Apergi and her team researched the meaning and ways of mourning, as expressed by the chorus in ancient Greek tragedy in order to develop the specific choreography and achieve a transfer of the mournful dance-performance / state / representation to the contemporary reality of citizens being confronted with fear and defeat. Mourning together is, in fact, a radical confrontation of the phenomenon of loss. By occupying the space of loss we master the art of consolation and gain the wisdom of collective recovery and change.
Titled Polittes, with a twisted spelling that playfully alludes to ‘citizens defeated’, Apergi’s work has been inspired by the thought of contemporary writers and historians (such as Edouard Said, Dimitris Dimitriadis, Edouard Glissant, Kostis Karpozilos) and wishes to address the profound changes that have occurred in social and political living, the violation of rights of citizenship under the stress of the refugee crisis, and the rise of conservative and anti-minority politics.
The various lessons inherited through Greek myth and drama are being reconfigured through contemporary political poetics; the kind that wishes to recognize the needs and woes of emerging societies, where class systems are dislocated, gender-based identities shift, and singularities budge under heavy psychological and body strains.
In those, yet-to-be-identified, societies, world citizens hear the last sounds of things familiar and learn how to accept the organic, fertilizing presence of chaos. They are confronted with an urgent demand: to invent new sounds, new images and other languages in order to describe the reality that is coming.