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.

O, Twist – ein Hörspiel mit Bildern

Almost 200 years ago, the writer Charles Dickens invented the orphan Oliver Twist, who, with his desire for a little more food, challenged an entire system.  A child without a family, without a home and without rights – nothing unusual in Dickens’ day.

Last year on the 30th anniversary of children’s rights, Dreummaschine Inc. asked themselves: What has changed since then and what has remained? What is universal and is every child entitled to?

With the means of the theatre and tricks such as whispering, nightmare interpretation and pickpocketing they reconstructed together with their young audience a child’s fate and gave the story a new twist. This is how the play O Twist was developed.

This year the play was to be adapted for a Hamburg audience in the Fundus Theater. To mark the occasion, Dreummaschine Inc. transferred the piece into an audio version: Even in the Munich version, the focus was on a binaural audio experience, which was extended to the entire piece in the radio play version: if you use headphones, you hear everything as if it were happening right around you. Filmmaker Timo Schierhorn developed a video layer to the audio experience.

Playground: lockdown sketches

In times of Corona-conform art, Anna Konjetzky, Sahra Huby and Quindell Orton show  with their “lockdown sketches” what has occupied them as an “infection community” in the last months in Anna Konjetzky’s Playground. The main focus is on Sahra Huby’s drawings as well as the physical confrontation with the extraordinary situation.

The exhibition is designed according to the legal hygiene standards. Further information is available at


The body is a political arena: it symbolises power, powerlessness, status and belonging. With and through it we create our social and cultural identity – just as we attribute it to others. Individuals thus become groups. Society is divided into segments. Homogenous spaces are created, exclude others and hold the individual in the cycle of peer groups and filter bubbles. In this field of tension between making differences visible and creating community, DIVE. A Celebration is located in this field of tension. Anna Konjetzky’s new production unfolds identity simultaneously as a permanent construction and as a deconstruction of overlapping, parallel actions, self- and third-party attributions. The perception and assessment of the individual protagonists wanders, shifts, becomes a costume or an unstrippable skin. Using the artistic means of choreography, music and language, stereotypes and identities are sampled, mixed and scratched until a new, collective beat is created. DIVE. A Celebration asks for something in common that is not based on similarity, but can emerge despite or precisely because of differences. With a crew of seven performers living in South Africa and Germany, the Munich-based choreographer creates a celebration of heterogeneity.

Where Do I Come From?

An installation by Judith Hummel at Köşk (Munich Westend)

Walking – from Romania to Germany

Stage 1 Săcălaz – Szeged By walking, by going back, Judith Hummel searches for her own origins and lays a trail around the fields of memory and body. On several stages, accompanied by her mother Margret and the camerawoman Laura Kansy, she follows the route of her grandmother, who fled from Romania to Germany in 1944. In June 2019, they walk the first part of the route from Săcălaz, the home village of their grandparents, to Szeged in Hungary. Material recorded along the way will be used to create an installation with video, sound, memorabilia and live moments.


A project from and with Lucy Wilke and Paweł Duduś with Music from Kim Twiddle

SCORES THAT SHAPED OUR FRIENDSHIP is about togetherness. It’s about attention to detail and fun. Lucy Wilke and Paweł Duduś explore the scope of their relationship, their friendship. Their poetic tendencies, their urge for sensuality and the challenges that build us up in playful interactions.
This cocktail of personalities also challenges the stereotypes and normative perceptions in society and culture that eagerly mark, marginalize and discriminate against everything that is different. We respect our diversity and celebrate the non-normative. This work offers insights into an alternative way of living and being. It shows qualities and values that we wish to be more present in our daily lives.
Together we focus on the embodiment – the atypical embodiment. We embody our memories, our dreams and wishes. We embody beauty. We are beautiful.

Schön Anders

A piece about the tension between individual development and group dynamics.

For everyone from 6+.

Group behavior shapes us. Humans are herd animals, they protect and organize themselves in class groups, leisure clubs, communities of states and unions. But what happens when the individual leaves the protecting group? Or in other words: What if the individual recognizes itself and wants to act this out? Is it exposed defencelessly to the rest of the group if it leaves the group – if it is beautifully different? The choreographer Ceren Oran takes up this theme in dance and music. She cooperates with a multicultural team consisting of five dancers and one musician who bring their own experiences of “being different” and of belonging into the production process. The rehearsal process takes place in Munich and a residence at Kibbutz Neot Samandar, the home of the Israeli dancer Roni Saga. In addition to the rehearsals, all participants will also experience life in the collective at the kibbutz. The artists will observe individual relationships and group behavior in everyday life and will incorporate these into their rehearsals. Back in Munich, school classes and an adult test audience will accompany the rehearsal process and give feedback. In contrast to previous productions, in which Ceren Oran tells stories about life circles (“Elephant from the Egg”) and being a stranger (“Sag Mal…”) to a very young audience, in this work, Oran relies on the physical expressiveness of bodies and the immediacy of live music. The piece is aimed at children from 5 years of age and family audiences.

everything blue

everything blue is a performance from two perspectives. Munich based Canadian choreographer Jasmine Ellis combines artistic forces with Vienna based Brazilian choreographer Evandro Pedroni. Together they investigate the structures and repercussions of human interactions. What is the current state of intergenerational communication? How is kindness or lack thereof unconsciously transferred between generations? The show exposes unexpected aspects of communication and the challenges that arise in these encounters. Fusing together two dissimilar approaches brings into focus our own predetermined views. The jointly-created dance performance will be experienced in two interacting parts which enrich and complete each other.

O, Twist

Almost 200 years ago, the writer Charles Dickens invented the orphan Oliver Twist who, with his desire for a little more food, challenged an entire system. A child with no family, no home and no rights. – which in Dickens’ day was nothing really out of the ordinary. A right to food, security, education and leisure was not guaranteed in those days. Children were the property of adults, who in Oliver Twist’s case are 99% real bullies. This year, children’s rights will be 30 years young, and this is the reason for the interdisciplinary ensemble Traummaschine Inc to deal with the legal situation of children. Because only those who know their rights can defend them and stand up for the rights of others.