How Ania Losinger develops her own artistic synthesis
“She never liked to dance on a rough surface. Though the gypsies in Andalusia unreservedly celebrate Flamenco dancing on bone-dry earth or uneven village squares – she was seeking to secure something else from it. For this reason, she was always irritated when she arrived at a venue and discovered that the stage was built of rough, uneven boards. “How can I create nuanced sounds on these?” For instance, the light scrape of the tip of a shoe when, proud as Carmen, she weaves a spell around herself? The gradual crescendo of heels driving each other towards the ultimate danced statement? Or the hollow impact of the balls of the feet, like a signal sent to the center of the Earth?
…She decided to build herself her own stage, created layers of metal, pieces of carpet and other materials, installed pickups, experimented…
…The dancer speaks of a «stroke of fate», that brought her together with instrument builder, Hamper von Niederhäusern. In those days she was dreaming of «an acoustic sounding floor». Thus, in a process of close collaboration, the Xala, a floor-xylophone weighing 400kg and measuring 4,5 square meters was developed, which can be played with the feet and danced upon. It opened up new dimensions and a new artistic era for Ania Losinger…
…The headstrong artist basically sees herself as a researcher. This is obvious, since with each step she takes on her Xala she is traveling on uncharted territory. In all the world no such other such instrument exists and no other has mastered the complexity of playing upon it. Herein lies Ania’s great achievement: On this sounding-floor, this stage that has been uniquely tailored to her, her entire art is developed and constantly invents itself anew…
Many perceive this woman, who once was part of the national rhythmic gymnastics squad, as an Amazon. Something unyielding emanates from her, pliant and lithe though her body may be. Is she an athlete or an artist? A musical dancer or a dancing musician? «My dream has always been to unite music and dance in equal measure in a single person»…
…Losinger’s aesthetic is clear and direct, her movements are disciplined, her gaze betrays the highest concentration. Is she in a trance as she dances and plays? «I wouldn’t call it a trance», she answers, «rather, a state of utmost presence, such that I could never otherwise attain and experience. I hear and am aware of everything that is happening in the room, each single sound, the overtones, the vibrations and resonance. Everything. And all at the same time.»…
…Wherever Ania Losigner performs – solo in a Jazz cellar, with the Berner Symphonieorchester in the Casino theatre in Bern, as Cinderella at the children’s theatre, with Mats Eser touring through Europe or in Shanghai – she is always completely self-aware and radiates a magical effect that no-one can ignore…”
Berner Almanach Tanz