About the artist /

Hannah Zwaans (1997/NL) is a choreographer, performer and philosophy student. Until the age of 15 she practiced acrobatic gymnastics on a professional level. Then she discovered dance and choreography as a means of understanding the body in relation to the mind. In 2018, she graduated from the Fontys Academy for Dance Education (BA), where she specialized as a maker. She won the Entreeprijs for young makers at Theaterfestival Boulevard for her graduation piece 'Ehm' (2018), that she created in collaboration with Nele Vandeneede and Museum de Pont. After graduation, she created a performance with her very own mother with which she won the Audience award at Café Theaterfestival. In 2020, she started her MA in Philosophy of Humanities and Culture at Tilburg University. Hannah aims to make every project the project of her dreams and, in doing so, pushes her own limits, trusting that new dreams will come again.

 

About the work /

Many answers are possible when we ask what being human means. Hannah established that being human at least means being dynamic and unfinished. In her practice, Hannah questions human existence from a physical perspective. Answers are found in a creative process and presented in performances.

 

Creation is secondary because the phenomenon already exists. We create a relationship with them by letting them in and enabling responses. With Transcending Bodies Hannah creates physical encounters to explore this relationship. A requisite in Hannah's work is that the body has to be as present as possible. It is placed as the center of a great ecology of connection, with the material and spiritual world. Physical presence is a vivid and anchoring experience. Through long improvisations, meditations and mantras, her creative processes seek meaning and integrality in the body. They create awareness and hypersensitivity by which phenomenon can be deeply explored.

 

The relationship to the environment, sensory experiences and the audience are part of the work, as all of these determine the performer's state of being. Hannah's work is very experiential; it stimulates sensitive communication between the audience and the peformer.
As a result, the course of a performance is always situated within its context. A performance is only a fragment from the order of an intersubjective, multidimensional and enactive ecology.