hope/less

a dance piece by Anna Konjetzky

Does hope help us to create a different future, visions of the future? Or does hope block us and leave us hanging in a kind of passive waiting loop? In our society in upheaval, both hope and its inverse, hopelessness, play a central role.

In a space divided horizontally by a net of safety belts, four dancers perform on the net and under the net. Hanging in the net, lying on it, pulling themselves up on it, but also falling through the net.

A spatial horizon line as a very classical image of hope – only that with us this horizon can be stretched and deformed.

Die Beute

A break into the colonial labyrinth

For audiences 12 years and older

In this immersive project, the interdisciplinary artist team Traummaschine Inc. takes up the discussion on Germany’s colonial heritage in connection with looted art. Following the model of popular Escape Rooms, the collective develops a fictitious criminal case in the rooms of the MARKK: a valuable exhibit has disappeared!
In this setting, the young audience must solve tasks to get behind the mystery of a missing sculpture, unravel its origin and history.
But who was it actually stolen from? Who does it really belong to?
With the exciting Escape Thriller, the project creates a playful approach to complex topics such as the sharing of cultural heritage and the healing of colonial trauma, which also includes the return of cultural assets. These tell of the manufacturing techniques, ideals of beauty and aesthetics of the countries and cultures of origin, but also of German colonial history.

Background
The so-called restitution debate, i.e. the question of how to deal with art objects from colonial contexts of injustice, is in full swing: in its coalition agreement of 2018, the German government committed itself to coming to terms with colonialism, and in 2022 the return of the Benin Bronzes was begun. But to whom should these go? To the government of Nigeria? To the state of Edo, where the Benin Kingdom is located today? Or to the Oba of Benin, the descendant of that king whose palace the British sacked in 1897?
The debate about the return of historical stolen goods is about questions of identity and ownership, about respect for property and international law.
With this project, Traummaschine Inc. aims to raise awareness of this discussion among a young audience. Should ownership be reversed and objects shown as loans from their countries of origin? Should collections be digitized and thus made accessible worldwide, and who should take on this task? Who decides what is appropriate handling?

Traummaschine Inc. uses the means of immersive theater and gamification, thus creating a hybrid theater and mediation format in which visitors are immersed in the discussion about looted art in contact with the performers. While cracking exciting puzzles, they learn more about historical stolen goods and have to apply newly learned knowledge and find their own attitude while solving tricky tasks.

Traummaschine Inc. is interested in the interactive mediation of social and political content. The Munich-North German group from the fields of performance, music, visual arts, fashion design and film seeks an approach to the audience that appeals on many levels. The story is only one of several narrative tools. Equally important are the music and the play with form and material, i.e. the acoustic and visual images that are created. TRAUMMASCHINE Inc. develops a narrative space for Die Beute, a detailed and playable parallel and experiential world. Through participation in the action, we create opportunities for the empowerment of children and young people.
In doing so, the artists want to animate the audience to enter into an aesthetic communication with their surroundings.

INSIDE THE 1972 BOXING RING

Exhibition matches meet dance inside the original Olympic Boxing-Ring from 1972

Is boxing a dance? The parallels between top physical performance as well as spatial and artistic precision are unmistakable. Martial arts and dance are among the oldest expressions of cultural action. They are art forms that are highly integrative, connecting people of diverse nationalities and cultures. They share contents such as rhythm, trust, respect and perseverance. In boxing and dance, artists compete in precision and body control. Both reach the pinnacle of human skill and are trained to make split-second decisions of perception and reaction. The brutality of ballet is often overlooked and the grace of boxing escapes many. Together, the two disciplines can reshape each other.The project is a collaboration between classical dancers from the Bayerisches Junior Ballett München as well as Staatstheater am Gärtnerplatz and boxers from Boxwerk München e.V., framed by international comparative fights in elite Olympic boxing. The fact that the Israeli boxing team meets athletes from the Bavarian Boxing Association in the original boxing ring of the 1972 Munich Games is based on the conviction that racism and anti-Semitism has no place in society.

TEAM

Project lead & concept: Nick Trachte / Choreographer: Jasmine Ellis / Dramaturge: Martina Missel / Choreografic Assistants: Rita Soares und Pier-Loup Lacour / Performances: Dancers of the Bavarian Junior Ballett Munich: Chiara Bacci, Jacopo Iadimarco, Luca Massara, Tyler Robinson, Soren Sakadales, Zofia Wara-Wasowska, Dancers of the State Theater at Gärtnerplatz: Jana Baldovino, Alexander Hille, Pier-Loup Lacour and Amelie Lambrichts as well as the boxers Kakande Muzamiru and Mandela Osborn / Live-Music: Lukas Bamesreiter, Tomas Novak, Anna Tausch

Participating Athletes and Coaches in the International Exhibition Matches in Olympic Boxing: Israel Boxing Association/ Bavarian Boxing Team (Boxwerk München e.V./BABV) / Ring Announcers & Moderators: Klaus B. Wolf & Uwe Schilhaneck

Aufführung

July 8th, 2022 starting at 4pm

Theatron at Olypmiapark München

No entrances fees, no tickets needed!

Record Play Stop Rewind

Join us in the complex world of a recording artist. What, pray tell, is a sound carrier? A recording artist is an archivist of voice-sound-noise-music documents of the last decades, centuries. She makes recordings and reinterprets them ad hoc, by means of a mysterious technique: she makes the stored time audible in the movement of the tape. Our protagonist pursues the question of what is touched by renewed touch, what is moved by renewed movement. What should and may remain? What is important for the here and now? The analog sound storage is subject to typical disturbances: Noise, crackling, distortion and other unpredictabilities, such as the encounter with a stranger: stop rewind!

Freischwimmen meets Rodeo

The HochX organizes from 7 – 15.10.2022 a double festival of the free scene in Munich: Freischwimmen meets Rodeo. The festival is sponsored by Theater und Live Art München e.V., with Antonia Beermann and Ute Gröbel as artistic directors.

The Rodeo Festival has been the most important platform for the independent performing arts in Munich since 2010. It provides insights into the diversity of the Munich dance and theater scene, serves to network artists locally and nationally, and sets new artistic impulses.

The Freischwimmen Festival is the biennial festival of the Freischwimmen Network; an international exchange, residency and production platform for young groups and artists*, in which eight independent production houses from German-speaking countries are organized: brut Wien, FFT Düsseldorf, Gessnerallee Zürich, Schwankhalle Bremen, SOPHIENSÆLE Berlin, Theater Rampe Stuttgart, LOFFT Leipzig and HochX Munich.

For the first and only time in Munich

Freischwimmen meets Rodeo takes place for the first and only time as a double festival in Munich. The festival’s motto is “coming together”.

Because with Freischwimmen meets Rodeo not only two festivals come together, but a multitude of people from different backgrounds, interests, points of view – artistic as well as non-artistic. It’s about forming temporary communities, about forms and celebrations of togetherness.

The program consists of 9 Freischwimmen productions, 6 Rodeo productions and a broad supporting program of discourse formats, workshops, concerts and parties. In addition, there is a cooperation with the network Festival & Friends, an association of 8 festivals of the independent scene, which is also funded in the program Promoting Connections.

The performances will take place at various venues in Munich, including HochX, Pathos and Schwere Reiter.

Tasting Water

Water on the skin can be an intense body experience. When body and water meet, an immediate reaction results, depending on the state of the water: warm, cold, icy, liquid, solid, rushing, flowing. The installative performance tasting water by dancer Manasvini K. Eberl delicately stimulates the senses of the audience and takes them into different states of water. Through a dialogue of dance and video, an illusion of water is created that allows time for immersion and invites the audience to experience the element of water in a sensual and playful way.

Now Or Never

Dance Theater of the YOUNG PATHOS KOLLEKTIV

The future lies before me. All doors are open. But what does freedom mean anyway? Does it really exist? And what do I do with it? What about inner freedom? If I follow it, what does it change on the outside?

The YOUNG PATHOS KOLLEKTIV shows its new production Open Air in the courtyard of the PATHOS Theater.

in-through-around | PLAYGROUND

In September 2019 Anna Konjetzky opened her own studio – PLAYGROUND – in the LABOR ATELIERS on the grounds of the creative quarter in Munich. For Anna Konjetzky and her team, PLAYGROUND is a laboratory and sketchbook, a homestead, an archive, a dialogue space. Through the obligatory pause of the pandemic, it has become even more urgent to connect, so the PLAYGROUND-team (with the main players Anna Konjetzky, Sahra Huby, Susanne Schneider, Quindell Orton and Rat&Tat Kulturbüro), proposes a range of different formats and settings mixing theoretical and practical approaches for practice and knowledge sharing and artistic research with other artists, as well as with all kinds of citizens. A combination of regularly and irregularly occurring settings, the PLAYGROUND opens is doors with its own program, but also hosts rehearsals and meetings of Anna Konjetzky & Co and other Munich based artists and initiatives.

Training for Everybody

Monthly / Independent of age, dancing experience or physical condition / It is not just a physical training, but a training for imagination, for critical thinking, collective experiences, breaking the norms, creating dreams and visions.

Gathering

every second month / Discussions, talks, lectures, concerts, exhibitions, film evenings, readings etc. / The Gatherings center around the topics of care, alliances, queerness and connection as a continuation and link to the NOMADIC ACADEMY / Until now Claire Lefvre with her Radical Softness, Martin Schick with radikant artistic working, and Bim n from the queerfeminist Dj collective WUT, were invited for a Gathering / The discussions round For the Experts, during the first year of lockdown, around the question of the role of art, happen in this frame. Three discussion rounds were held with artists, with politicians, and with “citizens”.

Practice Sharing

Is an umbrella for professional dance makers to exchange practices and enter into a dialogue with each other. Either through a One-on-One/Blind Date format. Or through the invitation of an artist to share they’re practice (such as Caroline Jüngst, Daphna Horenczyk, Claire Lefvre and others).

Practice sharing: Anne-Mareike Hess (choreographer, performer within the field of contemporary dance)

With this sharing I would like to give you a physical introduction into my artistic work and my approach to working with the body. 

Some words about my work:

My main focus lies on the body and its inherent potential for transformation; Its status and exposure in society, as well as its presentation, representation and perception on-stage. My work is characterized by precise movement language, embodying and materializing identity questions and themes relevant to our times and sharing them with an audience.

Throughout the years, I have developed a movement practice, which I call “the emotional body”, where I use a combination of imagination and sensory work to put the whole body – including the face – into heightened physical and emotional states in order to create permeable bodies in which every emotion, every mood and atmosphere becomes visible. Works like “Tanzwut” (2014), “Synchronization in process” (2016) and “Give me a reason to feel” (2017) are based on this practice. Since 2018 I have been focusing my artistic work around the (de)construction of gender stereotypes and the body as a projection surface for patriarchal desires and ideas, which so far has led to the solos “Warrior” (2018) and “Dreamer” (2021) and the upcoming trio “Weaver” (2023).

The session will mostly be structured like one long physical journey, devoted to warming up the whole body, finding skeletal support and particularly focusing on opening the senses and becoming sensible for all the information that is constantly flooding into our bodies through our senses. Inspired by somatic practices, anatomy and presence work, we are using improvisation and imagination to put the whole body – including the face – in motion.

Biography

Anne-Mareike Hess is based in Luxembourg and Berlin and works as a choreographer and performer in the field of contemporary dance. In 2018 she founded the independent structure utopic productions, which receives funding from the Ministry of Culture in Luxembourg since 2020. 

Since the beginning of her career as a choreographer, Anne-Mareike’s works have been shown at numerous venues and festivals throughout Europe and Canada. This includes a.o.: I believe that we are having a dialogue (2012), Tanzwut (2014) and Synchronization in process (2016). In 2017 Anne-Mareike was commissioned by the Théâtre d’Esch and the Grand Théâtre de la Ville de Luxembourg to create Give me a reason to feel.

Her first evening-long solo Warrior premiered at the end of 2018 and has been selected by AEROWAVES Twenty20.  In March 2021 she premiered the one-on-one telephone project Through the wire and in December 2021 the new solo Dreamer.

Anne-Mareike works in close collaboration with TROIS C-L in Luxembourg, Dock11 in Berlin and Skogen in Gothenburg; and since 2016 she is an associate artist at Weld in Stockholm. Between 2017-2019 Anne-Mareike was supported by the Grand Luxe network; and since 2020 she is an associate artist at Neimënster in Luxembourg. 

Previously, she was awarded with the emerging artists prize “Stiftung zur Förderung junger Talente” (2012) and the “Danzpraïs” (2015) from the Ministry of Culture in Luxembourg.

Since 2007 Anne-Mareike has worked as a performer with choreographers such as William Forsythe (Human Writes), Eeva Muilu, Rosalind Goldberg (MIT & Jump with me), Ingri Fiksdal (Cosmic body), Heinrich Horwitz (Nijinsky) and Antje Velsinger (PERFORM!), with which she has performed in a number of prestigious venues around the world.

Alongside her work as a choreographer and dancer, she is working as an artistic advisor, coach and teacher. In autumn 2019 Anne-Mareike has been invited to teach as a guest at the Korean National University of Arts School of Dance (Choreography). 

Anne-Mareike received her education at the Conservatory and at TROIS C-L in Luxembourg, she continued her studies at the HfMDK in Frankfurt/Main and at HZT Inter-University Center for Dance in Berlin (Master in Choreography).

More information on: www.annemareikehess.com

SESSIONS

Session #1: Filming Dance — 11th February 2022

Is the live experience with dance irreplaceable? Is dance on screen its own artform? Can we dance digitally? How are dance artists reaching audiences during lockdowns?
Restrictions of lockdown are challenging and require new solutions. What did the almost two years of pandemic teach us about filming dance?
Munich-based; Ceren Oran (Choreographer), Jasmine Ellis (Film Director/ Choreographer), Harun Isik (Film Director) and Benedict Mirow (Film Director) share their ideas, inspiration, and experiences in working with dance on screen.
Premiering works produced during the pandemic times; the short film series of the performance „Schön Anders“ by Ceren Oran in collaboration with Harun Isik and 3 shorts by Jasmine Ellis. Discussions will be moderated by Anna Donderer.
The event is part of a three-day artistic gathering organized by Ceren Oran in Munich, supported by the TANZPAKT RECONNECT program.

Session #2: Composing for Theatre and Dance — 2nd May 2022

Often, we take for granted that dance is accompanied by music. But what role does music play in contemporary dance and theatre? What is it like to compose sounds and tunes for something that doesn’t exist yet? Does music make dance and theatre more accessible for the audience?
Which tools and languages do choreographers, directors and musicians use in order to collaborate in a process and create a unique experience for audiences?
After dealing with the topic of “Filming Dance” in Session 1, Ceren Oran & Moving Borders invite you to a second Session in Munich, where Hüseyin Evirgen (musician and composer), Benno Heisel (musician and theatremaker), Nihan Devecioglu (singer and performer), Beni Brachtel (composer, music producer, and DJ) and Ceren Oran (choreographer, dancer and soundpainter) share their experiences about the vivid connection between music, dance and theatre in dialogue with the audience.
The panel will be moderated by Tuncay Acar.

We call Wonder

WE CALL WONDER is a performance between reenactment and vaudeville, which sketches a 500-year chronicle of the wonders worked by the Black Madonnas in Germany, Poland, Mexico, and France. The project builds on Christiane Huber‘s performative sound installation WUNDER in summer 2021. In WE CALL WONDER, Christiane Huber widens her field of vision and wants to investigate what significance wondrous deeds can still have today. Are wonders, miracles, simply inexplicable occurrences? Or is belief in miracles simply convenient and an economic factor which fills the coffers today as it did as 500 years ago? Does the belief in miracles lead to a decline in political commitment? In the performance, performative acts are to be derived from religious practices all around pilgrimage sites which can strengthen a community. In the context of the theatre, religious symbolisms are reinterpreted: ritual chants, devotional pictures for swallowing, and rays of grace are analysed in a humorous mix of reenactment, video projections, storytelling, choreography, lecture und sound installation. The performers report about the miracles of the different Black Madonnas and weave documentation, fiction, and magical thinking into a wonderloop.