Milou van Duijnhoven

My love for the katana started two years ago when I made a tiny show about my inner heroism. The hero left but the katana stayed en I found a humble dojo nearby where I started training Katori Shinto Ryu. This is an age-old Japanese artform which practices the mastering of the katana. It exists of a set sequences with the sword which you execute and train on your own or in a duet. I have kept interested in the dangerousness and the calmness of this weapon and artform. The sword as an object gives an sensation of power and control but contains also a possibility of chaos, despair and loneliness. The practice in the performance thrives on how the body relates to this sharp and shiny object. Having three different swords each blade functions as a new portal for the body to get lost, thrilled and fired up. I have been training figures to slice my opponent, myself or the universe. Next to it playing with the sword as a show element to underline the ambiguity of the sword in it’s sensational quality. It investigates the contradiction in the symbolism of the sword and within is dealing for the performer with theme’s as honour, control and sacrifice. The art of sword(wo)manship relates to power, discipline and the ritual of life and death. In the same universe it flirts with child’s play, the entertainment industry and videogames. ‘Slice Baby Slice’ proposes a cutting edge ritual where the question is raised how we deal with pleasure in weaponry.

I was born in Amsterdam in 1992. I grew up in the east of the city where I sang along with Christina Aguilera and made huts from materials from the construction site. I started studying Theatrical Performance at the Toneelacademie Maastricht followed by two years at the School for New Dance Development, AHK. I am part of La Isla Bonita performance collective and under the wings of Frascati Producties we perform theatre pieces that reflect us in the bigger and smaller worlds we live in. I am researching my own body work in my past three performances: phoenix (2016), pope (2017) and Monumental Metamorphosis (2018/2019). In her work she thrives on ruthlessness and dedication, heart attacks and the entertainment industry. 

Performance: Milou van Duijnhoven
Artistic advice: Fernando Belfiore
Guitar solo: Leonardo Fontana Balparda
Lights: Arthur Duijzers
Thanks to: Suzy Blok, Ria Higler, Courtney May Robinson, Tharim Cornelisse