Symbols of Power

Flags ripple, flap, and cut the air. Shrouds wrap motionless bodies. Exotic creatures slip from mediaeval banners. Military snare drums roar. Fierce battles morph into revelry, and sports events transform into funeral processions. Ginevra Panzetti and Enrico Ticconi have always turned to historical events, art movements, and traditions for inspiration. In their new diptych, “AeReA” and “ARA! ARA!”, they explore the symbolism of flags and mediaeval heraldry, as well as their political connotations. The first part of the diptych, “AeReA”, will be shown during Tanznacht Berlin Vertigo (Part 2) on 23 and 24 July 2021, while a digital version of “ARA! ARA!” premiered during Tanzfabrik Berlin’s OPEN SPACES – Making It Happen #2 on 10 June 2021. “Silver Veiled” is a dance film born from the same research process. It was originally commissioned by Dublin Dance Festival in 2021.

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Performing Memory

How can an archive be performed? How can a research process be shown on stage without the result being dull and didactic? How can a dance be devised about a show that premiered more than 40 years ago? In “Try Leather”, Britta Wirthmüller, William Locke Wheeler, and Justine A. Chambers explore the political and performative aspects of an eponymous 1975 solo by Canadian artist and activist Margaret Dragu. Choosing a dozen different archive records and key words each night, Wirthmüller and Wheeler offer their personal take on Dragu’s work and life in a show that combines dance, spoken word, and audio fragments.

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Uncanny Birds

Danilo Andrés’s most recent piece ‘Schräger Vögel: A Queer Choral’ was choreographed and rehearsed in the darkness of Berlin’s pandemic winter. A filmed version premiered 29 May 2021 during the Performing Arts Festival Berlin. Devised for a group of non-binary and queer performers, this short and intense study into the physicality of guttural singing and yelling was pertinently filmed in the middle of the huge, brick-built nave of the Reformist Church in Moabit. Andrés’s idea of questioning social norms through the embodiment of unconventional vocal techniques is highly appealing, however, the show ends too quickly to allow it to fully unfold.

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Songs of Cranky Hope and Solidarity

Puddles the Pelican continues her tour and lands, silver-feathered, on top of the Haus der Kulturen der Welt for a short online concert within the framework of the conference ‘Diversity Affects | Troubling Institutions’ on 29 May 2021. This magic bird performs at dusk with her band, giving birth to an iridescent pearl to celebrate the reopening of HKW after a more-than-year-long closure due to the pandemic. She sings and walks in beauty, jazzes between grief and hope, invoking solidarity and revolution amid the troubled waters of our times. 

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Perpetual Motion Machine

Jasmin İhraç’s most recent show “liú” premiered on 15 March 2021 and was shown on HAU4 digital platform from 26 to 29 May during the Performing Arts Festival Berlin 2021. In her delicate exploration of the cycles and rhythms of nature and human life, İhraç avoids far-fetched claims and declarations and leaves the audience face to face with the miracle of the infinite time-loop. This laid-back and quiet show made me want to log these images and my thoughts, minute by minute. 

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Filming Utopian Body

“Vogel | 4 Solos” is a sequence of four solos, directed and choreographed by Christine Bonansea, and filmed at DOCK 11. Led by a powerful blend of stark lighting design and raucous soundscapes, this work aims to embody Michel Foucault’s notion of the utopian body — a daunting task for a string of four separate filmed solos that had been initially devised as simultaneous performances amongst which spectators could carve their own paths. Bonansea faces this challenge with a blast of power and creates a thought-provoking study on the limits of emotional perception.

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