Benjamin KahnBless the Sound that Saved a Witch like me
Benjamin KahnBless the Sound that Saved a Witch like me
Boris Hristov House of Culture
Start: 20:30
Duration: 40 min
Age: 12+

Concept, choreography : Benjamin Kahn
Performance : Sati Veyrunes
Music Design : Lucia Ross
Light Design et Stage Management : Neills Doucet
Dramaturgy Assistant : Théo Aucremanne
Outside Eye : Cherish Menzo
Sound Engineer : Louis Daurat
Light Engineer : Neills Doucet or Edouard Bonnet
Costume Eye : Carolin Herzberg
Texts : Benjamin Kahn directly inspired by Pier Paolo Pasolini, Death Grips, Darek Jerman,MAVI.
Executive Production : Les Halles de Schaerbeek, Actoral Marseille
Administration, production : Léonard Degoulet
Touring, development : Sandrine Barrasso
Coproduction : Klap Maison pour la danse, Charleroi Danse, Les Halles de Schaerbeek
Accueil en résidence : Festival de Marseille, Centre National de la danse Pantin, Klap
Maison pour la danse, Kaiitheater , BUDA Kunstencentrum, Theater Rotterdam

DURATION : 40 min
From Age : 12 years old

The solo for Sati Veyrunes «Bless the sound that saves a Witch like me» is the second part of a trilogy that will also be presented in its entirety with the pieces «Sorry, But I Feel Slightly Dissidentified...» solo for Cherish Menzo, and The Blue Hour solo for Theo Acremanne. The trilogy is a winner of the TRIO(S) programme supported by SACD and ONDA in 2023.

« Bless the sound that saved a Witch like me » is selected in the frame of Aerowaves Twenty24 with the support of European Union

I want to share a scream with you

Screaming, wailing, shouting. A bunch of synonyms with a distinctly negative connotation. Anger, hysteria, chaos. Could the act of screaming, crossed out by good manners, neglected by social science and philosophy, mean anything different? A need, a vent, a protest.
Benjamin Kahn examines precisely this ear-piercing, unapologetic, and powerful expressive tool of the urgent. The scream is for everything intolerable, pressing, imperative in our personal and collective lives. It cuts the line between the private, the social, and the political present, saturated with the expectation of crisis.

BLESS THE SOUND THAT SAVED A WITCH LIKE ME is a physical and sonic solo performance that takes the audience through different states. Trance, resistance, ecstasy. Moments of silence punctuating the action, Benjamin Kahn's texts and composer Lucia Ross's music are a contrast that heightens the impact. Sati Veyrunes glides from one state to another, blurring the lines between the sexes. Sometimes, she is a mother, a boy, a woman, a witch, or an undefined being.  

© Sandy Korzekwa

The solo was inspired by an unusual protest by a group of New Jersey mothers in 2020. Amid the pandemic, feeling forgotten and ignored, they gather in a local park and begin screaming. Understanding the need to vent the high tension over COVID-19, the New York Times opens a public phone line so that everyone can "let go" of their burden in the most natural way and achieve that primal liberation we often desire but too rarely do. Why don't we hold back when we just want to scream?

BLESS THE SOUND THAT SAVED A WITCH LIKE ME is part of Benjamin Kahn's series of choreographic portraits created in collaboration with dancers and in dialogue with groups and communities. On stage, the cry, the long-restrained yell, is not an ugly or rude act, but a harmonious and symmetrical experience. It is only part of the invisible chorus of screams, moans, and cries inside and outside that need to be rediscovered and released. As a statement, an impulse, a response. As the cry echoes, it invites us to explore the depths of our emotions and connect with the rushing pulse of existence.

© Sandy Korzekwa


“For an hour, with remarkable strength and talent, the performer shifts from deafening scream to silence, from warm gentleness to rage, from serene calm to all-consuming madness. She is by turns a playful young woman or a roaring monster. The performance cleverly interweaves intense moments and moments of respite, building to a heart-rending climax”.

– Delphine Baffour, La Terrasse

“This creature is a witch, the title says. It waits quietly in the corner. She breathes, smiles to herself and then smiles back at us. She wants to share a poem with us, whispering into a microphone as she crosses the stage… Cries are summoned again. Whether filled with fear, rage, pain or joy, they bring together what is most common and instinctive to us all.They embody the torrent of speech and revolt. They embody salvation”.

– Teresa Allain, Théâtre actu

© Bas Czerwinski

Benjamin Kahn, Sati Veyrunes, Lucia Ross

Benjamin Kahn 

Benjamin Kahn (choreographer) is a dancer and choreographer. He studied dramaturgy and theater at the University of Aix en Provence and the Conservatoire de Rennes and graduated from ESAC (École Supérieure des Arts du Cirque) in Belgium. After his studies, he collaborated with choreographers such as Philippe Saire, Benjamin Vandewalles, Nicole Beutler, Ben Riepe, Frédéric Flamand, Maud Le Pladec, Egle Budvytyte and Alessandro Sciaronni. He considers dance and choreography as powerful political tools and is particularly interested in the construction and deconstruction of how we view individual and collective bodies.  

Sati Veyrunes 

Born in 1995 in Grenoble, she graduated from SEAD (Salzburg Experimental Academy of Dance) and currently lives in Marseille. She works with Oona Doherty, who gave her solo Hope Hunt - and the ascension into Lazarus. Sati has been working internationally since 2021. They continue to collaborate on other film and choreographic projects, including Hunter Filmed (2021) and Navy Blue (2022), which was presented at ONE DANCE WEEK 2023. From last year, she performs “Bless the Sound that Saved a Witch like me», a solo written for her by Benjamin Kahn and selected at Aerowaves 2024. Sati Veyrunes is a laureate of the New Grand Tour 2023, a program designed by the French Institute in Italy (IFI) / French Embassy in Italy to begin her own research around the notion of embodiment. 

Lucia Ross

Composer and musician Lucia Ross dances between electronic and analog music, tradition, and experimentation. The Spanish composer, cellist, singer and producer will reveal the most intimate catharsis in her second album, Visions (Umor-Rex), this year, including a collaboration with the New York-based musician Rafael Anton Irisarri. Yamila is based between Brussels and Madrid. She has per- formed in festivals such as Sonic Acts Festival, Arts Electronica, Seoul International Computer Music Festival, Rewire, and Rotterdam Film Festival, and she has created music for contemporary dance productions in places such as the Gothenburg Opera, the Nederlands Dans Theater, and the Dance Forum Taipei. In a permanent search for new languages that expand the limits of pre-established formats, Yamila has collaborated with visual artists, choreographers and filmmakers, among others.

© Sandy Korzekwa

– The program Focus France is realised with the support of the French Institute of Paris.