ŻfinDays 2025

ŻfinMalta's national dance company annual ŻfinDays programme! This year they are proudly presenting Żfindays 2025 with three contemporary dance works.

SOMIGLIANZA (PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE) choreography by Mattia Russo and Antonio de Rosa - Kor’sia

Somiglianza (Prélude à l’Après-midi d’un faune) is an ironic and joyful homage to Nijinsky’s legendary creation and his renowned modern ballet,  L’après-midi d’un faune. Combining fin de siècle imagery with exotic staging, Somiglianza  questions symbolism in Western society. Nijinsky’s creation of Debussy’s L’après-midi d’un faune, one of the most famous modern ballets, serves as a starting point for Kor’sia to showcase their unique vision of dance iconography. Blending end-of-century imagery with contemporary entertainment, the work is a captivating journey through the history of dance, reinterpreted with a modern and innovative perspective.

IGNIS choreography by Liliana Barros

In IGNIS (Latin for fire) we are plunged into a world of deep arousal. Portuguese choreographer Liliana Barros uses the relationship of cause and response to ignite deep energies and channel profound emotions.

We burn inside, we explode.
Let us radiate in our exquisite physical condition in space.
We do not want to hide; we want to amplify. Let it flare up, let it spark.
Is it a poisonous inner impulse or the path to love and salvation?
Let us be kind.

IGNIS reveals itself as a transformative power, focusing on the emergence of energies that cannot be directed, and channelling them as if into a roadmap for the liberation of all the physicality they contain.

AND THE OTHERS, ONE DAY WE PLAYED OUTSIDE FOR THE LAST TIME choreography by Simon Riccardi-Zani

And the others, one day we played outside for the last time continues a series that began in 2022 with Ones, in the shade of sandcastles, a new choreography for ŻfinMalta, followed by Plus Ones, at the anchor of water lilies, commissioned for the Franco-German pavilion at the Malta Biennale 2024.

This piece reflects on what’s left behind— people, dreams, and landscapes. After carving out spaces for new meanings in Ones and inventing new stories in Plus Ones, what remains when we finally step out of our personal sanctuaries? How does the real world appear, and is there still room for exploration, play, dialogue?

Supported by Embassy of France in Malta.