Mēs nedzīvojam karā, bet vairs nedzīvojam arī mierā.
Šis starpstāvoklis – nepārtraukta spriedze, informācijas pārbagātība un trausla ikdienas līdzāspastāvēšana, raksturo cilvēka pieredzi mūsdienu pasaulē. Tomēr arī tajā mēs visi turpinām dzīvot, saglabāt cilvēcību, priecāties par sauli, lietu, jūru un brīvību, turēties kopā un palīdzēt cits citam. Uzkrātā un vārdos grūti ietērpjamā emocionālā spriedze meklē citu – ķermenisku izpausmes veidu. Kustībā, atkārtojumā un ritmā mēs rekonstruējam stabilitātes un normalitātes sajūtu. Mēs sākam dejot un caur izteikti fizisku pieredzi noenkurojamies tagadnē, lai spētu pastāvēt līdzās starpstāvoklim.
attīstījusies Vjetnamas kara laikā ASV (Ilgstošās figūras, Salka Ardāla Rozengrena).
Programma pievēršas alternatīvām skatuves mākslas pieredzes formām, kur deja noris starp skatītājiem un skatītājs pats atrod savu vietu dejai atvēlētajā telpā. Līdzās tam tā aplūko alternatīvu hetronormatīvu vīriešu kopā būšanu, kas balstīts izteikti fiziskā sadarbības un saspēles partnerdejā (Vērpete, K.Sants un Ē. Eriksons).
HOROS 2026 ir veidots kā dejas izrāžu ceļojums cauri politiski sociālām tēmām un ķermeniskiem refleksijām, kas saplūst vienā kopējā vadmotīvā Starp cilvēkiem. Kas paliek. Darbi nepiedāvā vienkāršas atbildes – tie fiksē stāvokļus, sajūtas un pieredzes, ļaujot skatītājam tajos atpazīt sevi un laikmetu, kurā dzīvojam. Tas rosina empātiju, izgaismo savstarpējo atbildību un aicina individuāli un kopā domāt par nākotni.
Par robežām. Par kara laika dejām. Par kustību, kas liek aizmirsties un atcerēties. Par tukšumu starp divām kustībām, diviem ķermeņiem. Par maigumu un radīšanu, un kopābūšanu nemiera laikā.
Ieva Gaurilčikaitė Sants, Krišjānis Sants, HOROS 2026 kuratori
ENG
Between earth and sky. Between dance and the fleeting body. Between movement and the changing human being. Between what has passed and what is present. Between peace and war. Amongst people. What lingers.
HOROS 2026 soothes, comforts, and illuminates the states of in-betweenness that define contemporary life amid today’s geopolitical instability.
We do not live in war, yet we no longer live in peace.
This in-between state, marked by constant tension, information overload, and the fragile coexistence of everyday life, defines the human experience in today’s world. And yet, within it, we continue to live. We hold on to our humanity, find joy in the sun, the rain, the sea, and our freedom, stay together, and support one another. The accumulated emotional strain, so difficult to articulate in words, seeks another mode of expression through the body. In movement, repetition, and rhythm, we reconstruct a sense of stability and normality. We begin to dance, anchoring ourselves in the present through intensely physical experience in order to coexist with this state of in-betweenness.
We do not live in war, yet we no longer live in peace.
This in-between state, marked by constant tension, information overload, and the fragile coexistence of everyday life, defines the human experience in today’s world. And yet, within it, we continue to live. We hold on to our humanity, find joy in the sun, the rain, the sea, and our freedom, stay together, and support one another. The accumulated emotional strain, so difficult to articulate in words, seeks another mode of expression through the body. In movement, repetition, and rhythm, we reconstruct a sense of stability and normality. We begin to dance, anchoring ourselves in the present through intensely physical experience in order to coexist with this state of in-betweenness.
The festival highlights this contradictory reality by exploring our capacity to build relationships with one another, space, the audience, time, and ourselves. It invites us to look at movement practices that emerged within complex states of transition and uncertainty, such as Lindy Hop, which developed within African American communities during the interwar period, and postmodern dance, which evolved in the United States during the Vietnam War (Lasting Figures, Salka Ardal Rosengren).
The programme focuses on alternative modes of experiencing the performing arts, where dance unfolds among the audience and spectators discover their own place within the space devoted to movement. It also examines alternative forms of male togetherness beyond heteronormative frameworks, rooted in the intensely physical cooperation and interplay of partner dance (Verpete, K. Sants and E. Eriksson).
The programme focuses on alternative modes of experiencing the performing arts, where dance unfolds among the audience and spectators discover their own place within the space devoted to movement. It also examines alternative forms of male togetherness beyond heteronormative frameworks, rooted in the intensely physical cooperation and interplay of partner dance (Verpete, K. Sants and E. Eriksson).
The festival also presents a melancholic reflection on time, one that simultaneously embraces distance and a grounding in the present moment through physical labour (Knoster, E. Eriksson). It further addresses questions of individual and collective responsibility, guilt, and the celebration of violence within the context of the political situation in neighbouring Belarus (Clap & Slap, Agniete Lisičkinaite and Igor Shugaleev).
HOROS 2026 is conceived as a journey through dance performances that traverse socio-political themes and embodied reflections, all converging around a shared leitmotif: Amongst People. What Lingers. These works do not offer simple answers. Instead, they capture states of being, sensations, and experiences, allowing audiences to recognise themselves and the time in which we live. The festival fosters empathy, sheds light on our mutual responsibilities, and invites us, both individually and collectively, to reflect on the future.
HOROS 2026 is conceived as a journey through dance performances that traverse socio-political themes and embodied reflections, all converging around a shared leitmotif: Amongst People. What Lingers. These works do not offer simple answers. Instead, they capture states of being, sensations, and experiences, allowing audiences to recognise themselves and the time in which we live. The festival fosters empathy, sheds light on our mutual responsibilities, and invites us, both individually and collectively, to reflect on the future.
On borders. On dances born in times of war. On movement that makes us forget and remember. On the emptiness between two movements, two bodies. On tenderness, creation, and togetherness in a time of unrest.
Ieva Gaurilčikaitė Sants, Krišjānis Sants, HOROS 2026 curators
plkst. 18.30
Ēriks Eriksons (SE), Krišjānis Sants (LV)
Vērpete (Vortex)
Erik Eriksson (SE), Krišjānis Sants (LV)
16+ | bez teksta | no text
Clap & Slap
Agniete Lisičkinaite (LT), Igor Shugaleev (PL/BY)
16+ | angļu valodā | English |
Knoster
Erik Eriksson (SE)
16+ | bez teksta | no text |
Salka Ardāla Rozengrena (SE)
Lasting Figures
Salka Ardal Rosengren (SE)
16+ | bez teksta | no text |
Festival ticket
Day One
Day Two
Ticket for a single performance
Laikmetīgās dejas festivāls HOROS, kura nosaukums aizgūts no grieķu vārdiem χορός un χώρος – deja un telpa, kopš 2022. gada notika Aizputē, bet šogad viesojas Rīgā.
Festivāls ir dejas organizācijas Tuvumi iniciēts un vadīts dejas festivāls, kura mērķis ir veicināt laikmetīgās dejas attīstību Latvijā. Šī gada festivāla vadmotīvs – Starp cilvēkiem. Kas paliek.
The contemporary dance festival HOROS, whose name is derived from the Greek words χορός and χώρος — meaning “dance” and “space” — has been held in Aizpute since 2022, but this year it is taking place in Riga.
The dance festival initiated and led by the dance organization Tuvumi, with the aim of promoting the development of contemporary dance in Latvia. This year’s guiding theme is “Amongst people. What lingers.”
The dance festival initiated and led by the dance organization Tuvumi, with the aim of promoting the development of contemporary dance in Latvia. This year’s guiding theme is “Amongst people. What lingers.”