Video and Choreography of LUTGARDIS. Project 3

FLUX. Identities fluctuate. Identities grow and harmonize but they also destroy and cause conflict. They are negotiated and renegotiated over time and within different spaces. The choreography is inspired by the three chapters of Lutgardis’ hagiography (saint life), three parts of her identity. Lutgardis’ life was documented by her confessor and dear friend Thomas of Cantipré. He choose to divide this biographical work in three chapters, opting for a mystical-theological composition instead of a chronological sum of events. His first chapter is on Lutgardis as a devote young woman, the second on Lutgardis as a more advanced mystical woman and the third on Lutgardis as a full-grown contemplative saint. Each dancer represents one part of her life, congered up in one single moment in time, a dance of identities.

LUX. Light and vision play an important role in the life of the Flemish saint. At the end of her life Lutgardis becomes blind. The loss of physical sight is mentioned in the third chapter of her hagiography. It is counteracted with the gain in contemplative sight. In her perfected state the saint sees God. In order to do so she had to let go of her earthly life and her sense of sight. The dance introduced the symbol of the blindfold to depict this important change in her life. A classically trained dancer represents the third part of Lutgardis’ hagiography, her dance suggests nearly reached perfection. Confronted with her past lifes (the other two contemporary dancers), the saint struggles to move on. Her blindness urges her to renegotiate her idenity.
The cineast explored the spectrum of colors and played with light and dark to suggest the change between physical and contemplative sight.

Fragment from LUTGARDIS. Project 3

VOX. The thee parts of Lutgardis’ hagiography are personified by three dancers. In the making of the choreography the dancers discovered an enigma concerning the plural identities presented in the hagiography. The second chapter presents a woman who is nor young and unexperienced, nor perfect and divinized. The choreography revealed a crucial question, namely who is this Lutgardis of the second chapter? What is her role in society? Does she have a voice to proclaim her identity? The second dancer represents the struggle of reaching perfection in a world that questions her right to speak.

CRUX The cross unifies Lutgardis’ different identities. Love connects Lutgardis throughout her life with her heavenly groom, Jezus Christ. Her mimetic relationship to him is the one constant in her life, it inspired her to grow towards perfection. Lutgardis experienced the sight of the cross as the sign of God’s love for humanity. On the cross Christ gave his life for the salvation of humanity. This sacrificial eternal love inspired Lutgardis to grow: to grow towards perfection and to grow closer to Christ, intensifying their mimetic love relationship. The choreographic interpretation of the sign of the cross is repeated frequently within the dance, performed by all the dancers (all the different stages in Lutgardis’ life). The cross symbolizes unity within the flux of changing identities.

Fragment from LUTGARDIS. Project 3

Beata Viscera Lutgardis Virginis

The Music of LUTARDIS – Project 3

The music for the artistic dance video LUTGARDIS – Project 3 was created by composer Valéry Demaré in collaboration with choreographer Sander Vloebergs. This blog offers an insight in the process of music making and the creation of a unique composition based on an intertextual study and an intermedia collaboration. 

October, 12th 2018: Meeting to discuss the inspiration for the musical composition

During this meeting Val and Sander explored musical and textual references for the composition. Both artists were inspired by 13th century musical traditions; the same time period as the Mulieres Religiosae (the holy women of Liège) and Lutgardis of Tongeren in particular. They selected the music of Italian composer Perotin (Val experimented with his music in the past). The piece is called Beata Viscera Marie Virginis. The text was written by Philip the Chancellor and is a hymn to Mary and the mystery of the Incarnation. 

We choose this text to include this intertextual layer that relates Lutgardis to Mary. Late Medieval piety gravitated towards Mary and her son Jesus, venerated as the Human Christ. Female mystics and saints imitated both Mary and Christ in order to find union with the divine. To Lutgardis and other women, Mary was the example to imitate in order to reach this goal. With this intertextual connection we relate Lutgardis and her struggle towards perfection (described by Thomas of Cantimpré in three parts of her saintly biography) with Mary, the ideal Woman. 

Beata viscera
Marie virginis
Cuius ad ubera
Rex magni nominis,
Dictavit federa
Dei et hominis

O mira novitas
et novum gaudium,
Matris integrita
Post puerperium
Blessed flesh
of the Virgin Mary,
at whose breasts
the king of eminent name,
concealing, under altered guise,
the force of divine nature,
has sealed a pact
of God and Man
O astonishing novelty
and unaccustomed joy
of a mother still pure
after childbirth…
Trans: Barbara DeMarco

Find the complete text and extra information on toddtarantino.com : http://www.toddtarantino.com/hum/beataviscera.html

Music on YouTube : https://m.youtube.com/watch?start_radio=1&list=RDlbzw3B6jklU&v=lbzw3B6jklU

October, 28th 2018: Meeting with the singers and the dancers 

Music: Valery Demaré, singers: Therese Depretre (soprano), Charlotte Deschamps (alto), François Martens (base)


Choreography: Sander Vloebergs (choreographer), Linde Michiels (dancer), Linde Stiers (dancer)

The musicians and dancers met during the second session in the dance room of the KULeuven to explore the possibilities of an intermedia exchange between dance and music. We reversed the dynamics between dance and music by creating the music according to the choreography (I experimented with this method before for the project CHRISTINA). The choir rehearsed the Beata Viscera prior to this session. The song was transformed according to the rhythm of the choreography. The conductor recreated the song step by step while the dancers repeated the dance phrases multiple times and analyzed the meaning of the movements. 

I wanted to highlight some important passages in particular, namely the moment where the singer seems to loose her voice. In this passage the choreography meets the music. The dance represents Lutgardis of the second book (see blog…) at this point, the woman-in-between.  She is neither a saint, nor an ordinary woman. In her struggle to reach perfection she looses her voice – or she is silenced by society. In the moment of letting go by releasing her breath, the dancer and the singer regain agency.  

November, 25th 2018

Before the day of recording the lyrics were changed as well. The original text of the Maria Viscera was replaced by a passage from the saint life of Lutgardis, written by Thomas of Cantimpré. The text describes Lurtgardis heavenly voice. The theme of this passage refers to the beautiful sound of the choir but it also refers to the tension between heavenly sound and voiceless breath, the tension between saint and ordinary women (introduced in the previous paragraph). The music and the choreography both construct the theme of VOX

At quoniam Lutgardem per omnia Agnum secutam diximus, videas quid Agnus rependerit. Fas enim est sponsum sponsæ suæ vicem rependere. Sed vide quemadmodum reddidit. In monasterio S. Catharinæ, omni sexta feria in vespere sabbathi subsequentis, in venerationem beatissimæ Virginis Mariæ merito deputati, cum Versus super Responsorium f cantabatur (cujus utique versum ob gratiam devotionis Lutgardis sola cantare solebat) videbatur ei interim dum cantaret, quod Christus in specie Agni super pectus suum se tali modo locaret, ut unum pedem super humerum ejus dexterum alium super sinistrum, & os suum ori illius imponeret ; & sic sugendo de pectore illius mirabilis melodiæ suavitatem extraheret. Nec dubitare quisquam poterat in hoc cantu, divinum adesse miraculum, cum in solo Versu illo vox in infinitum solito gratior audiretur. Unde & corda audientium ad devotionem interim mirabiliter movebantur (Boek 1, 19)
Acta Sanctorium, June 3th