SPARK Series invites 303 associate artists to present their work and perspectives during major festivals or plateformes – here Parcours danse. Each artist presents a 20-30 minute excerpt from their project, followed by a conversation. Here, both projects are in early stage of creation and are looking for residency and presentation partners.

Jontae McCrory, DrunkPink (working title)
Michael Martini, A Gun Made Out of Ducks

Artists & projects

Jontae McCrory / DrunkPink (working title)

DrunkPink is an interdisciplinary choreographic duet exploring intersections between ecological systems, intergenerational adaptation, and post-colonial imaginaries. Inspired by Stanislavski’s Three Circles of Attention and Klien & Valk’s Choreography as an Aesthetics of Change, the work uses systems theory and ecological philosophy to frame adaptation as both aesthetic and transformative.

Through improvisational structures such as Breath and Memory Mapping, Mutuality Loops, and Environmental Improvisation, performers investigate resilience, interdependence, and the transmutation of ecological and psychological trauma. Interactive lighting, live sound, and analog materials—sand, water, and plants—create real-time feedback loops between body and environment, visualizing disruption, regeneration, and interconnectedness. By blending systems-based choreography, ecological storytelling, and experimental technology, DrunkPink positions dance as a catalyst for cultural, emotional, and environmental transformation. The project invites audiences to engage with urgent ecological and post-colonial dialogues through an immersive, interdisciplinary artistic experience.

Michael Martini / A Gun Made Out of Ducks

Flamboyant and destabilizing, A Gun Made Out of Ducks is a performance as well as a ritual for the artist. Convinced he was cursed five or so years ago, the performance positions “fate” or “destiny” as a villainous entity rather than anything to be trusted. The performance becomes one of egging fate on, of playing with the power of submissiveness to Fate’s destructive tendencies. The performance begins with the introduction of a series of actual objects brought from the artist’s life- sentimental or very useful- and the announcement that one of the objects will have to be destroyed by the end of the performance whether he likes it or not. Now comes a plunge into a strange world: one of decoys and dress-up, vitriolic rants, and apocalyptic Eurotrash, in a work that is both interdisciplinary and utterly undisciplined.