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When he’s twelve years old, Simon Bus (Heerlen, 1989) gets into breaking after seeing a Run-DMC video. His B-boy name Statue reveals he’s always had a special feel for visual composition. Simon’s style became more and more 'experimental' and he turned out to be an outright innovator of the breakdance genre. Since 2018, Simon has been creating choreographies in which he continues to experiment with urban dance forms.

“Self-portrait, man on orange floor” is a danced self-portrait on a two by two orange floor that functions as a dynamic canvas. While a painter is forced to slowly settle on a fixed self-image as he is painting, we see Simon fighting with different aspects of himself. With his hyper flexible body, he turns himself inside out and upside down, wavering between his ideal self-image on the one hand, and a caricature on the other.

Credits

choreography & performance: Simon Bus | music: Charlie Campbell – Showtime Paul | production: Korzo

More about Simon Bus

Since 2002 Simon Bus has been part of the breakdance crew 'Trashcan Heroes', with which he participated fanatically in as many battles as possible, both in the Netherlands and abroad.

About ten years later, he completed his study Visual Communication at the Academy of Visual Arts in Maastricht. Here Simon developed an investigative way of looking and moving that strongly influenced his vision on breakdance and led to his own unique movement language.

In 2018, Bus began working as a choreographer. Virtuosity and extreme physical possibilities in his works always prove to be a source of humor and perspective.

Additionally, Simon remains a much sought-after dancer, working with Guilherme Miotto, Shailesh Bahoran and Dunja Jocic, among others. Since 2017 Simon’s work is supported by ThinX/Parktheater in collaboration with Corpo Máquina Society, completing a FPK-supported New Makers trajectory with them in 2019 and 2020. This collaboration continues. Since 2021, Simon is also supported by PLAN Brabant.

Dynamiek, ritme, flow en explosie. Als ongekroonde koningin van de house dance deelt Alesya Dobysh haar liefde voor de dans met ongekende vrijgevigheid en knipoogt ze vrolijk naar onze merkwaardig beperkte relatie met ons lichaam. In de solo Stop Making Sense werpt ze zichzelf voortdurend door de ruimte op de grens van tuimelen en controle, beheersing en laten gaan. Geïnspireerd door de beroemde serie 'Men in the City' van beeldend kunstenaar Robert Longo suggereert Dobysh onstabiel terrein. Longo’s vallende figuren wisselt ze op briljante wijze af met razendsnel voetenwerk, wendingen en verdraaiingen. Zo creëert ze een unieke, ritmische taal die het lichaam kwetsbaar maakt en onvoorspelbaarheid laat ademen.

Nadat zij zich vanuit de battle cultuur in Moskou ontwikkelde als professionele danseres en na talloze overwinningen op internationale concoursen vestigde Alesya Dobysh zich in Eindhoven. Daar blaast ze de club scene nieuw leven in. Vanuit haar gedrevenheid maakte Alesya zich stijlen eigen als house, jazz-fusion, hip-hop en breaking evenals hedendaagse moderne basistechnieken. Met precisie, muzikaliteit, subtiliteit en esthetische vormen weet ze hieraan steeds haar eigen draai te geven. Afgelopen jaar sloot ze zich aan bij Corpo Máquina Society, het choreografisch platform waarmee artistiek leider Guilherme Miotto jonge makers uit de urban scene stimuleert in hun nieuwsgierigheid naar theatraliteit en theatrale vormen.

Choreografie en performance Alesya Dobysh

Soundscape Max Frimout

Dynamics, rhythm, flow and explosion. As the uncrowned queen of house dance, Alesya Dobysh shares her love of dance with unprecedented generosity and cheerfully winks at our strangely limited relationship with our bodies. In the solo Stop Making Sense, she constantly throws herself through space on the border of tumbling and control, mastering and letting go. Inspired by the famous series 'Men in the City' by visual artist Robert Longo, Dobysh suggests unstable terrain. She brilliantly alternates Longo's falling figures with lightning-fast footwork, twists and turns. In this way, she creates a unique, rhythmic language that makes the body vulnerable and let it breathe unpredictability.

After developing from the battle culture in Moscow as a professional dancer and after numerous victories at international competitions, Alesya Dobysh settled in Eindhoven. There she brings new energy into the club scene. From her passion, Alesya mastered styles such as house, jazz-fusion, hip-hop and breaking and contemporary modern basic techniques. With precision, musicality, subtlety and aesthetic forms, she always manages to give her own twist. Last year she joined Corpo Máquina Society, the choreographic platform with which artistic director Guilherme Miotto stimulates young makers from the urban scene in their curiosity for theatricality and theatrical forms.

Choreography and performance Alesya Dobysh

Soundscape Max Frimout

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