Sat, 8 June    09:00

  • 09:00 - 09:45    tanzhaus, Studio 2

    Afro Modern

    Warm-up T. D. Agbetou

    Expression and energy are at the centre of ­this warm-up. The existential relationship to the floor and the meaning inherent to all movements of African dance form the basis of this interplay between the flow of energy and the holistic interconnection in the body. Based on different techniques, the entire locomotor system is sensitised and conscious coordination is facilitated. Soft, flowing movements, tension and relaxation aim at developing a holistic body-awareness.

    Tchekpo Dan Agbetou (D) choreographer, dancer

  • 09:00 - 09:45    tanzhaus, Studio 3

    Ashtanga Yoga

    Warm-up S. Hurtz

    Ashtanga Yoga is a yoga system founded on age-old knowledge. It involves sophisticated body work that simultaneously enhances one’s stamina, coordination, strength, and flexibility, as well as deep, regular breathing. Traditional yoga positions (asanas) are connected through breathing and thus practiced in a constant flow. In addition, this warm-up also conveys pranayama (breathing exercises).

    Silke Hurtz (D) movement pedagogue

Sat, 8 June    10:00

  • 10:00 - 10:45    Capitol, Theatersaal Video

    In Transit

    Practices of Cultural Translation in Contemporary Dance

    G. Klein

    Intercultural and international dance groups, international festivals, international co-productions, the globalisation of dances, migrating dancers – the field of dance is characterised by a confusing diversity. “Culture is both trans­national and translational”, the post-colonial cultural theorist Homi K. Bhaba already wrote in the 1990s. Where there is no longer a generally binding, identity-forging discourse, the constant translation of differences becomes normal. By the example of works of Tanztheater Wuppertal, Gabriele Klein discusses the question of cultural translation of dance.

    Gabriele Klein (D) dance scholar, sociologist

  • 10:00 - 10:45    Capitol, Club Video

    How do we know?

    On the Methodology of Practice as Research

    R. Nelson

    In his lecture, the theatre scholar Robin Nelson seeks to define the concept of artistic research as “Practice as Research” (PaR). To this end, he provides an overview of the international debate on research in art and explains the conditions for accepting the concept within the academic world. In addition, he shows that PaR is still met with fierce resistance in some fields. He will then explain how PaR brings the dovetailing of theory and practice to the fore and situates itself within the dynamic interplay of three forms of knowledge. His core questions are: How do we know? What do we know? And: How do we know what we know?

    Robin Nelson (UK) theatre scholar

  • 10:00 - 11:00    tanzhaus, Kleiner Saal
    Krõõt Juurak

    Scripted Smalltalk

    © Ouidade Soussi Chiadmi

    In Krõõt Juurak’s performance ‘Scripted Smalltalk’, the artist gives out candies and vodka to members of the audience and asks them to recite scripted dialogues. The texts deal with trivial or existential themes such as TV series, love, chaos, and communication. The voices and gestures of the audience gradually form a choreography on their own. ‘Scripted Smalltalk’ explores the relationship between audience and artwork, and reveals that the mere speaking of a text is already a performative act. A humorous exploration of theatrical mechanisms – without any theoretical gesture whatsoever.

    By Krõõt Juurak (EST/A)
    With the audience

  • 10:00 - 12:45    tanzhaus, Studio 5

    Entry and Exit

    Crossing the Borders of “Emerging”

    G. Beier, K. Evert, M. Quabbe, M. Uhl
    © Uferstudios

    How does one gain the status of an “emerging artist”, an artist at the start of his or her career, and what defines it? One’s age, training ­qualification, work experience, the amount of professional fees? Can the label “artistic hope” actually boost one’s career? And if not, how does one get rid of it again? This lab initiates a discussion on promotion guidelines and ­programme formats between students about to take their first steps into the professional dance market and choreographers who have acquired personal experiences with formats for young artists. The results of their stocktaking will be included in the lab ‘Emerging Artists: Between Dance Training and Dance Market’.

    Registrations can be made at the Info Counter in the Congress Venue

    Concept/moderation:
    Kerstin Evert (D) director K3 – Zentrum für Choreografie
    Matthias Quabbe (D) dramaturge K3 – Zentrum für Choreografie
    Gabi Beier (D) artistic director ada Studio
    Mareike Uhl (D) project management Tanzlabor_21

  • 10:00 - 13:00    tanzhaus, Studio 4

    Inclusive Working in Practice

    M. Gurtner, V. Malin (Candoco Dance Company)
    © Hugo Glendinning

    Since 1991 the Candoco Dance Company has been the world’s leading dance company for disabled and non-disabled dancers and at the same time a role model for generations of young artists. By dealing with non-normalised bodies in a natural way, the company does away with stereotypes and questions the common notions of physical capability and artistic work. The workshop for professional dancers, choreographers, and teachers combines dance technique with creative choreographic tasks, invites the participants to exchange their views on the concepts of normalcy and disability and assists them in gaining a more profound understanding of inclusive dance practice.

    Registration required

    Mirjam Gurtner (UK), Vicky Malin (UK) dancers Candoco Dance Company

  • 10:00 - 13:00    tanzhaus, Studio 3

    Dance Dramaturgy as a Creative and Somatic Practice

    G. Cools

    In the workshop, Guy Cools demonstrates the role of the dance dramaturge in the creative process using concrete case studies from his work with les ballets C de la B, Sidi Larbi Cherkaoui and Akram Khan. In his view, the dramaturge is not a purely intellectually analysing outside authority, but a dialogue partner of the artists, who is also physically involved in the choreographic process. In group discussions and practical movement exercises, the participants themselves will experience the different roles as witness, ­moderator and critical viewer.

    Registration required

    Guy Cools (B) dramaturge, curator

Sat, 8 June    11:00

  • 11:00 - 11:45    Capitol, Theatersaal Video

    Dancing through the Visual and Back

    Dance and Transcreation in Brazilian Neo-Concretism

    A. Lepecki

    This lecture deals with the method of “translation” based on the sculptural practice of Hélio Oiticica and Lygia Pape. In the late 1950s and early 1960s, two of the proponents of Brazilian Neo-Concretism embraced poetry, choreography and dance as co-compositional elements in their work. Discussing the concept of “transcreation” (transcriação), cross-genre and translating artistic work, it is to be shown how Neo-Concretism can today offer a general model for artistic practice: When different art forms are not grasped as isolated from each other, they can engender a broad range of new artistic identities from within and between each other.

    André Lepecki (USA) dance scholar

  • 11:00 - 11:45    Capitol, Club Video

    Intermedia Movements

    Moving into New Media Dramaturgy

    P. Eckersall

    What does it entail for the audience, when in a work by the Japanese ­collective Dumb Type the performers disappear in an inferno of light flashes and video projections? Peter Eckersall has delved into choreographic art that deals with socially relevant themes through the interplay of bodies and technology and coined the term “New Media ­Dramaturgy” to describe it. Using the example of the work of Dumb Type, who in the mid-1980s have introduced a totally new aesthetics in the field of dance through their innovative and at once technology-critical pieces, Eckersall examines the means and compositional principles of multimedia and intermedia work.

    Peter Eckersall (AUS) theatre scholar

  • 11:00 - 12:30    Capitol, Studio

    Dance Engaging Science

    M. Bleeker, S. deLahunta, A. Noë, M. Steinbusch, F. Vass-Rhee
    © Jessica Schäfer

    In several ‘Dance Engaging Science’ workgroup meetings, experts from dance practice, medicine and education, as well as specialists from ­philosophy, cognitive psychology, neuroscience, anthropology, architecture, and cultural studies have developed new forms of collaborative research in the field of dance. In an open discussion, the members of the group, Alva Noë, Michael Steinbusch, Maaike Bleeker, and Freya Vass-Rhee, will present a first “statement of principles” on the framework conditions and the use of this innovative research approach and give an account of their experiences.

    Maaike Bleeker (NL) cultural theorist
    Alva Noë (USA) philosopher
    Michael Steinbusch (D) architect
    Freya Vass-Rhee (D) dramaturge The Forsythe Company

    Moderation: ­
    Scott deLahunta (D) project leader Motion Bank
    Supported by Volkswagen Stiftung

  • 11:15 - 12:00    tanzhaus, Studio 6 Video

    Choreographing Following the Principle of ‘Exquisite Corpse’

    J. Leighton
    Choreographing Following the Principle of ‘Exquisite Corpse’© Laurent Philippe

    In her work ‘Exquisite Corpse’, Joanne Leighton examines the possibilities of passing on choreo­graphy and simultaneously questions the traditional concept of the author. Upon her invitation, 57 choreographers jointly produced a “cadavre exquis” (“exquisite corpse”) in the spirit of the French Surrealists. Each artist developed a one-minute “choreographic module” and then passed the last ten seconds on to the next colleague, who then in turn took them as the starting point of a new sequence. In this lecture demonstration, Leighton presents the project and the work process as well as excerpts from the choreographic material.

    Joanne Leighton (F) choreographer


  • 11:15 - 12:45    tanzhaus, Studio 2

    Artistic Research Lab: The Tandem Series

    K. Münker, R. Fischer
    © Maria Silvano

    ‘The Tandem Series’ seeks to overcome the separation between theory and practice. One artist and one scholar each will collaborate in three tandems. The choreographer Katja Münker and the cultural theorist Ralph Fischer examine the phenomenon of “walking” in the context of performances, the dancer Paula Kramer and the philosopher Wallace Heim deal with site-specific performances dedicated to the themes of landscape, nature and ecology, and the dancer Joa Hug along with the philosopher Mónica Alarcón explore the specific knowledge that is created through the practice of dance. Finally, the impressions, insights and experiences from the tandems will be summarised by Robin Nelson in a wrap-up and evaluated in regard to the discussion on artistic research.

    Concept:
    Joa Hug (D) in collaboration with Paula Kramer, Katja Münker (D)

    Tandem 1: Walking

    Katja Münker (D) dancer, choreographer
    Ralph Fischer (D) cultural theorist

Sat, 8 June    12:00

  • 12:00 - 12:45    Capitol, Club Video

    Marketing the Local in ­a Global Economy

    J. O’Shea

    At international dance festivals, national identities, local affiliations, and global economic concerns meet. The cultural theorist Janet O‘Shea compares the spectacular Festival of India with the initially grassroots, localised London festival Dance Umbrella. She asks whether it is possible to offer a kind of political resistance through festival programming. At the intersections of the local and international levels, festivals are extremely difficult, diplomatic balancing acts. Their possibilities to present cultural differences decisively depend on current immigration policies.

    Janet O‘Shea (USA) cultural theorist

  • 12:15 - 13:00    Capitol, Theatersaal Video

    Performing Africa

    From Colonial Rites of Affliction to Postcolonial Pastiche

    K.-P. Köpping

    In this lecture, Klaus-Peter Köpping compares two performances that at first glance appear incompatible: the trance ritual of the West African Hauka from Jean Rouch’s Film ‘Les Maîtres Fous’ and the ­so-called “ballet nègre” ‘La Création du monde’, choreographed by the Swede Jean Börlin in 1923. Both deal with the theme of the “imagined other”: The Hauka’s trance or possession cult “copies” the power games of the colonial ­rulers in order to emancipate themselves from them. The European dance performance from the early 1920s envisions a naive utopia of “being ­African” as an alternative to the decline in ­values after the First World War. Despite all differences, both serve to overcome traumatic experiences and subversively employ parody and the grotesque against existing orders.

    Klaus-Peter Köpping (D) anthropologist

  • 12:30 - 13:00    tanzhaus, Großer Saal
    Jonathan Burrows & Matteo Fargion

    One Flute Note

    © Herman Sorgeloos

    With simplest means such as gestures and sounds, Jonathan Burrows and Matteo Fargion have been developing minimalistic duets for several years, which are not only breathtakingly virtuoso but also entertaining with a wink. Their work combines formal stringency with a humorous nearness to the audience. In ‘One Flute Note’, the British choreographer and Italian composer continue their critical conversation with John Cage’s legendary, performative ‘Lecture On Nothing’, which like hardly another has influenced the development of contemporary dance and performance art.

    By/with Jonathan Burrows (UK), Matteo Fargion (I/UK)
    ‘One Flute Note’ is supported by Arts Council England
    Jonathan Burrows & Matteo Fargion are ­supported by Kaaitheater Brussels, PACT Zollverein Essen, Sadler’s Wells Theatre London, BIT Teatergarasjen Bergen

Sat, 8 June    13:00

  • 13:00 - 13:30    tanzhaus, Studio 1, 2 & 6

    TanzSprint 2013

    Z. Alibert, P. Gimeno, O. Scibor Students MAztp
    © Miranda Glikson

    Each year, students of the Frankfurt Master’s study programme Contemporary Dance Pedagogy (MAztp) organise the one-week workshop festival ‘TanzSprint’ for amateur and professional dancers. For the Dance Congress they have developed various physical-dancerly training offers from current working material on dance techniques and digital tools, which will take place daily, parallel in five studios. ­In teachings à 30 minutes, a broad range of new training approaches will be tested. ­Contemporary exchange and mediation formats provide a wide variety of experiences with the art form.

    Zoé Alibert, Anja Bornšek, Patricia Gimeno, Miranda Glikson, Jason Jacobs, Gregory Livingston, Ola Scibor (D) students of MAztp

    Concept:
    Ingo Diehl (D) direction MAztp, Hochschule für Musik und Darstellende Kunst Frankfurt/M.

    3, 2, 1 ... Action tanzhaus, Studio 1

    In this physical exploration we utilise Newton’s Law of Action and Reaction as guidance to work with weight, resistance and absorption. Integrating the concept of gravity from “Material for the Spine” by Steve Paxton, we navigate back and forth between the centre of the body and its reactions to the periphery. Using different games and interactions participants play, move and dance!
    “If you hit the ground rolling, all the landing energy can be transformed and redirected parallel to the ground, rather than harshly perpendicular to it.” (Material for the Spine. Contredanse. 2008)

    Patricia Gimeno (ES/D) dancer, performer, dance pedagogue

    Coordin8ed tanzhaus, Studio 2

    Taking Steve Paxton’s Small Dance as a starting point, we will challenge our awareness and coordination by trying to localise centers within centers. Introducing the movement of the figure 8, we inspect elemental patterns such as walking and crawling, to then explore more complex patterns within spontaneously gener8ed dances. Within these perspectives, we move from inside out and from outside in – to perceive our bodies 3-dimensionally.
    What sort of rhythms can we create in our bodies as we trace an infinite form? What kind of coordination, momentum and efficiency can we discover as we draw such a non-orientable shape? What spaces unfold in and outside of us?

    Zoé Alibert (D) performer, choreographer, teacher

    What about Dancing? tanzhaus, Studio 6

    “Let us begin with the idea that you know how to dance.” Referring to the questions Jonathan Burrows asks in ”A Choreographer’s Handbook”we set on a physical and explorative journey into the idea of dancing. “What is your relationship to the idea of dancing? What are the qualities that drew you towards dancing in the first place?” “What do you know that you have forgotten that you know?” “Forget all this.” “Just dancing is enough.”

    Ola Scibor (D) dancer, interpreter, contemporary dance teacher

  • 13:15 - 13:45    tanzhaus, Vorplatz

    Songlines

    E. Kaiel, BNG. Benedikt Next Generation
    © Jeroen Bosch

    How do young people grow up nowadays? How are social relationships and self-images changing? Together with the Dutch choreographer Erik Kaiel, pupils of the Düsseldorf ­secondary modern school St. Benedikt develop a performance itinerary combining elements of flash mob, guerrilla gardening and physical actions. In projects with professional choreographers, workshops, visits to performances, and internships, the pupils get to know the field of dance and theatre through their own experience.

    Concept/choreography:
    Erik Kaiel (USA/NL) BNG. Benedikt Next Generation

    With pupils of the Hauptschule St. Benedikt
    BNG. Benedikt Next Generation is a project by TANZFONDS Partner – Eine Initiative der Kulturstiftung des Bundes, tanzhaus nrw, St. Benedikt Hauptschule, zitty.familie Düsseldorf

  • 13:15 - 13:45    tanzhaus, Studio 3 & 4

    TanzSprint 2013

    J. Jacobs, G. Livingston
    © Miranda Glikson

    Each year, students of the Frankfurt Master’s study programme Contemporary Dance Pedagogy (MAztp) organise the one-week workshop festival ‘TanzSprint’ for amateur and professional dancers. For the Dance Congress they have developed various physical-dancerly training offers from current working material on dance techniques and digital tools, which will take place daily, parallel in five studios. ­In teachings à 30 minutes, a broad range of new training approaches will be tested. ­Contemporary exchange and mediation formats provide a wide variety of experiences with the art form.

    Zoé Alibert, Anja Bornšek, Patricia Gimeno, Miranda Glikson, Jason Jacobs, Gregory Livingston, Ola Scibor (D) students of MAztp

    Concept:
    Ingo Diehl (D) direction MAztp, Hochschule für Musik und Darstellende Kunst Frankfurt/M.

    Moving Oppositions tanzhaus, Studio 3

    This physical exploration is a response to Jason’s experience working with choreographer Hofesh Shechter and inspired by the publication “A Choreographer’s Score” by Anne Teresa De Keersmaeker and Bojana Cvejić. Our movement is stimulated by imagery and organised by choreographic structure. Physicality is proposed through a focus on movement quality, which incorporates opposing concepts of soft and sharp, continuous and broken, heavy and light. Individual corporeal engagement connects to a collective movement experience questioning assumptions and possibilities of choreographic structure.

    Jason Jacobs (D) choreographer, performer, dance teacher

    The TK Shuffle tanzhaus, Studio 4

    “[...] it’s about walking, moving the arms, turning and jumping.” (DVD 1, A Choreographer’s Score, 2012) The cornerstone from which this physical training will be constructed, references „A Choreographer’s Score“ by Anne Teresa de Keersmaeker. We will explore simple elements, maneuvering the “minimal of material in a maximum way“. Unfolding into accumulation, the space confronts our relationships to others within “simple geometrical underlying patterns“.

    Gregory Livingston (USA/D) dancer, choreographer

Sat, 8 June    14:00

  • 14:00 - 14:45    Capitol, Theatersaal Video

    Dance or Die

    Tilts and Moves in Contemporary Dance

    S. Sörgel

    Artists such as Akram Khan, Sidi Larbi ­Cherkaoui, Faustin Linyekula, Monika ­Gintersdorfer, and Gregory Maqoma pursue a politics of deterritorialisation and collabo­ration. They establish networks beyond state funding policies and simultaneously work together with national foundations, festivals and funding institutions. In an overall climate of global economic crisis, contemporary dance thus becomes a model for a mode of production that not only preserves cultural peculiarities but also develops new, viable forms of collaboration. Do such modes of practice actually facilitate the global redistribution of symbolic capital or do they merely serve the cliché of a “good” globalisation?

    Sabine Sörgel (D/UK) theatre scholar

  • 14:00 - 15:30    tanzhaus, Studio 6

    Choreographic Resources Lab

    I. Diehl, S. deLahunta, Students MAztp

    In the past several years, numerous choreo­graphers have sought to make their work generally accessible by using digital media. Their projects have resulted in tools that can be used in education and professional dance practice. This lab examines them in regard to common features and differences. Based on ‘A Choreographer’s Score’ by Anne Teresa De Keersmaeker and Bojana Cvejić, Steve Paxton’s DVD ‘Material for Spine’, the website on William Forsythe’s ‘Synchronous Objects for One Flat Thing, reproduced’, and the interactive score of Deborah Hay’s ‘No Time To Fly’, participants can explore the connection between technology and creativity.

    Ingo Diehl (D) Hochschule für Musik und Darstellende Kunst Frankfurt/M.
    Scott deLahunta (D) project leader Motion Bank
    Zoé Alibert, Anja Bornšek, Patricia Gimeno, Miranda Glikson, Jason Jacobs, Gregory Livingston, Ola Scibor (D) students of MAztp

  • 14:00 - 16:00    tanzhaus, Großer Saal Video

    Passing on Experience

    Young People Teach Young People

    M. Alkan, J. Parkes, L. Patrizi, F. Schulze and pupils
    Passing on Experience© EVOKE

    Since 2005, the project ‘TanzZeit – Zeit für Tanz in ­Schulen’ has been engaged in conveying dance as an elementary form of learning and expression at schools. What is new is their peer-to-peer approach: Young people pass on the experiences they have gained in dance over the years to other youths. Murat Alkan and Felix Schulze were introduced to contemporary dance by the TanzZeit youth company Evoke and now teach others. Both stand for a generation of dance professionals who from the very start grasp mediation as an essential component of their work.

    In German

    Murat Alkan (D) student of contemporary dance Folkwang Hochschule Essen ­
    Felix Schulze (D) teacher trainee physics and physical education
    With pupils

    Concept/moderation:
    Livia Patrizi (D), Jo Parkes (D) choreographers TanzZeit

  • 14:00 - 16:00    tanzhaus, Studio 2

    The Contemporary and the Critical

    East-Western Perspectives on Dance Journalism

    A. Lall, E. Sutter, G. Wittmann, A. de Zoysa
    © M. A. Pushpakumara

    In January 2011, the German dance journalist Gabriele Wittmann und her Swiss colleague Esther Sutter were invited to Bangalore to hold a workshop on the theme of “dance critique”. It soon became clear that writing about current pieces is subject to very different reception and production conditions in the various cultural areas. The journalist Asoka Mendis de Zoysa, for example, reported from neighbouring Sri Lanka that in this former region of civil war, he first had to “save the artist from prison”. The Asian-European debate regarding the concepts of “critical” and “contemporary” is to be continued in this lab. In group and individual conversations, the Congress visitors can enter into an exchange with experts from Germany, Switzerland, India, and Sri Lanka, contribute their own experiences and jointly discuss how cultural characteristics influence the way one writes about dance.

    Asoka Mendis de Zoysa (SLK) journalist
    Anusha Lall (IND) choreographer, dancer

    Concept/Moderation:
    Gabriele Wittmann (D) dance critic
    Esther Sutter (CH) critic
    Supported by Goethe-Institut

  • 14:00 - 16:00    tanzhaus, Studio 3

    Things to Know About the Theme of Tension

    C. Pitt

    Permanent tension induced by stress or traumas sooner or later leads to false postures, blockades, compensation mechanisms, and fatigue. As a cranio-sacral therapist at a specialty hospital for patients suffering from burn-out and depression, Claudia Pitt treats the results of protective and permanent, excessive, basic tension. This workshop seeks to help the participants perceive the extent of their individual tension in order to open up paths out of the tension brace using, among others, the ‘Gentle Movements’ method according to Danielle Pirera.

    In German
    Registration required
    It is recommended to bring a blanket/mat and cushion

    Claudia Pitt (D) dancer, health coach, Cranio Sacral therapist

  • 14:00 - 17:45    tanzhaus, Studio 5

    dé-position

    Research on the Body’s Agency

    A. Baehr, C. Bosse, T. Chakar, J. Janša, A. Lahoud, L. Mehanovic, S. Noeth, J. Toufic
    © Lejla Mehanovic

    We are living in times of far-reaching social and political upheavals, in which the question of the body’s agency is posed anew in regard to situations of protest, revolt and negotiation in the Arab region and elsewhere. In light of these events, the notion of choreography also goes beyond the creation and development of structures and the organisation of movement in time and space: How can chaos and collapse be treated choreographically? Can and should choreography do more than comment on, illustrate or represent processes of radical change? Based on their respective work practices and backgrounds in various disciplines, a group of artists and theorists addressed these questions in more detail during a research meeting in Beirut. Confronted with the challenge of having to perceive and at the same time understand different influences, narratives, contexts, and bodies in face of the current developments, they grasped choreography as a movement of continuous repositioning. Hence, the concept “dé-position” stands for giving up one’s own position, for a physical and discursive change in perspective as the precondition for understanding, evaluating and acting. In two afternoons, Congress participants are invited to share the questions, materials and practices of this research work.

    Antonia Baehr (D) choreographer, performer
    Claudia Bosse (A) choreographer, director
    Tony Chakar (LB) architect, artist
    Janez Janša (SLO) choreographer, director, performance theorist
    Adrian Lahoud (UK) architect, architecture theorist
    Lejla Mehanovic (A) film-, theatre scholar
    Sandra Noeth (A) dance scholar, curator
    Jalal Toufic (LB) philosopher, artist

  • 14:30 - 15:00    Capitol, Club
    Reggie Wilson

    Introduction

    Reggie Wilson is one of the leading African-American choreographers in the United States. With his company, the Fist and Heel Performance Group, he merges contemporary dance with African traditions to create a hybrid form which he terms “Post-African Neo Hoodoo Modern Dance”. Wilson’s famous solo ‘Introduction’ starts like a sober, autobiographical lecture and then gradually turns into a trance-like celebration of Christian rituals from the Black Diaspora. Inspired by the ­practices of the Spiritual Baptists in Trinidad and the Zionists in Zimbabwe, the solo ­organically intertwines text and movement.

    Created/performed by Reggie Wilson (USA)

  • 14:30 - 18:00    tanzhaus, Studio 4

    How do I Present my Art?

    E. Schütte

    By chance you meet the person who can open the doors to your desired project – at a party, a congress or in an elevator. Now you should have an elevator pitch up your sleeve, a short self-presentation that is surprising, makes one curious and communicates your skills. In this workshop, you will put the essence of your art in a nutshell: in memorable images, short clear sentences and a structure that is exciting.
    Together with the other participants, you develop a text, present the result in front of the group and receive feedback on its effects on the listeners.

    In German
    Registration required

    Edith Schütte (D) psychologist, coach

Sat, 8 June    15:00

  • 15:00 - 15:45    Capitol, Club Video

    Talks on Dramaturgy

    S. Manning, R. Wilson

    The relationship between choreographers and dramaturges continuously changes during the course of their collaboration. Based on selected productions, William Forsythe, Reggie Wilson and Sidi Larbi Cherkaoui talk with their dramaturges about their role in the artistic process, about research interests and working methods. What kind of knowledge and what competences do dramaturges contribute to the process? How do the translation processes between language and movement evolve? At which moments are dramaturges especially needed and when do they disturb? Is the dramaturgic function actually only reserved to the dramaturge?

    Reggie Wilson’s choreographies draw from the spiritual traditions of the African Diaspora. With body percussion, rhythmic singing and cries, they take up the religious culture of black slaves. Together with his dramaturge Susan Manning, Wilson give insights into the work on his most recent production ‘(project) Moseses Project’, which deals with the question of leadership and followers. Important sources of inspiration for the work were travels to Israel, Egypt, Mali, and Turkey, as well as the novel ’Moses, Man of the Mountain’ by the folklorist Nora Zeale Hurston, which from an African perspective delves into the Exodus myth.

    Reggie Wilson (USA) choreographer, performer
    Susan Manning (USA) dance scholar

  • 15:00 - 15:45    Capitol, Theatersaal Video

    On Archiving Dance. The Digital Pina Bausch Archive

    S. Bausch, B. Kaufmann, B. Thull, M. Wagenbach

    How can the work of Pina Bausch be archived? How can different materials be ­networked and organised in a digital database? For which users is such an archive conceived and what are the general standards? How can the knowledge of the dancers and members of Tanztheater Wuppertal be integrated in order to keep the complex and extensive legacy of Pina Bausch alive? Salomon Bausch and Marc Wagenbach of the Pina Bausch Foundation, Barbara Kaufmann of Tanztheater Wuppertal und representatives of the Institut für Kommunikation und Medien at the Hoch­schule Darmstadt present the ongoing project ‘Pina welcomes you. An archive as a workshop for the future’ and discuss problems of archiving dance.

    Salomon Bausch (D) chairman Pina Bausch Foundation
    Barbara Kaufmann (D) dancer Tanztheater Wuppertal
    Bernhard Thull (D) Hochschule Darmstadt/University of Applied Sciences/Department of Media
    Marc Wagenbach (D) research manager Pina Bausch Foundation

  • 15:00 - 18:00    tanzhaus, Studio 1

    Backstage

    Spaces, (Hi)Stories of tanzhaus nrw

    P. Husemann, K. Kleinschmidt, Students ZZT

    On the occasion of tanzhaus nrw’s 35th anniversary and the coming change of artistic direction, students of the Centre for Contemporary Dance (ZZT) in Cologne conduct interviews with members of the executive team and teachers of the Tanzakademie at tanzhaus nrw. The live interviews deal with topics such as the relevance of the team members for the institution’s profile, their commitment to cultural diversity and social inclusion as well as their personal thoughts in a phase of institutional change. The talks with Bertram Müller, Angela Vucko, Dorothee Schackow, Jost Budde, Takao Baba and Carlo Melis can be followed via headphones and are supplemented by an audio-walk through unknown spaces of tanzhaus nrw during the opening night of the congress.

    In German

    Concept:
    Pirkko Husemann (D) theatre scholar, dance dramaturge
    Katarina Kleinschmidt (D) dance scholar, dancer
    Assistance:
    Yvonne Franke (D) student ZZT
    By/with:
    Tina Berger, Philine Herrlein, Valerie Kommer, Sebastian Krekow, Hannah Nürnberg, Antonia Steffens (D) students at Zentrum für Zeitgenössischen Tanz der Hochschule für Musik und Tanz Köln

Sat, 8 June    16:00

  • 16:00 - 16:45    Capitol, Club

    Risk-taking Bodies and Their Choreographies of Protest

    C. Rosa
    Risk-taking Bodies and Their Choreographies of Protest© Cristina Rosa

    In this lecture demonstration, Cristina Rosa examines the political potential of choreography in contemporary Brazil. She shows how people take bodily risks to lend their protest greater impact. From the Afro-Brazilian fight dance capoeira, to the violent dance technique called “physical perception” by Grupo Cena 11, which takes up voodoo culture’s states of trance, all the way to the threat of mass suicide by the indigenous population ­of the Guarani-Kaiowás in October 2012, ­Cristina Rosa describes choreography as ­radical action in a fight for human rights and land demarcation.

    Cristina Rosa (BRA/USA) dancer, dance scholar

  • 16:00 - 17:30    Capitol, Theatersaal Video

    A Choreographer’s Score

    B. Cvejić, A. T. De Keersmaeker, B. Masuch
    © Anne Van Aerschot

    Where did the dance movements of ‘Fase’ originate? How was the structure created, and how did the use of counterpoint come about? Together with the performance theorist Bojana Cvejić, Anne Teresa De Keersmaeker developed a multimedia guide to understanding her early works ‘Fase’, ‘Rosas danst Rosas’, ‘Elena’s Aria’, and ‘Bartók’s String Quartet No. 4’. The book ‘A Choreographer’s Score’ comprises detailed descriptions, drawings, and photos, supplemented by video recordings in which the choreographer demonstrates certain sequences. At the Dance Congress, De Keersmaeker and Cvejić will present the project with a special performance of ‘Violin Phase’, in conversation with Bettina Masuch.

    Anne Teresa de Keersmaeker (B) choreographer
    Bojana Cvejić (B) performance theorist and maker

    Moderation:
    Bettina Masuch (D) curator

  • 16:00 - 17:30    tanzhaus, Studio 6

    Artistic Research Lab: The Tandem Series

    P. Kramer, W. Heim
    © Stephen Bottoms

    ‘The Tandem Series’ seeks to overcome the separation between theory and practice. One artist and one scholar each will collaborate in three tandems. The choreographer Katja Münker and the cultural theorist Ralph Fischer examine the phenomenon of “walking” in the context of performances, the dancer Paula Kramer and the philosopher Wallace Heim deal with site-specific performances dedicated to the themes of landscape, nature and ecology, and the dancer Joa Hug along with the philosopher Mónica Alarcón explore the specific knowledge that is created through the practice of dance. Finally, the impressions, insights and experiences from the tandems will be summarised by Robin Nelson in a wrap-up and evaluated in regard to the discussion on artistic research.

    We will work outdoors, please dress accordingly

    Concept:
    Joa Hug (D) in collaboration with Paula Kramer, Katja Münker (D)

    Tandem 2: Shifting the Human: Touching Matter

    Paula Kramer (D/UK) dancer, researcher
    Wallace Heim (UK) author, philosopher

  • 16:00 - 17:30    Capitol, Studio

    Cultural Policies in the Post-Colony

    P. G. Canda, K. Kôkô, F. Linyekula, L. Van Kote, M.-A. Schmachtel, S. Schwarz, S. Sörgel, S. Thiersch
    Cultural Policies in the Post-Colony© Elise Fitte-Duval

    European organisations, sponsors and orga­nisers support African dance production with resources and residencies, artistic exchange projects or festivals for African dance in Africa and Europe. What motivates this cultural “development policy” under postcolonial conditions and what are its (positive and negative) effects? Are the existing programmes and networks at all geared to the actual needs? What production and presentation alternatives are being developed locally and globally on the side of the artists and what alternatives already exist?

    Panaibra Gabriel Canda (MZ), Koffi Kôkô (F/BJ), Faustin Linyekula (CGO/F), Stephanie Thiersch (D) choreographers
    Laurent Van Kote (F) Ministère de la Culture et de la Communication
    Marc-André Schmachtel (D) Goethe-Institut Nigeria
    Stefan Schwarz (D) tanzhaus nrw, Dance Dialogues Africa

    Moderation:
    Sabine Sörgel (D/UK) theatre scholar

  • 16:15 - 17:00    tanzhaus, Studio 2

    Don’t Ask, Don’t Tell

    Opportunities and Limits of Intercultural, Cooperative Work

    N. Johar, B. J. Riepe

    In the form of a dialogue, Navtej Johar and Ben J. Riepe present the work process on their joint performance ‘Don’t Ask, Don’t Tell’ and elaborate the artistic questions they pose. How can sound, image, emotions, and movements be treated as equal means of the theatrical and choreographic processes? What kind of relationship exists between the specific individuality of the performers, the process of rehearsal and the audience’s possibilities to gain experiences? And: What does working with an heterogeneous, international team mean for the artistic process?

    Navtej Johar (IND), Ben J. Riepe (D) choreographers

    Moderation:
    Melanie Suchy (D) journalist

  • 16:15 - 18:00    tanzhaus, Kleiner Saal

    Show Doctor, or Accomplice from the Start?

    Production Dramaturgy in Dance

    G. Cools, A. Kersting, H. Kollmar, A. Mallmann, M. Nachbar, C. Schellow, F. Vass-Rhee

    Dramaturges are all-rounders: They mediate between choreographer and the audience, between choreographer and institution. A ­feeling for psychology mingles with a high sense of aesthetics and a deliberately maintained distance. This lab is dedicated to the production dramaturgy in dance: When is it fruitful, when does it fail? How can work with a dramaturge be shaped? When and how can he or she be involved as an accomplice and mediator? We will work out criteria that outline what contemporary dance dramaturgy should and can accomplish in the production process.

    Guy Cools (B) dramaturge
    Henrike Kollmar (D) dramaturge tanzhaus nrw
    Martin Nachbar (D) choreographer
    Constanze ­Schellow (D/CH) dance scholar
    Freya Vass-Rhee (D) dramaturge The Forsythe Company

    Concept/Moderation:
    Anne Kersting (D), Amelie Mallmann (D) dramaturges
    In cooperation with Dramaturgische Gesellschaft

  • 16:15 - 18:15    tanzhaus, Foyer

    Hot Spots from the Practice of Dance-artistic Mediation

    M. Alkan, I. Diehl, N. Eger, N. Haffner, C. Hanfgarn, E. Kaiel, M. Kessel, A. Klinge, J. Parkes, L. Patrizi, G. Rebel, F. Schulze
    Hot Spots from the Practice of Dance-artistic Mediation© Anja Beutler

    How can dance be mediated the best? Supplementing the lecture demonstrations with ­children and youths during the Congress, the participants of this lab deal with the different potentials, perspectives and difficulties of dance-artistic mediation. In thematically oriented table discussions moderated by teaching artists and experts from the field of primary and further education, participants can exchange questions, impressions and suggestions.

    In German and English

    Moderation:
    Antje Klinge (D) sports scientist
    Concept/organisation:
    Bundesverband Tanz in Schulen e.V./Katharina Schneeweis (D)

    Youths as Mediators – a Training Concept in Dance Mediation
    Jo Parkes, Felix Schulze (D) TanzZeit, Berlin

    Function, Role and Conflicts of Youths as Mediators
    Livia Patrizi, Murat Alkan(D) TanzZeit, Berlin

    On the Educational Efficiency of Experiences in Dance
    Ingo Diehl (D) Hochschule für Musik und Darstellende Kunst Frankfurt/M.

    Dealing with “Non-knowledge” in Mediation
    Nik Haffner (D) Hochschulübergreifendes Zentrum Tanz Berlin

    On the Self-understanding of the Mediator in Dance
    Nana Eger (D) Bundesverband Tanz in Schulen

    Age Heterogeneity of Groups as an Opportunity
    Claudia Hanfgarn (D) Tanzpädagogisches Projekt Schultanz Bremerhaven

    Project Work and Sustainability
    Günther Rebel (D) Deutscher Berufsverband für Tanzpädagogik

    Site-specific Work with/for Young People – Views of Reality
    Erik Kaiel (USA/NL) BNG. Benedikt Next Generation
    Martina Kessel (D) tanzhaus nrw, Düsseldorf

  • 16:15 - 18:45    tanzhaus, Studio 3

    The Misery of Form

    J. Burrows, S. Foellmer, L. Goldring, I. Schad, B. Wirthmüller
    The Misery of Form© Anja Beutler

    Conducting research on movement instead ­of spectacle, dissolving the concept of the author and favouring collaborative processes instead of the final work: These are issues that contemporary dance has been concerned with for quite a while. At the same time, a need for composition, intention and dance movement is repeatedly voiced by the media and the audience. The interest in the process thus stands in opposition to a desire for form. Beyond ideological attributions, the participants of the salon examine the concept of form in the field of tension between artists, audience, artistic “object”, and the market. What demands have recently been made on dance, and what role can processes of arriving at formal solutions play in this regard?

    Jonathan Burrows (UK) choreographer
    Susanne Foellmer (D) dance scholar
    Laurent Goldring (F) visual artist
    Isabelle Schad (D) dancer, choreographer
    Britta Wirthmüller (D) choreographer

Sat, 8 June    17:00

  • 17:00 - 17:45    Capitol, Club Video

    Border Control

    Framing the Atypical Body

    K. O’Reilly
    Border Control© Farrows Creative/Nt'l Theatre Wales

    “You say radical, I say conservative, you say inclusive, I say subversive …”

    Since 2003, the playwright and dramaturge Kaite O’Reilly has been working intensively with deaf and disabled persons. In this lecture, she examines the possibilities and limits of artistic inclusion in performances, e.g., by Jérôme Bel and David Toole (among others, with the ­Candoco Dance Company, DV8), as well as ­her own work. To what extent is dealing with the “atypical body” politically and culturally shaped? How does the concept of normalcy of the majority society relate to a politicised “disability culture” that affirms the multiplicity of human differences?

    Kaite O’Reilly (UK) playwright, dramaturge

  • 17:15 - 18:45    tanzhaus, Studio 2

    Interweaving Dance Cultures

    K.-P. Köpping, A. Meduri, K. Mezur, C. Weiler

    The interweaving of cultures in and through dance is a tension-filled process of approximation and reciprocal exchange. Here, not only different body concepts and practices as well as various traditions of bodily representation encounter each other. Deviating methods of passing on and updating movement techniques or different models of interaction and collaboration must also be negotiated anew each time. Fellows and members of the International Research Center ‘Interweaving Performance Cultures’ will discuss in detail the forms and limits of such exchange processes together with further Congress guests during so-called tea-times.

    Guiding Questions
    How are processes of interweaving related to forms of intervention and participation? Do these refer to different political concepts compared to forms of translation in and through dance? How do these approaches influence the transformation of body concepts?

    Impulses by:
    Katherine Mezur (USA) dance scholar
    Avanthi Meduri (IND/UK) dance scholar
    Klaus-Peter Köpping (D) anthropologist

    Moderation:
    Christel Weiler (D) theatre scholar

    Further participants:
    Gabriele Brandstetter (D) dance scholar
    Peter Eckersall (AUS) theatre scholar
    Gerko Egert (D) dance scholar
    Femi Osofisan (NG) theatre scholar, playwritght
    Cristina Rosa (BRA/USA) dance scholar
    Nanako Nakajima (JP/D) theatre scholar

    Concept:
    Gabriele Brandstetter, Holger Hartung (D) dance scholars, Christel Weiler (D) theatre scholar International Research Center ‘Interweaving Performance Cultures’, Freie Universität Berlin

Sat, 8 June    18:00

  • 18:00 - 19:30    Capitol, Club Video

    The Renaissance of Dance Cities

    C. Henne, B. Kisseler, J. Mannes, H.-B. Nordhoff, S. Sadowska, H. Schulze, A. Vita

    Dance is an important part of a city’s cultural life. Professional artistic dance reflects the ­cultural diversity of a society and its currently relevant themes. Moreover, dance is increasingly taking on social, pedagogical and ­therapeutic tasks. And it counts as a successful centre of attraction for the tourism industry. However, these positive influences are hardly perceived by the public. Politicians and artists on the podium discuss the conditions of choreographic work in municipalities and examine the status of dance in present-day concepts ­­of city development.

    Barbara Kisseler (D) Culture Senator Hamburg
    Jörg Mannes (D) ballet director Staatsoper Hannover
    Hans-Bernhard Nordhoff (D) cultural consultant, former head of the department of culture Frankfurt/M.
    Sabrina Sadowska (D) deputy ballet director Theater Vorpommern
    Holger Schultze (D) director Theater und Orchester Heidelberg
    Anna Vita (D) ballet director Theater Würzburg

    Moderation:
    Claudia Henne (D) editor rbb
    Concept:
    BBTK/Bundesdeutsche Ballett- und Tanztheaterdirektoren Konferenz

Sat, 8 June    22:00

Continuous

  • Congress Venue, Foyer

    Memories of Dance – Graphic Recording

    T. J. Beck and her team
    Memories of Dance – Graphic Recording© Tiziana Jill Beck

    What do you remember about your first, ­nicest, most touching, or even most terrible dance experience? Images, sounds, movements, moods, people – the illustrator Tiziana Jill Beck and her team are underway with pad and pencil to collect the memories that the Dance Congress participants give an account of, to then render them in sketches and drawings. The constantly growing collection of pictures will be presented in the Congress spaces and published on the Tanzfonds website. In this way, a common memory space of individual dance experiences and encounters will evolve – a dance history in pictures that most certainly cannot be canonised.

    Tiziana Jill Beck (D/USA) illustrator
    and her team: Johanna Benz, Edith Carron, Anna Hainrich, Marius Wenker
    A project by TANZFONDS – Eine Initiative der Kulturstiftung des Bundes

  • Capitol, Foyer

    Cultural Education by German Dance Ensembles at German Theatres

    BBTK
    Cultural Education by German Dance Ensembles at German Theatres© Thomas Jauck

    For many dance ensembles in Germany, cultural education has become an important part of their daily work. It has an effect on all social groups and wins over new audiences for dance at German theatres. Whether spectators are made familiar with dance through public ballet training, rehearsal visits and talks with choreographers, or children and older people gain experiences with their own body in dance projects – these offers always result in long-term relationships and affiliations. A video documentation presents excerpts of various projects and initiatives of municipal ensembles.

    Project:
    BBTK/Bundesdeutschen Ballett- und Tanztheaterdirektoren Konferenz

  • Capitol, Foyer

    Books on the Move

    A. Benoit-Nader
    © Claude Sorin

    Guest of the Dance Congress: the mobile bookstore for everyone who dances, reflects and moves. The assortment of this international bookstore for contemporary dance and performance includes books on choreography, applied anatomy and body experience, as well as theoretical essays and biographies in German, English and French. New publications are on offer as well as hard-to-find books on contemporary dance.

    Agnès Benoit-Nader (D) booksonthemove.eu

  • Capitol, Foyer

    Dance and Aging

    Poster Exhibition: Dance in the Second Half of Life

    GTF

    The Gesellschaft für Tanzforschung (society of dance research) presents a poster exhibition of international scientific and/or artistic projects dealing with the topic ‘Dance and Aging’.

    Concept:
    Gesellschaft für Tanzforschung (GTF)

    Ästhetisches Interesse an künstlerischem Tanz im Alter – Eine explorative Analyse biographischer Erfahrungen und tätigkeitsspezifischer Vollzugsanreize
    Claudia Behrens (D) Johannes Gutenberg-Universität Mainz
    Krystyna Obermaier (D) Elementarer Tanz e.V. Köln

    ‚Zwei Flüsse‘ Ein Tanztheaterprojekt für alle ab 55 Jahren – Ein Kooperationsprojekt des Ringlokschuppen (Mülheim) und der Bergischen Volkshochschule Wuppertal
    Barbara Cleff (D) Seniorentanztheater Dortmund/Ballett Dortmund
    Nicole Schillinger     (D) TheaterTanzPerformance ttp

    Project: ArtRose/Small Moments of Greatness. A collective for dancers “im erfolgreichen Alter”
    Jenny Coogan (D) Palucca Hochschule für Tanz Dresden

    MobileDance Age: an initiative to bring dancers from different generations together in creative processes
    Fiona Edwards, Jo Parkes (D) EdwardsParkesDance (EPD)

    An initiative to bring dancers from different generations together in creative processes
    Fiona Edwards, Jo Parkes (D) EdwardsParkesDance (EPD)

    ‚Ahnen‘ – ein Performanceprojekt mit 13 Tänzerinnen im Alter von 62 bis 84 Jahren
    Gabriele Gierz (D) My Way Ensemble

    ‘Identities’ – a production involving 5 women, dancers and choreographers over the age of 50: What is the “identity” of the older dancer?
    Susanne Kempster (ES)

    ‘Dance and Age – Expression of the Human Body at different Ages’ (Teilprojekt des Forschungsprojektes ‚One of a Kind‘, geleitet von Jiri Kylian an der Rotterdam Dance Academy, Codarts Rotterdam)
    Friederike Lampert, Desiree Staverman (NL) Rotterdam Dance Academy, Codarts Rotterdam

    Tango im Altersheim: ein tanzpädagogisches Projekt
    Florica Marian, Katrin Grüntzig (CH)

    Dying Swans and dragged up dames: a photographic exploration of the ageing dancer
    Helen Newall, Mark Edward (UK) Edge Hill University

    Freiräume schaffen: Zeitgenössischer Tanz im fortgeschrittenen Alter
    Cornelia Widmer, Walter Widmer (D) ForumTanz

    Gesellschaftstanz mit Älteren – ein Mittel zur gesundheitlichen Prävention
    Eileen Wanke (D) Abteilung Tanzmedizin, Institut für Arbeitsmedizin, Charité-Universitätsmedizin Berlin/Institut für Arbeits-, Sozial- und Umweltmedizin, Goethe Universität Frankfurt et al.

  • Capitol, Foyer

    Motion Bank Work Station

    The Motion Bank online tools can be tested here.

  • tanz blog

    H. Diehm, E. I. Fichtner, I. Kästner, M. Suchy, B. Trouwborst, A. Wesemann

    The journal “tanz” is accompanying the entire Dance Congress with a BLOG on tanz-zeitschrift.de. At the BLOGGING station, participants and guests of the Congress can read the BLOG entries and comment on them directly.

    Editorial team:
    Heike Diehm, Elena Iris Fichtner, Irmela Kästner, Melanie Suchy, Bettina Trouwborst, Arnd Wesemann.