@Ania Rosińska Łuczak

access to content

Ula Sickle

For 7even I wanted to create an « open » and fun play, in order for the audience to be able to meet with the dancers, discovering a small slice of life made of interactions where performing vulnerability is still visible.

Ula Sickle (CA/PL) is a choreographer and performer, living and working in Brussels, Belgium. From a background in contemporary dance, she works across disciplines, and often in collaboration with artists from other domains such as the visual arts, contemporary music or architecture. While her work takes many forms, from film to installation and live performance, it centers on a choreographic approach to movement and a work on perception and reception, specific to the live arts.

Born in Toronto in 1978, she studied Art History & Semiotics at the University of Toronto and Performance Studies in Paris, before attending P.A.R.T.S. Performing Arts Research and Training Studios in Brussels. Her theoretical background informs her working process, however she searches for an approach that is both conceptually grounded and physically curious. From 2008 until 2010, Ula pursued her interest in the visual arts and film, studying at Le Fresnoy, a post-graduate media program in the North of France. The visual aspect of her performance work, in particular the use of light, is also very central. The video works Looping the Loop (2009) and Atomic 5.1 (2010), as well as the filmic dance pieces, Light Solos (2010-13) all stem from her time at Le Fresnoy.
read more
Ula’s interest in looking for an alternative to the cannon of contemporary dance, has led her to seek out performers who embody other movement histories than her own. The solos Solid Gold (2010) & Jolie (2011) as well as the group performance Kinshasa Electric (2014) which premiered at Kunstenfestivaldesarts, are all collaborations with performers from Kinshasa (DR Congo). Extreme Tension (2012) is a powerful solo for a self-taught dancer in her 60’s, and Prelude (2014) is a solo for a female vocalist. Frequently centered around strong performers, Ula searches for forms of choreographic writing, where the culture coding and political power of ‘popular’ dancing can be revealed or where the musicality and materiality of the body itself can take center stage.