Canto primo: Miasma | Arsura
Canto primo: Miasma | Arsura

gruppo nanou and OvO


Marco Valerio Amico, Rhuena Bracci


OvO (Stefania Pedretti, Bruno Dorella)


Arianna Gasparotto, Alberto Groja, OvO

Lights and colors

Marco Valerio Amico


Marco Valerio Amico, Rhuena Bracci


Nanou Associazione Culturale


MIC, Regione Emilia-Romagna, Comune di Ravenna

Ten years after Sport, Nanou returns in the dimension of choreography alone to deepen his own language, meeting the OvO band sound.

On the occasion of Dante’s celebrations, in collaboration with Transmissions Festival, with the support of Ravenna viso-in-aria and Fèsta, the company gruppo nanou and the band OvO rewrite their two latest projects, the album Miasma and the choreographic work in progress Arsura, to unleash a personal imagination that uses the strength of the radical languages of the two artistic realities.
Canto Primo of a collaboration that manifests itself here between sounds and infernal, dreamlike and disruptive images.
Arsura is a thirst that is generated thanks to the emptiness, the absence, the resistance of a body only in a vast space.
It’s a work of time.
Rhuena Bracci (historical dancer and co-author of the company) is an imaginary in movement, which cancels her own tangible individuality. She pursues shadows of purely physiological sensations that pour into the curved shoulders, in the continuous falls, in continually escaping from centrality becoming arid land, in fibrillation, waiting for a new transformation of the body’s state.
The revolutionaries OvO, in their ninth album Miasma, try to return how much science fiction and reality are, in hindsight, contiguous in our contemporaneity and how much, therefore, the miasma is close to us. Bruno Dorella (Ronin, Bachi da Pietra, Tiresia, GDG Modern Trio, Sigillum S, etc.) and Stefania Pedretti (? Alos) have taken a step back to their punk / hardcore roots, and have kept their typical organic and noisy electronics intact, as well as the radical contamination between tribalism and futurism, adding a significant amount of chaos, to the alchemical representation of the three phases of the miasma (Psora, Lue and Sicosi, according to Samuel Hahnemann’s essay chronic diseases dating back to 1828).

The two authorships merge in this first song, determining an object that is an elevation to the power of the two artistic realities.

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