Keti Koti (2024)

On 30 June, we mark not only the commemoration of the abolition of slavery but also the Independence Day of Somalia and Congo. This program specifically focuses on a quest for liberation from the knock-on effects of the colonial past and afterlives of slavery. During that time, divide-and-conquer mechanisms were structurally applied to legitimize exploitation and dismantle opposition, protest and revolt. Thus, power remained in the hands of a small group of people.

Although slavery has been abolished, our thinking, our bodies, and thus our daily lives are still influenced by colonial traces, memories and behaviours. These oppressive thinking constructs hamper the coexistence of our country's diverse communities, which is why this programme focuses on empathy, solidarity and healing.

As a result of the history of slavery we often carry oppressive mental constructs with us, which perpetuates divide-and-conquer mechanisms in our community. This behavior doesn’t only damages our mental state, but also keeps our communities divided.

This program, therefore centered self-reflection and solidarity. In order to do so, it is necessary to reflect on what the spaces like ITA represent and what memories they hold. The architecture and history of ITA is a symbol of 19th century classism and colonial greed set in stone. With this program we attempted to reclaim the theater as a space of healing and repair.

Performing the archive: Flying Out

Luku Xam is an interdisciplinary Afro-Futurist storytelling collective consisting of Jomecia Oosterwolde, Joanne Purperhart and Myra Fanta Bodian. They draw inspiration from different Afro and Afrodiaspora cultures, life visions and spirituality. In collaboration with The Need for Legacy, they create a performance in which image, story and movement come together based on their research in Dutch theatre archives.

In de voetsporen van een held

I will never forget the smell. I can never forget the smell. Fire penetrating everything, scorching everything in its way with eager fingers. Until nothing remains. Only: the stories. And the words. It started with words. Words that were first withheld from us, because enslaved people were not allowed to read. Because they also knew: the power of words is great.

Actor and theatre maker Anton de Bies crawls into the role of Tula, who led the uprising of the enslaved on Curaçao. This Tula, who fought for freedom and human rights, has a conversation with himself (Anton) in the here and now. He takes us back to the past and makes us reflect on the impact of slavery in the present.

The art and practice of experiencing/Becoming our space

Makers and artists, led by guest curator Glenn Helberg, explore how, since the discovery of the New World and transatlantic slavery, divisions between indigenous and diasporic communities have been systemically deployed and worked through. Together, they explore how sharing their own stories about mechanisms of oppression can break them. With breaking through these truths felt in body and mind, we can experience the space to overcome divide and rule mechanisms. Although we have freedom, we do not experience space.

Moving between Suriname and Curaçao, we explore with performers Junadry Leocaria, Gregory Shaggy Albertzoon, Laurindo Andrea and Adeiye Tjon how language has been used as a tool to systemically perpetuate divisions, as well as how this permeates access to social positions and colourism. We will engage in a conversation about the ever-persistent resilience we can trace in our stories of heroism, to collectively feel and take it to our DNA.

Ondrofeni

Kaskawi (Kaseko-Kawina) music from Suriname is Surinamese modern swinging percussion music where you definitely cannot stand still. Ondrofeni translates freely as 'experience'. They have already played at Oerol, the Uitmarkt, Kwaku Festival, Welcome to the village, countless parties, the North Sea Jazz Festival and during the opening of Festival Lieve Stad, 2024 in the Rotonde.

Major shout out to Kimberley Smit and her collective Need for Legacy whose hard work and expertise helped to build the theoretical foundations of this programme.

A big big thank you goes out to all the participating artists, the technicians, producers and public service personnel at International Theatre Amsterdam.