, Tove Berglund, Chrisander Brun, Ludvig Daae, Robin Jonsson and Rebecka Stillman. Light design and scenography: Chrisander Brun. Costume design: Tove Berglund. Sound design: Robin Jonsson. Technique & production: MDT. Co-producers: MDT, Speilart Festival (München). Funded by the Arts Council Norway, Fund for Sound and Picture, MDT and Départs. With the support of The Swedish Arts Grants Committee, Workspace Brussels and the DEPARTS network. DEPARTS is funded by the European Commission, Culture program.