YOUNG HORSE PIANO

Short Biography’s are always difficult to write; one has to catch a glimpse of a life and hope it will give enough insight to get an idea of what it is all about that we do.

The collaboration of Angela Nina Blue and me (Rinus van Alebeek) starts from sympathy and shared curiosity for the things that are, but still have to be found and transposed to a reality that will vanish again.

In other words: we thought, that if we put together our various talents we could create a temporary setting where the mysterious could meet the obvious, and most important, that would give us the impression that we went out to the edge of what we know and feel, and even go beyond where everything becomes timeless… or art.

Concrete information sees Angela (her friends call her Angie)  dance with the Prague Chamber Ballet and later, the Dance Theatre of Harlem in NYC. Eventually, she quit that wacky, classical world and moved to Colorado where she hung out with buddhist beat poets and made performance art and videos and taught movement and voice improvisation. She also got degreed there.

Eventually, she quit that world too and moved to Berlin, where she returned to her love of her teenage years, making sounds and sound costumes and placing them together like one would place different puddles of water next to each other.

One sees that she is a choreographer, a dancer and a musician, but also a sound costume maker, and I am not enough of a scholar to convince you that this last aspect of her talent links her to russian futurism, surrealism and nostalgic sound art. I really don’t know, and that is a very bad way to conclude the first part of a biography.

Mine is a bit less complicated. I used to write with words. Novels, essays, short stories, long poems. From this routine I got a sense for timing, composition, structure, elements that I also use in my sound workings.

These sounds are based on numerous (cassette) recordings, which I use to do basically the same thing when writing, create a story.

Now when Angie and I come together to move in sound, we figure out what the title of the performance will be. Angie has visions of movements, objects to integrate in her performance, costumes to build, and I think of a storyline. This story doesn’t have to be known to the audience, but the audience knows from living where they live that they are surrounded by stories. We want to wake those up. We also want more, but like I said before, 

we go out to the edge of what we know and feel, and even go beyond where everything becomes timeless… or art.