Sara Gebran

About Sara Gebran

Since 2012, Sara Gebran shares her time, space and artistic practice between being Head of the Education in Choreography at the Danish National School of Performing arts and continue choreographing, performing, writing as choreographic practice and researching (from 100% Free lance to work in an institution and turning further in defend of this institutions...). Her works are situated within the performance art field, exploring ways of representing the body in relation to various dimensions: the social, cultural and political, the displacement and perception of time and space, and when need it mixing what ever desire medias in order to create and investigate new relations and perspectives produced between the audience and the performers. She has a BA & MA in urban planning, and a BA in dance. Had shown her works internationally since 1994 until present. Since 2009 she decided to only work in collaboration with other artists, as a way to defy isolation, individualization, the marketing rush and the deadly identification claustrophobia. She hopes of a female distributional system.

Diversiones Sci- Fi, Continuum & Others

Diversiones Sci-Fi

…She became signs and texts, mutated digital crops, suddenly running accessible, dragged by any aficionado, an addict, free of negotiations, threats and misunderstandings, still using as little energy as possible and NO economy. Bowed into a hurried blur, she lost own substance in the digital velocity of distraction, only to gain a new sense in the resting assurance of the transferred appropriation. Here she lived. Here she performed. Her invisible act was a spongy slowing down financial plan, an energy saver, habiting unnoticed the infinite cracks of spaces, time and thoughts, a sort of ‘me perteneces y te pertenezco’ – or a come back to me call. Performances turned into a questioning for her lack of collective knowing, a negation to die for le droit to be creative. She then proposed: No hay que morir para ser creador – Viva el arte de los cansados. And Added: No te debo nada pendejo! Then she could start: she performed rest, sharing and contemplating painstakingly. Elle éstait là, la la.

In the scan of the landscape we found our selves missing, but who was watching? How were the intentions twists? We couldn’t recognize each other. There was no one, as if we didn’t exist. The speed was such, the eye only catch a moving misty over fragmented sand cloud. It was a decomposed movement across the hot space. We were performing in such a speed, in multiple times, so we missed her and missed ourselves. That was when it happened, the absolute surveillance of the Panopticon (PAN as Pick A Name or Palladium At Night) landscape of speed-time missed her too. A void in the center alter into a black hole, vanishing.

a strait lineAll small cracks and fissures turned to underground scopes were things happened. Inward looking, without super imposed Palladium At Night opticon grid, spread intermingling desires. Finally, burning god dammed desires!!!. Perspectives changed perspectives: what you saw was what was out side of what you were seeing. Accepting the instantaneity of all dimensions, a half nihilistic perspective of chaos, confusion and disregard, was imposed. It was about believing to not be a believer but an optimistic unfaithful anarchic she. What was this about? It was her Queendom – el reinado de la reina, where every thing was possible. Happenings happened with eventful slow manners, in million crossings of remains. There were nothing called waist, and nothing was disconnected, every thing was a part of every thing, in the vanta black vacuum of hasty vanishing acts, they ACTED.

The watching circle began a centripetal force, of inward direction, an umbilicus inversion that resumed in freeing all other spaces from the eye watching, until it shrink out of control, to the happy verges of the marginal. Let it be, I said, it’s spreading in the dark out of sight…

panopticonAre you there?

Post-thinking, post-human, post-doing, post-time, post-dead, post-movement, post-queer, re-do, re-dead, re-human, re-thinking, re-time, re-move, re-queer, rewind

Listen, and again…

Doing it again is not like re-doing it…

(“Diversiones Sci-Fi” is writing as a performative and choreographic practice that Sara started for Acción Gorila 4″, a collaboration project with visual artists and writer Mathias Kryger. This excerpts will develop ongoing until middle of June 2015. Follow it up both here and there as excerpts are different:


Another 12″:  a strategy to get curious of others. Use the past to reconnect to the present while looking into the future. A way to come to peace with dance. To let translation be the queen, and choreography a background. Dissolve the force of choreography: emancipating the parts from each other and the whole, while the whole from both it self and the parts. A durational practice until one turns 80. To not disappear by public appearance. To keep moving, while using maximum pleasure with minimum stress. To act emancipation. Choreographing emancipatorily: independent while dependent. A way to remember people by inhabiting them, and to stay with the ones one loves or want to love. Avoid isolation. A strategy to memorize things defying the deadly erasure of the speed of time. To find newness in the repetition. To insist in one thing, to not sell newness. To stare at each other until we get bored but continue looking until we change. To do as little as possible with maximum pleasure (I already said that but I need to insist) To insist on what each of us find important, and space to share it. To take back what look as if it is not yours and make it yours again, yes its a de-colonization process. To become an open big source: The-Pop-Download-Star. To be the star like every one else at what ever time of the day and age. To disappear a long time and appear gloriously when ever. To shape a future when all hopes are gone. To stay on the move (I said that too :))…

The text “Continuum” is written as a form of flyer, a small reflection and as a post-thinking manifesto, to try to share the reasons and potential of this very,very long choreographic and dancing practice developed in 3 parts during 4 years, until it landed in this version “Another 12″, with the aim of continuing for many more years and versions to come.

7th of May 2015, Inkonst/Malmö with 34 artists contribution !!!!

The Physical Order of Power, Study circle 2

It’s the second study circle of an artistic research done by Marie-louise Stentebjerg, Ida Larsen and Sara Gebran, to be shared end of April 2015 at Dansehallerne. It would be announce close to time…