Within the Yoruba worldview, the word iran denotes performance of all sorts, iran stems from the root word Iranti, which means remembering. There are several fundamental concepts that are distinctive to the Yoruba worldview, they provide a foundation for comprehending the dynamics of art and society, as well as human relations with everything within the cosmos. Against the backdrop of climate change, viral pandemics, complex matrixes of systemic oppression and political revolutions––not to mention personal relationships, the work/life balance and health issues––it can be difficult to maintain mental peace. In the wake of industrial-capitalism and then the isolation connected to virtual offices and social media. Mental health diagnoses and substance abuse cases have sky-rocketed, with suicide rates at a 30-year high. Depression, anxiety, and emotional or physical disconnection are commonplace afflictions in modern societies. 

Dance and music can be vehicles through which we can do such things as recover hope, dignify suffering, develop empathy, laugh, wonder, nurture a sense of communion with others and regain a sense of justice in the wake of populist political idealism. Art can inspire, but it must also help us cope with the conflicts and confusions of daily life and locate spaces of communities in dislocation. What if your body was a private museum, what will be in your permanent collections? What if the body was an archeological site, what can be dug out from it? And what will these collection say about us, about our suffering, and what will they bear witness to? What if reincarnation was a fact, who is back in this body, for how long, how many incarnations are we talking about? What if your body was a barometer, what will they sense about now, what are these snippets of subconscious recollections attempting to tell us? What are the available technologies for capturing these fleeting memories? Where are the spaces dedicated to these quests?

This gathering is a journey to re/member; to put the membranes of the body of our humanity together again, and to remember the future by so doing, to rewrite the past and reoccupy the now; to heal, to innovate and to use imagination for new ways of social re-engineering, using the framework of the African experience in space and time, in music and dance as a base to reinvent the world. It seeks to turn the invocation of ephemerality, body memory, intrinsic soundscape, and precariousness into performance; performing inquiry, gratitude, and abandon as rites of public healing; offering vast space for re-entering, for a certain balance between the real and the surreal, between the conscious and the subconscious; between what we control and that which transcends us, balancing at the middle ground of the familiar and the strange. In the middle of this gatherings humanity meets, humility shows, the soul harmonizes, chaos becomes beauty, vulnerability is cherished, traumas are healed, that real change may take form. The keynote here is the widening of our experiences and the enrichment of our practices in a stimulating creative environment, where we allow ourselves to be displaced and jostled, to re-examine ways of coexisting within a cross-fertilisation among different individuals; different peoples, genders, sexualities, races, beliefs and social and intellectual classes, who have come together to reemphasize and maximize the spirit of collaboration, and challenge themselves to give up their monolithic identities and recognizable

methods, developing techniques that will bring about the clash-of opposites, intertwining of forms, content, and ways of doing, which will go a long way in unsettling us from our conventional wisdom — an estrangement, affording us an opportunity to penetrate and reflect, perhaps anew, on what we have taken for granted for so long. This can be understood as an invitation to collective healing and collective world making.


Qudus Onikeku - 30/05

Lara Kramer - 31/05

Nadia Beugré  - 1/06

Naishi Wang &

Lukas Malkowski - 2/06

Catherine Gaudet - 3/06

FTA Workshops

May 30 to June 3

10:00 a.m. to 1:30 p.m.

(17.5 hours)

Wilder Building

Studio: to be confirmed

Pricing and


DAC pro - $ 158 ($ 9 / hr)

Standard- $ 228 ($ 13 / hr)


Qudus is a world-renowned performer, choreographer, culture curator and a social impact engineer, who subliminally uses art for non-art outcome. His international artistic practice intersects between his interest in visceral body movements, kinesthetic memory, disruptive practices and finding new vocabularies for performances that aren’t centralizing Eurocentric approaches, embracing an artistic vision and a futurist practice that both respects and challenges Yoruba culture and contemporary dance. He has created a substantial body of critically acclaimed work that ranges from solos to group works, as well as artiste-to-artist collaborations with visual artists or architects, musicians or writers, multimedia artistes or technologists. 

Qudus Onikeku is the founder of Afropolis, a hybrid platform and annual gathering that seeks to generate creative synergy within a distributed network of global African creatives. Qudus has participated in major exhibitions and festivals across 59 countries including Venice Biennale, Biennale de Lyon, Festival d’Avignon, Roma Europa, TED Global, Torino Danza, Kalamata Dance Festival, Dance Umbrella, Bates Dance Festival etc. His dance works is in the permanent collection of the National Gallery of Canada. He has been a visiting professor of dance at the University of California Davis and Columbia College Chicago. Qudus is currently the first “Maker in Residence” at The Center for Arts, Migration and Entrepreneurship of the University of Florida. His current research ATUNDA, is an experiment that is exploring a deep tech solution, to solve the problem of appropriation, by developing interactions with cutting edge technologies that uses artificial intelligence and blockchain technology to create new economic opportunity for dance creators, and in essence, lay a background for cutting-edge interactive systems to synthesize, gamify, preserve, remotely teach, and securely share dance and movement data in the digital age of virality and NFTs, building a bridge between technology and Afro-Diasporic communities