In the performance *Bombyx Mori*, Ola Maciejewska expands her debut solo *Loie Fuller: Research* into a choreography for three performers.
The dancers use spectacular black fabric structures to create a hypnotic choreography reminiscent of kinetic sculpture. The inspiration comes from the famous “Serpentine Dance” from 1891 by Loïe Fuller—an American actress and dancer, and one of the pioneers of modern dance. On stage, the performers set the fabrics in motion using their bodies. The sounds produced in this way are processed by a live musician.
Maciejewska offers her own interpretation of this historical reference, drawing attention to the material dimension of the serpentine dances invented by Loïe Fuller. In doing so, she refers to the silkworm (Latin: Bombyx mori)—a domesticated species of moth that has become entirely dependent on humans. Using the figure of the “dancing object,” the artist examines the process of silk production and the hybrid relationship between the body and the object. The performance also invites reflection on the relationship between dance, humanity, and nature.
Since its premiere in 2011, the performance has been presented over a hundred times in Europe and the United States.
The dancers use spectacular black fabric structures to create a hypnotic choreography reminiscent of kinetic sculpture. The inspiration comes from the famous “Serpentine Dance” from 1891 by Loïe Fuller—an American actress and dancer, and one of the pioneers of modern dance. On stage, the performers set the fabrics in motion using their bodies. The sounds produced in this way are processed by a live musician.
Maciejewska offers her own interpretation of this historical reference, drawing attention to the material dimension of the serpentine dances invented by Loïe Fuller. In doing so, she refers to the silkworm (Latin: Bombyx mori)—a domesticated species of moth that has become entirely dependent on humans. Using the figure of the “dancing object,” the artist examines the process of silk production and the hybrid relationship between the body and the object. The performance also invites reflection on the relationship between dance, humanity, and nature.
Since its premiere in 2011, the performance has been presented over a hundred times in Europe and the United States.
Duration: 55 minutes
This performance is recommended for audiences 18 years of age and older.
The performance contains scenes of nudity
COMPANY
Choreography, concept, artistic direction: Ola Maciejewska
“Dancing Object” design: Jolanta Maciejewska
Performers: Leah Marojević (alternating with Amaranta Velarde Gonzalez), Maciej Sado, Jean Lesca (alternating with Ola Maciejewska)
Live sound: Carola Caggiano with the dancers
Lighting, technical direction: Rima Ben Brahim
Development, production, distribution: Nicolas Chaussy – so we might as well dance
Administration: Caroline Redy – so we might as well dance
Executive production: so we might as well dance – Ola Maciejewska
“Dancing Object” design: Jolanta Maciejewska
Performers: Leah Marojević (alternating with Amaranta Velarde Gonzalez), Maciej Sado, Jean Lesca (alternating with Ola Maciejewska)
Live sound: Carola Caggiano with the dancers
Lighting, technical direction: Rima Ben Brahim
Development, production, distribution: Nicolas Chaussy – so we might as well dance
Administration: Caroline Redy – so we might as well dance
Executive production: so we might as well dance – Ola Maciejewska
Co-production: Ménagerie de Verre – Paris (France), Productiehuis Rotterdam (Netherlands), Veem House for Performance (Netherlands), Centre National de la Danse (France), Centre Chorégraphique National de Caen en Normandie as part of the “Artiste associé” program.
Special thanks to Thomas Laigle for his assistance with the sound and lighting design.
Supported by: the HermèsFoundation as part of the “New Settings” program.
With the kind support of: Vivarium Studio, Nanterre-Amandiers – Centre National Dramatique
Special thanks to: ICK Amsterdam, Judith Schoneveld, Nienke Scholts
Special thanks to Thomas Laigle for his assistance with the sound and lighting design.
Supported by: the HermèsFoundation as part of the “New Settings” program.
With the kind support of: Vivarium Studio, Nanterre-Amandiers – Centre National Dramatique
Special thanks to: ICK Amsterdam, Judith Schoneveld, Nienke Scholts
gallery
A choreographer born in Poland and living in France.
Her work focuses on the intersection between materiality and transience,
movement and the conditions of its creation. In light of these questions, the artist offers a critical interpretation of the history of dance. By exploring the convergence between dance and the visual arts, her series of works—centered on the so-called “serpentine dances” (from the French *les danses serpentines*) invented by Loïe Fuller—engages the viewer in a reflection on metamorphosis, the natural world, and the hybrid nature of embodiment.
Her works have been presented at venues including the Ménagerie de les Flors in Barcelona, ADC Genève, Charleroi Danse, the Royal Opera House in London, the M+ Museum in Hong Kong, the Museum of Contemporary Art Chicago, the National Taichung Theater in Taiwan, the Guggenheim Museum Bilbao, Musée d’Orsay—Paris, the Lyon Biennale, Ujazdowski Castle—Warsaw, the Serralves Museum—Porto, the Museo Reina Sofía—Madrid, the Rotterdamse Schouwburg, the Kaaitheater—Brussels, as well as at international festivals such as the ImPulsTanz Festival in Vienna and Tanz im August in Berlin.
In 2025, she founded the Serpentine Dance Club—an artistic and research platform dedicated to serpentine dance, where historical traditions intersect with contemporary bodies and her own choreographic practice. The premiere of her latest work, “Ongoing” (2026), for five performers, was presented at the Théâtre Mac Orlan as part of the DañsFabrik festival.
Her work focuses on the intersection between materiality and transience,
movement and the conditions of its creation. In light of these questions, the artist offers a critical interpretation of the history of dance. By exploring the convergence between dance and the visual arts, her series of works—centered on the so-called “serpentine dances” (from the French *les danses serpentines*) invented by Loïe Fuller—engages the viewer in a reflection on metamorphosis, the natural world, and the hybrid nature of embodiment.
Her works have been presented at venues including the Ménagerie de les Flors in Barcelona, ADC Genève, Charleroi Danse, the Royal Opera House in London, the M+ Museum in Hong Kong, the Museum of Contemporary Art Chicago, the National Taichung Theater in Taiwan, the Guggenheim Museum Bilbao, Musée d’Orsay—Paris, the Lyon Biennale, Ujazdowski Castle—Warsaw, the Serralves Museum—Porto, the Museo Reina Sofía—Madrid, the Rotterdamse Schouwburg, the Kaaitheater—Brussels, as well as at international festivals such as the ImPulsTanz Festival in Vienna and Tanz im August in Berlin.
In 2025, she founded the Serpentine Dance Club—an artistic and research platform dedicated to serpentine dance, where historical traditions intersect with contemporary bodies and her own choreographic practice. The premiere of her latest work, “Ongoing” (2026), for five performers, was presented at the Théâtre Mac Orlan as part of the DañsFabrik festival.
Ola Maciejewska
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