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.

Session #3: Intergenerational Dance — 28th October 2022

What stories can be told through bodies that we usually don’t see on stage? What expectations do we have from young & old as audience, creators, performers? How can we enrich each other through our mixed age groups? How different backgrounds of these human profiles can inspire a collective creative process?

After two inspiring sessions on Filming Dance and Composing for Dance and Theatre, Ceren Oran & Moving Borders invite you to the third and the last Session of 2022 in Munich, where Galit Liss, choreographer (https://en.galitliss.com), Sanja Tropp Frühwald, choreographer and dancer (www.vrum.hr), Jasa Frühwald, performer & Paula Niehoff, dancer and choreographer, share their experiences about creating and working with intergenerational performer profiles as of age 7 to 99; in dialogue with the audience.
The panel will be moderated by Simone Schulte-Aladağ, Tanzbüro München.

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.

The 2051 Munich Climate Conference

The 2051 Munich Climate Conference is a gathering of scientists, researchers, and scholars concerned about the challenge of anthropogenic climate change. It is conceptualized and organized by a group of researchers and independent artists around the Büro Grandezza theatre collective. 

The conference uses a fictional setting to look back from an imagined future – the year 2051 – at today’s knowledge and discourses on climate change. 

We are here


Premiere of the Munich re-staging of a production originally created for Saarländisches Staatsballet

We are here is a dance performance about the feeling of imminent danger, the growing pressure, the increasing tension. A play on the audience’s perception in interaction with music, dance, and space: what happens when I observe similar scenes in changed spacial and tonal conditions? With her dance piece – originally created for Saarländisches Staatsballet 2019 – Anna Konjetzky choreographs with an experiment, where the musical information influences the interpretation of the stage setting and the perception of the body; in a setting that the dancers expose through a play on movement and immobility contrary to the consistent reduction of the space. The re-stating of We are here with a Munich cast aims to grant higher visibility and attention to the Munich dance scene and especially young dancers after the time of “invisibility” during the Covid-19 lockdown.

Kopfkino: Literary podcasts through Munich

Kopfkino take you on a literary walk through Munich: a walking tour through head and city of young Munich-based authors, collected and read by actress Henriette Fridoline Schmidt.

Every author, every walk, every text is different: a stream of consciousness, an audiobook, a novel or a chain of associations. Kopfkino isn’t a book, not a theatre, not a performance, and not an audiobook. Kopfkino is a podcast for city-strolling, roaming, discovering. Just turn on your headphones and start walking!

ROSE LA ROSE

“A stage space bathed in green-bluish light. One body rests its arms on its drawn knees, holding its left wrist with its right hand, head hanging and looking down. A second body lies lasciviously on the right side, looking towards the right rear corner. A third body, on the monitor, bends slightly to the right, one hand on the chest, the other slowly circling the wrist. A fourth body stands in the middle of the room. Synchronously, they open their arms to the sides. A smile slowly appears on their faces. Their mouths widen into large openings. The singing of a choir resounds.”

In ROSE LA ROSE, the choreographer duo Rykena/Jüngst dive into the obscure and at the same time erotic world of show culture and spectacle together with the performers Amelia Cavallo and Tian Rotteveel. They reveal their subversive potentials and pay homage to the in-between, the time before and after revelation, before and after seduction, before and after climax. The multidisciplinary team opens up imaginative spaces in which clichéd notions of erotic bodies are questioned and rewritten.

Through the artistic use of audio description, which translates visual content into language, the seeing and non-seeing performers interweave visual and auditory spaces of perception. In a parallel analogue-digital working process between Amelia Cavallo in London and the other performers in Hamburg, they interrogate the (un)visible through the (un)spoken and deliberately create gaps in perception in which the non-visible is made audible and vice versa. The visual and auditory surfaces combine through the voices and bodies of the performers to form a structure of interwoven narratives and interpretations of hybrid eroticism. Bodies and voices disappear, distort, direct, question, challenge.

In German and English
With audiodescription

DESCRIPTION OF THE PICTURE SUITABLE FOR THE BLIND
Two bodies from above, bathed in bluish-bronze light, on a soft flokati carpet. They are wearing transparent tracksuits, their skin colour is white, they are barefoot. The person on the left rests their arms on their drawn-in knees, holds their left wrist with their right hand. The head falls between the legs. The person next to them lies on their right side. With their bent legs crossed and leaning on their hands, they look to the right in front – beyond the picture. They touch the other with the tips of their feet. One remains, the other seems to leave the place the next moment. Long dark hair, no hair, black mesh on skin.


Video-Premiere in Hamburg February 25., 2021 + as video on demand available until March 07., 2021

Live Shows in Munich July 23. – 25. 2021 | 8 pm Uhr HochX Theater und Live Art | Entenbachstraße 37 | München    

Vermittlungsveranstaltung Online 22. Juni 2021 | 7 to 9 pm   https://theaterbueromuenchen.de/en/2021/06/22/rykena-junst-en/


Team

Choreography, direction, dance: Carolin Jüngst, Lisa Rykena

Dramaturgy: Matthias Quabbe

Co-Choreography, dance: Amelia Lander-Cavallo, Tian Rotteveel

Access Work: Al Lander-Cavallo

Artistic Audiodeskription: Ursina Tossi

Sound: Konstantin Bessonov

Stage: Lea Kissing

Costumes: Hanna Scherwinski

Light: Ricarda Schnoor

Filmconzept und edit: Martin Prinoth

Translation and subtitles: Emma Stenger

Artistic Production, Press: Stückliesel

Production Assistant: Sina Rundel

Photography: Jonas Fischer

Press & PR Munich: Rat&Tat Kulturbüro

On Anger

On Anger is the first part of a trilogy which will be dealing with the different emotional states of our current society.
The interest is to not just recognize the emotion/condition as an individual feeling but also to perceive it as a condition produced by society and within a specific structure.
We want to question the source of anger, analyze how it works its way from the inside out, how it alters the body, how our perception changes, how it becomes distorted and what effect it has on every cell of the body.
On Anger will be  a piece that examines, explores and stages different aspects of anger.
These include physical, anatomical and socio-political perspectives as well as the resulting ‘output’ in the form of ‘furious’ works of art, speeches or political shifts.

In Praise of Forgetting: Part 2

After WWII, when Germany lost the vast eastern european territories it had colonised over several hundred years, millions of German refugees had to be integrated into West, and East German society, a process that has largely been expelled from national memory. 

Using a vast ethnographic sound archive that documents this cluster of historical events as a starting point, Oliver Zahn examines the promises and pitfalls of techniques and practices of social forgetting.

In Praise of Forgetting: Part 2 is the standalone sequel to a stage piece that premiered in December 2019. Continuing the line of inquiry started then, it completely shifts the action from a space of physical co-presence to the digital sphere, thereby raising new questions on memory and forgetting.  

Is Susan Lonely?

A dance piece about having an idea of a better you and the process of trying to move towards it. The project highlights the destructive nature of the concept of an ideal self to our relationship with the world. It examines whether division with one’s own self can be a basis of loneliness.

Nomadic Academy 2021

Muncih-based choreographer Anna Konjetzky will be working on her project NOMADIC ACADEMY dealing with the subjects of alternative spaces, free spaces, alternative roads and  border(s) with a focus on evasion, displacement and resistance.

As a center that will be simultaneously educational, communicative and research-based, the NOMADIC ACADEMY will explore these topics under the keywords QUEER and QUER (QUER – a German term which means cross, transverse, diagonally), which will be the starting points for a practical and theoretical research journey; including a wide range of different people, groups and institutions – other artists, communities, students, theoreticians, universities… all testing, thinking and challenging QUEER and QUER.

The NOMADIC ACADEMY will function as a base-satellite system and will thus connect the Bavarian dance scene (Munich base) to foreign dance scenes (satellites) from 2019 to 2021. The NOMADIC ACADEMY will take place every year in a different location abroad, and annually as a ten-day platform for knowledge exchange in Munich. It will dock into numerous institutions, collaborate with numerous artists, and lead to discourses, body practice and impulses.

The core of the NOMADIC ACADEMY consists of a crew of Munich-based artists, who will accompagny and activly shape the academy during the next three years. In various constellations participants of this reseach group will take part in the academy’s moduls abroad. Sharing there the previous research by focusing each time on the particularity of each of these places. Conversely an artist from the moduls abroad will also join the plattforms of the NOMADIC ACADEMY in Munich, thus exchanging and challenging knowledge, discurse, aesthetics and body praxis of and in different local contexts.

The principle of the nomadic is at this juncture a constituting element for Konjetzky’s approach. It is illustrated, on the one hand, in the “wandering” of the academy – a practice that allows one to balance the issue of border(s) and alternative spaces with the respective conditions (political, social, geographic, etc.) and protagonists on site. On the other hand, the nomadic is also addressed in the organization of knowledge, in how we share knowledge, in what structures can we create during the academy to meet, interact, learn and research.

Considering human movement and (individual) freedom of movement is not possible without reflecting on border(s). Border(s) determine the space for movement and action; they elicit patterns of behavior and physicalness. Border(s) are celebrating a renaissance in our post-colonial, globalized and capitalist world and are drawn not only around nations but also exist increasingly within nations ans societys.

With various bodies at various locations, the NOMADIC ACADEMY would like to consider which borders affect, influence, limit and challenge bodies at the respective locations in diverse ways and thus politicize these bodies. The NOMADIC ACADEMY does so in order to investigate what powers to act are inherent in movement and bodies. Can they transcend borders, move them, make them visible or even tear them down? These debates will always be addressed on two levels: on a physical, dance level (searching for physical tools, choreographic settings, giving physical experiences etc.) as well as on an intellectual level in discussions and lectures.

So the need for queerness, for other and alternative ways of moving, living, being together is very present and compelling. The need for not following given pathways, the need for otherness, the need for empathy, the need for collectivness, the need for visibility… Art and dance is a perfect negociating and meeting point, a social-political discurs platform, to reflect and discuss together for other ways, for taking risks and propose alternatives.

During this three years we will collaborate with three partnering countries:

Poland, Palestine and Greece.

The NOMADIC ACADEMY will each time and in each country focus on the particularity of these places in collaboration with local artists, curators, initiatives and institutions. Thus continuing and expanding the research in order to establish a continuous discours.