LAB: In dependence things rise up – In this workshop I am proposing to look at interdependency as an ethical framework that could generate innovative partnership models, aesthetics, and methodology. We will focus on embodied practices that predominantly ask to listen, actively receive, and host foreign bodies and voices within and onto ourselves.

Blending contact improvisation/partnering, body work and vocal practices I’m interested in generating situations that encourage practitioners to indiscriminate their weight and presence, and in some cases engage genuine strength with an acute awareness of the other. Through partnering drills extracted and inspired  from wrestling, we will touch different levels of intensity, dynamic and flow as well as engage in various forms of resistance: physical, sensorial or even fictional. In this context we will critically reflect on notions surrounding consent, nonviolence and collective empowerment.

The workshop welcomes LGBTQIA+, and is open to individuals who have a practice of live arts and/or performance: musician, actor, circus, performer, dancer, athlete …

PERFORMANCE: I am worried for men

The performance “I am worried for men” proposes to look at performance practices as sites of resistance to normative discourse and representation. We use music, spoken word poetry, contact improvisation/partnering and wrestling, to interrogate patriarchal masculinity and violent culture. Male intimacy is here perceived as a potential remedy to revisit and reenact maleness.

We aim to create a space that is family friendly, but this performance is not targeted for children.

Performance by and with: Freddy Houndekindo and Marcus Doverud

FREDDY HOUNDEKINDO

Freddy Houndekindo is an interdisciplinary artist positioned at the intersection of music, spoken word poetry, dance and performance. His work critically reflects subjects such as identity, blackness, masculinity and collectiveness.

https://www.freddyhoundekindo.com /// IG: @Fry_Hdko

MARCUS DOVERUD

Marcus Doverud is working as a dancer, choreographer, musician and teacherand is an active part of the performance related arts internationally, with base in Stockholm. marcusdoverud.com

Palestinian singer, composer and instrumentalist Rasha Nahas has a distinctive approach to songwriting, storytelling and performance. As a genre-defying, narrative-focused artist, Rasha has been crafting a keenly singular music universe, driven by candid lyrics and disarming vulnerability. With extensive experience as a writer and composer for film and theater productions, Nahas’ critically acclaimed theatrical-poetic rock debut album, ‘Desert’, chronicled her journey from Haifa to Berlin. Rasha’s first foray into Arabic language lyrics came in her 2023 two-chapter LP, ‘Amrat’, a sentimental body of work laden with nostalgia and longing, recorded at 67 Studio in the occupied Golan Heights and released via leading independent label Cooking Vinyl. 

RASHA NAHAS

rashanahas.com / IG: @rasha_nahas / Spotify: open.spotify.com/artist / Bandcamp: rashanahas.bandcamp.com / FB: @rashanahasmusic / Soundcloud: @rashalpha / Youtube: @rasha_nahas

LAB: We will explore how the rhythmic vocabulary of Matria, and how the reinterpretation of Malambo serves as a dance of resistance against colonial and epistemic violence. Malambo champion Rulo Hernandez will join us to share his expertise in Southern Malambo, Northern Malambo, Bombo, and Boleadoras (an ancestral weapon transformed into a powerful instrument). Although Malambo is a virtuoso dance with advanced and specific techniques, the workshop aims to start from scratch, encouraging participants to embody the dance and connect with its narrative processes and encourages to ask How do we relate to this dance in a different time and space from the one of its origins?

PERFORMANCE: MATRIA imagines a story that is not represented in colonial, hegemonic narratives dismantling the disciplinary and patriarchal aspect of the dance of Malambo dance. This traditional Argentine dance is exclusively reserved for men (gauchos) whom were physically and ideologically a by product of by colonial violence. Through the conquest they passed from being – “barbarians” – to a traditional hero in Argentina after abandoning the protection of a free land and becoming a wage-earning peasant. MATRIA reflects on the binaries: Contemporary / Tradition; Popular Art / High Art, Barbarism / Civilization, spread by colonial modernity, as forms of domination, both in terms of knowledge, aesthetics and the appropriation of the land.

Choreographer/ dancer: Rocio Marano
Dancer: Angela Muñoz

ROCIO MARANO

Argentinean dancer and choreographer Rocío Marano has been working in Berlin since 2014. She was trained in physical theatre, martial arts, and contemporary dance in an independent path. She obtained a bachelor at the “Escola Superior d’Art i Disseny de les Illes Balears” in Spain and MA in Choregraphy at HZT Berlin. Rocío is attracted by the movement that is generated in the popular terrain of the collective and whose norms extend beyond contemporary dance. Therefore, her practice is eclectic and includes rhythmical dance such as Krump (urban dance), Malambo (Argentinian traditional dance), yawning as an eco-somatic practice and drumming. IG: @roci_gmar

LAB: jena practice: An exploration of a Zimbabwean movement language and critical human emotions packed with vigorous rhythmic patterns formed from Zimbabwean traditional gestures. Jena practice is a mindful movement-based practice which challenges and pushes the mind, body, and spirit concurrently. The practice uses movement, mindfulness, meditation, relaxation and breathing exercises to help the body to open and to relax. It is a pregnant space full of possibilities, a space of being and becoming, of non-arrival, not ending and not stopping. A space of moreness, attentiveness to oneself and others. An expanded understanding of the impact of black life, the importance of the black body at every stage of life, and relationships between body and physical and emotional wellness. A space without policing self and others. A way to explore the body without any judgement of its abilities and disabilities.

PERFORMANCE: Afternoon of a Faune

«Why do you hide behind a mask? » is a key phrase from McIntosh Jerahuni as well as the leitmotiv of his entire artistic oeuvre of this multi-talented dancer, musician, and choreographer. His creative drive is a search for identity: the cultural and the political identity of Blacks and Africans. In this era of ‘Black Lives Matter’, the era of ‘No Justice No Peace’ This solo is a powerful, fierce statement to rip off the mask, to cast off the folkloric clothing and to show yourself for who you are.

SOKO JENA

A Zimbabwean-born artist and a creator of works that are of the body and liveness relating to deep connection with spirituality. Jerahuni was a Pina Bausch Dance and Choreography 2020 Fellow and holds a BA in Dance from Dance Trust of Zimbabwe (2011) and MFA in Dance from University of the Arts in Philadelphia/USA.

IG: @mcintoshpedzisai /// Spotify: McIntosh Jerahuni

LAB: Im Workshop mit den Tülvistas geht es um eine zentrale Frage im Leben: Ja oder Nein?
Konsens ist komplexer als diese Frage. Genau in der Lebensphase, wo Fragen nach Sex, Liebe, eigener Identitäten und Begehren brennen, positioniert sich der Tanz/Theater-Workshop mit den Tülvistas. Ein Austausch auf Augenhöhe. Diverse Ansichten, Bedürfnisse und Grenzen im Werden der Identitäten und Sexualität werden durch queerfeministischer Perspektiven thematisiert. Jugendliche lernen die Tanztechniken aus dem Stück “Tülva” kennen: Contact Improvisation und Waacking. Gemeinsames Tanzen, Bewegen und Antworten Verkörpern.

PERFORMANCE: Tülva

Die Zuschauenden treffen auf zwei weiße Frauen: Tülva und Selv. Ihnen geht es um klare Ansprache von Tabus und Scham, Menstruation und Körperflüssigkeiten. Zwischen Tüll, Zuckerwatte und Papier räumen sie mit Mythen zum weiblichen Geschlecht auf, inspiriert von der schwedischenComicautorin Liv Strömquist. Es entfaltet sich eine lustvolle Neugierde. Radikale Ehrlichkeit trifft auf sanfte Farben. Zuckerwatte fängt an zu bluten. Das erste Mal, Orgasmus, Queerness – stets in Konsens und Respekt miteinander. Das wechselseitige Lernen über Gendervielfalt und Individualität strukturiert das Stück von Kapitel zu Kapitel.

Konzept, Tanz, Performance, Vermittlung: Julika Schlegel, Franca-Rosa von Sobbe
Tanz, Performance: Kattalin Newiger Mitxelena
Dramaturgie, Beratung: Regina Ross, Schattenregie: Robin Bongarts, Objektästhetik, Kostüm: Theresa Baumeister, Fotografie, Videografie, DoP: Marf Mabo (www.marf.at) Musik, Sounds: Tonio Geugelin (www.toniogeugelin.com) Bühnentechnik, Vermittlungsberatung: Jonas Pruditsch

TÜLVISTAS

Wir sind Kompliz:innen und Performancekünstler:innen aus Hamburg und Köln. Julika Schlegel (sie/keine Pronomen) und Franca-Rosa von Sobbe (sie/ihr). Mit Jonas Pruditsch (er/ihm) und Theresa Baumeister (sie/ihr) tauchen wir als Tülvistas in den verschiedenen Lebensrealitäten junger Menschen auf. Die Bühne von Tülva ist adaptiv. Ob in Aulen und Theaterräumen von Schulen, queeren Jugendveranstaltungen, Stadtteilkulturzentren, wir spielen in Black Boxes und Open Air. Als Tülvistas möchten wir mit jungen Menschen ein Zeichen setzen. Für die Dringlichkeit zur selbstbestimmten, gender-diversen sexuellen Aufklärung. 

We are accomplices and performance artists from Hamburg and Cologne. Julika Schlegel (she/they) and Franca-Rosa von Sobbe (she/her). Together with Jonas Pruditsch (he/him) and Theresa Baumeister (she/her), we appear as Tülvistas in the various life realities of young people. The stage of Tülva is flexible: Whether in auditoriums and theater rooms of schools, queer youth events, neighborhood cultural centers, we perform in black boxes and open air. As Tülvistas, we want to make a statement with and for young people: To stand for the urgency of self-determined, gender-diverse sexual education.

For SUBMERGE, HEAR & NOW/n ï m and JazzBetween join together to offer a forcefield of possibilities for dancers and musicians to commune, experiment and play! Bring your instruments and music making tools — the studio provides a PA system, a piano and a drum set.

JazzBetween is a new artistic platform, designed by Marina Pravkina to promote the fusion of club & jazz cultures with contemporary music and dance performance, and to create an open space for producers, DJs, performers, dancers, and musicians from diverse backgrounds to collaborate and experiment. The project’s interest lies in the renewal of the relationship between movement and sound, between subcultures and contemporary forms of performance, by organizing workshops, creating multidisciplinary performances and artistic happenings. Jazzbetween supports experiments in dance and music creation, encompassing both DJ sets and live music. The project’s mission is to dissolve established labels in dance, music, and performance, embracing a “Jazz not Jazz” philosophy that encourages an interdisciplinary approach across the arts.

With her n ï m company, dancer/choreographer Naïma Mazic focuses on polyrhythmic communications between dancers and (jazz) musicians. Attuning to bodies and sounds and inviting rhythmical tools and structural elements of jazz music into dance, a lively and thoughtful space is created for improvising together. Naïma will open with an introductory workshop presenting methods and ideas that she has established with her n ï m company, and will then guide an exploratory jam session offering suggestions and input for playing and dancing together — all while finding new ways of collective movement and music making with you!

LAB: Departing from the research process of DVOYE, this workshop will delve into the realms of abstraction, rhythmicity, acoustic textures, and the interplay between bodies. Drawing from the extensive exploration of movement, we will share various footwork materials from our investigation, rooted in house dance and UK jazz fusion dance forms. Participants will engage in games and playful exercises with choreographic materials, deconstructing footwork patterns and exploring the diverse manifestations of rhythmicity within the group. We will also closely observe the physicality and transformation of relationships between bodies, creating a space where moments of free improvisation intertwine with choreographic structures.

PERFORMANCE: DVOYE

One body, two minds? Two bodies, one mind? DVOYE shows us a physical journey full of ambiguous symbols, spontaneous rhythm, acoustic texture, fluctuating energy and unpredictable movement. In a constant negotiation of space, the connection between the two dancers keeps transforming. From light and airy footwork to dark fusion in exhaustion. From being trapped in each other’s shadows to exploding into liberation. From a challenging playground to an obsessive search for balance.

By and with Marina Pravkina & Alesya Dobysh

MARINA PRAVKINA

Marina Pravkina is a performer, choreographer, and teacher based in Barcelona. She is the founder and curator of the Jazzbetween project. Marina’s artistic journey began in 2006, exploring hiphop and club dance along with jazz improvisation. Her interest lies in integrating footwork improvisation and rhythmical dance forms with contemporary dance and performance.
In 2016, Marina initiated the Jazzbetween artistic gatherings, recognized for their innovation and inclusivity, in various cities including Tokyo, Bratislava, and Barcelona. Her work since 2018 has focused on the interplay between movement and sound, blending urban subcultures into her performances.
Marina has conducted extensive research with live musicians since 2019, exploring hybrid dance languages, musical experimentation, and new performance formats. She debuted her stage work at La Mercè Festival in 2019 and won the XV Choreographic Competition of Sabadell with duet ”Re.titled” in 2020 ( co-creation with Alesya Dobysh).
Between 2019 and 2022, she curated numerous multidisciplinary Jazzbetween events across Spain. In 2022, she became an artist-in-residence at the Graner Center for Creation and Live Arts and premiered her solo “The Groove Experience” in 2023. Her notable recent works include “Jazzbetween in 6 Movements,” “Movement 1” at Kultursommerwien Festival, and “DVOYE” in the Netherlands.
Marina is also known for her ongoing experimental collaborations with musicians. With over 14 years of experience, she has taught workshops and organized movement labs across Europe and Asia, emphasizing jazz fusion, house dance footworks and its exploration in the improvisation with musicians. She has been a part of the International Jazz Day educational program and launched the “Jazz not Jazz workshops” in 2021, fostering diverse dance techniques and experimentation with the dance languages. jazzbetween.com/marinapravkina

ALESYA DOBYSH

BIO COMING SOON! alesyamij.com

LAB: In this workshop, we will share our process for the research and development of On Work, the last installment of the performance series Lectures by the Idiot. We will start by examining and discussing our approach to building the para-fictional character of The Idiot, including reference documents and movement material, dramaturgical tools, and ethical considerations. During the second section of the workshop, we will delve into generative prompts to approach a process of creation informed by our discussion of the lecture performance form.The Lectures are inspired by radical ideas about transforming the scientific method, such as Donna Haraway’s speculative fabulation. The character of The Idiot, defined by the way it approaches reality, is deeply entangled with the work of Gilles Deleuze, who establishes the idiot as a private thinker as opposed to a public professor. It also draws from the character in Dostoevsky’s novel, where idiocy is similarly explored as a situation where a system of thinking opposes the establishment of ideas.

PERFORMANCE: On Work. Lecture by the Idiot

In this lecture performance, we will offer stories that won’t make people work harder. On Work is our way of navigating the question: What stories can we tell to escape, even for thirty minutes, the trauma of exploitation through wage labor? We will present narratives aiming to disrupt stories that validate oppression through romanticizing work.    
“A strange delusion possesses the working classes of the nations where capitalist civilization holds its sway. This delusion drags in its train the individual and social woes which for two centuries have tortured sad humanity. This delusion is the love of work, the furious passion for work, pushed even to the exhaustion of the vital force of the individual and his progeny.” Paul Lafarge, The Right To Be Lazy, Saint Pélagie Prison, 1883.
Based on an original idea by William Ruiz Morales, the Lectures by The Idiot are developed, composed, choreographed, and performed in collaboration with Gabriela Burdsall.

WILLIAM RUIZ MORALES

William Ruiz Morales is a Los Angeles-based Cuban dramaturg who writes on, curates and creates performances. His practice manifests in research-based experimental collaborative projects such as Restless (2022) with composer Nina Fukuoka and Derrotero (2021) with Gabriela Burdsall. williamruizmorales.com

GABRIELA BURDSALL

Is a Cuban-born dancer, choreographer, and educator based in Los Angeles. Gabriela creates multi-process work integrating dance, performance, family archives, and sound compositions to explore themes of body memory and Caribbean identity. A graduate of the University of the Arts in Cuba, she worked with the national dance company Danza Contemporánea de Cuba from 2007 to 2015. Through her artistic endeavors, she develops immersive and evocative living systems to explore movement, ancestry, and the transformative power of narrative. gabrielaburdsall.com

PRIZES

2nd Place (2 winners): 250€

1st Place (2 winners): A paid, 4 week Residency (Dec 2024) at LAKE Studios Berlin.

JUDGES: Peeps, Alesya Dobysh, Evi Filippou
MCs: Anna Castillo & Maeve Johnson
DJ: Achraf Lansari

Concept & Organization: Naïma Mazic & Anna Castillo

Back by popular demand! LAKE’s Blind Date Battle is a space where the craft of instantaneous choreography meets movement, music and the cheers of the public. Here we celebrate solidarity through friendly competition and the collective joy that springs forth when rhythm and groove are given space to fly!

Dancers, bring your technical skills, your thoughtful gestures, your abstract states, and your brave hearts … we will mix styles, music and prompts in a spirit of dance celebration. 

We’ll have DJ Achraf Lansari playing a range of music styles.
MCs will be on hand to keep the event in flow as benevolent judges watch for your musicality, spontaneity, creativity, and power to grip the audience.

PLEASE NOTE

We will battle 2 vs 2. Teams will be chosen randomly. 

Participants don’t need to worry about bringing a partner. Upon arrival, individual dancers are paired up, ensuring a mix of styles. This approach fosters new connections between dancers,  encourages creativity, and brings fresh energy to the battle. 

The random pairing process will be conducted fairly, ensuring that everyone has an equal chance.

Be ready to create and exchange with strangers for our blind date battle. Let’s make this an unforgettable experience!

To battle, please register in advance by emailing: . NOTE: registration closes at 15:30 at the door! Spots are limited.

LAB: Working on the interface between traditional and contemporary Flamencostreams, this choreographer team of three will be touching diverse viewpoints of current Flamenco practices in their workshops.

Anna Castillo – „Flamenco Jam“  Improvisation is an essential and most fun part of Flamenco. Through the rhythms of Bulerias (6 counts) we will explore what it means to be in a Flamenco Jam session.Basic improvisation skills and traditional communication codes will help as tools to get to understand Improvisation through Flamenco. 
Marti Corbera – „Technical information about the impact on the floor in the zapateado“ How does the body have to be available to execute sound? What sound quality are we able to create?This workshop invites to explore sound through the influences of flamenco. Basic footwork and clapping systems seek to find sound quality, creating rhythmical bodies
Pol  Jimenez – „Mantón y a volar” For this workshop we will work on the element of the shawl. On the one hand, its traditional use in flamenco with the ‘Caracoles’ palo, approaching and entering into different aesthetics and sequences of movement. On the other hand, we will try to discover our own relationship with the ‘mantón’ through certain tools and premises such as touch and different body levels.

Workshop participants will have the possibility dig deeper into the the uniqueness of Flamenco practice to achieve a better understanding about the piece and its discourse.

PERFORMANCE: Tanz mir, nur immer zu viel is performance-ritual of Flamenco collective exploring and sharing singular experiences in an interwoven texture of three bodies. Flamenco traditionally danced as a soloist, this piece rediscovers intimate spaces through group dynamics. Through the process of unlearning Flamenco, the trio transforms into new ways of interactions: nourished and shaped by tensions, magnetism and non -tangible energies. Departing from flamenco’s essential identity, three bodies discover new dynamics and what it means to dance flamenco as young artists in the current times creating its own particular aesthetic.

Direction: Anna Castillo
Dance and Concept: Anna Castillo & Marti Corbera & Pol Jimenez

ANNA CASTILLO is a Chilean-American-German artist based between Barcelona and Berlin. Starting at the age of 5, Anna Castillo developed as a Flamenco dancer in the scene of Berlin. Already as a child she took classes with prominent figures such as Manolete and La Moneta in Granada. 2018 she moved to Madrid where she attended the famous flamenco school „Amor de Dios“ for two years. 2020 she started her studies in Interpretation and Choreography at the „Conservatori Superior de Dansa“ Institut del Teatre in Barcelona. Anna Castillo hold a Bachelor in political science and currently deepening scientific work about dance in a Dance Theory master at FU Berlin. Her Pedagogy is interdisciplinary, working as fix member of Campus Company for Tanzzeit but also teaches traditional Flamenco technique at Centro Flamenco Berlin. IG: @annacastilloflamenco

MARTI CORBERA, born in Barcelona in 1997, is a performer and choreographer who fuses his experience in flamenco with various artistic disciplines, including musical composition, text and performance. He graduated in dance at the Institut del Teatre. His professional career took off as part of the company Flamencos en Route, in Switzerland, and later in the Ballet Flamenco de Andalucía, under the direction of Estévez y Paños. He began to collaborate with various flamenco artists in projects that bring awareness and artistic discourse to this genre rooted in tradition, as with Patricia Guerrero in ‘Deliranza’, Sara Jimenez in ‘Adioses’, Karen Lugo in ‘fatuo’. His interest in the body and physical theater led him to live in Berlin, where he collaborated with Juan Kruz Díaz de Garaio Esnaola in works such as ‘lll’ with Midori Seiler, ‘Dans du Soleil’ with Geneva Camerata Orchestra. IG: @marticorbe

POL JIMENEZ — Barcelona 1995 — is a choreographer and dancer trained in Spanish dance but in search of new codes and thinking. Despite his youth, he has an intense career working with companies or choreographers such as Fura dels Baus, Cesc Gelabert, Juan Carlos Lérida, José Manuel Álvarez, Ángel Rojas, Bruno Ramri or Mdvd. He premiered his productions at Mercat de les Flors, Sala Hiroshima and Fira Mediterrània de Manresa, winning awards such as “Best Dancer” for the 2018 Performing Arts Critic’s Awards and “Best Dancer” for the XXV Butaca Awards. IG: @poljimenez_

LAB: In this workshop, I would like to share the practice I draw from, to create my solo YAZ[Z] (RHYMES), focusing on the intricate moments that define the path of a dance. Participants will explore techniques involving extra weight of rocks, carrying them to explore new balance, momentum, swings, and force. First, we will examine how these elements react within our bodies and our senses. And through a slow tempo, we will delve into the deep effort of our muscles, creating new memories of energy, time, possibilities, and movement trajectories. To conclude the workshop, we will use this newfound information of gravity to dance new movement trajectories using only our body weight.

PERFORMANCE: YAZ[Z] (RHYMES)

Fouad Nafili is interested in the relationship of humans to the land. In his solo, Fouad draws from the Amazigh* mythology and arts. Inspired by the poetry that carries the Amazigh value of land he gradually and carefully creates a space in which movement, body, space and objects are equally part of the landscape. Fueled by a movement inquiry on balance and weight, Fouad makes the relationship between body and environment tangible. Who is directing whom? And what are the forces to which we are subject? Yazz brings about a universe in between heavens, humans and land.

By and with Fouad Nafili

*related to the Imazighen: indigenous people of North-Africa

FOUAD NAFILI

Fouad Nafili (MA, 1992) began his dance career at an early age with Breaking (breakdancing). He later joined the Conservatory of Music and Choreographic Arts Dar Lbaroud (Salé) before furthering his training in the program ‘AL Mokhtabar’ with Anania Danse (Marrakech). In 2016, he joined the Training Cycle at P.A.R.T.S. (Brussels) and later the MA program STUDIOS in 2019.

Fouad has been involved in numerous works, internships, and residences across Morocco, Europe and the Middle East. He has collaborated with and performed in the works of various artists, including Michel Hallet Eghayan, Taoufiq Izzediou, Isabella Soupart, Bouziane Bouteldja, Faouzi Bensaïdi, Anne Teresa de Keersmaeker, Fanny Brouyaux, Radouan Mriziga and more.

Currently, Fouad is on tour with Skatepark by Mette Ingvartsen. IG: @fouadnafili

LAB: Ein Zirkusworkshop für Familien, geleitet von einer Zirkusfamilie. In diesem Workshop könnt ihr verschiedene Aspekte des Zirkus ausprobieren, euren Körper auf eine neue Art und Weise herausfordern, euch gegenseitig durch die Luft schleudern, spielen und Spaß haben. Und gleichzeitig neue Dinge über euch, eure Familie und Rollenzuschreibungen und -verteilungen herausfinden.
Wir fragen:
Wer ist die*der Stärkste in eurer Familie?
Wer kann am meisten verschiedene Dinge gleichzeitig tun und dabei nie die gute Laune verlieren?
Wer stellt sich neuen Herausforderungen?
Wer ist wirklich am lustigsten?
Lasst uns gemeinsam vorgefertigte Meinungen widerlegen und die Antworten auf diese Fragen finden.

PERFORAMNCE: Familienzirkus 2.0 – Zirkus, Theater & Schlafentzug
Zwei Zirkusartist*innen entschließen sich ein Kind zu bekommen – und plötzlich steht die Welt Kopf. Trapeztraining mit Schlafentzug, Bühnenproben mit Babybrain, Stückentwicklung beim Windel wechseln. Und darf Mama eigentlich nachts im Club auftreten, während Papa das Kind ins Bett bringt?
Ein Zirkusstück darüber, wie eine Zirkusfamilie versucht ihren eigenen Weg zu finden, woran sie scheitert und die Unplanbarkeit von Zirkus mit Familie. Mit Akrobatik, Luftartistik, Jonglage und Clownerie. Es darf gelacht werden.

Performer*innen: Rike Greusing & Tiago Fonseca
Regie: Rike Greusing & Tiago Fonseca
Outside Eyes: Sabina Drąg, Catia Santos, Juan Gama

RIKE GREUSING

rikegreusing.com

TIAGO FONSECA

tiagofonseca.co.uk

LAB: Instruments in flux.
This workshop focuses on the body as an ever-transforming instrument. We will use our breath, voices, and clothing as tools for generating rhythm and song. Drawing from my working processes in creating the performance, In flux, the work of our bodies will be supported by articles of clothing and music from our personal and cultural archives. Can these individual rhythms come together in a collective way? Do they need to? This workshop will investigate this question while holding true to the idea that our creative bodies hold heritage and inspiration from an elsewhere.

PERFORMANCE: In Flux

“Nobody knew who or what you were when you had a suit on.” – Saidiya Hartman
A performance of Black gender play, with suits and the performer’s body as its primary materials, In flux is an expression of a desire to become uncapturable. This desire has much to do with questions about gaze and how some ways of looking can be an attempt at restricting and classifying ever-evolving bodies. Much of the movement, sound, and imagery tries to touch various Black contexts, with South African references, especially those originating during the latter part of the 20th century, in the country and abroad in exile, having a significant influence.

**Approximately 35 minutes into the performance, there is a scene that uses strong, bright light shining in the audience’s eyes. It lasts for about two minutes.

Creation and performance: Naledi Majola
Light designer: Thais Nepomuceno
Video: Adrian Marie Blount and Naledi Majola
Mentors: Adrian Marie Blount and Nancy Naser Al Deen
Tutor: Ana Lessing Menjibar
Featuring adaptations of music by Joy and Letta Mbulu.

NALEDI MAJOLA

Naledi Majola is a South African artist-researcher who works across mediums like movement, voice, sound design, and writing. Working as an actor and performance-maker in Cape Town, Naledi’s work has been seen at the ICA Live Art Festival, the ICA Infecting the City Public Art Festival, and the Live Art Arcade. Since moving to Berlin in 2022, Naledi has completed the MA Solo/Dance/Authorship at the HZT Berlin. Naledi’s work seeks to blur the line between theory and practice and is inspired by performance studies, pop culture and South African history and art. IG: @naledi_majola

LAB: ‘Hear the dance, See the music’ immerses participants in the interplay of movement and rhythm. This workshop shares research outcomes and creative processes, inviting exploration of how rhythmic patterns facilitate emotional release and resilience. Delving into embodying musical concepts of decay, sustain, and release, we will embark on a journey through rhythmic structures and trance states. By mapping musical envelopes to physicality and vice versa, we discover how sound and kinetics amplify each other’s expressive potency.

PERFORMANCE: A Lila in the House blends therapeutic study, spirituality, and artistic expression into a captivating dance performance. Investigating music and dance’s healing abilities, it bridges traditional Gnawa practices with contemporary Afro-American House Dance. This transformative fusion honors the enslaved Gnawa tribe’s cultural roots while channeling House’s transcendent energy. Spanning generations, it illuminates dance’s restorative power – an evocative odyssey celebrating humanity’s innate longing for spiritual enrichment through artistic release. Weaving heritage and innovation, it sparks an individual transformation through a widely inspiring and elevating experience.

Concept, choreography & performance:Achraf Lansari
Sound design: Achraf Lansari
Costume: Karlotta Chela

ACHRAF LANSARI

IG: @achraf_jod