Continue reading “Something Remains Astir in the Silence: On the Importance of Dance Residency Programs”
Whether we anticipated it or not, whether we processed the events and emotions of the first wave or not, the second (partial) lockdown has returned us to a similar situation as in March, as we – Annette, Jette, and I – had just begun reporting on Berlin dance events for the tanzschreiber portal. It’s been a few intense months during which we primarily sated our dance curiosity via online formats. Even though, as we all know, dance is actually the most physical art form par excellence there is (for both the artists and the audience). So we attempted to tackle questions about the practice, “how, where, on what, and with whom can dancers and choreographers work right now?”, and about the receivers, and especially “about what cultural journalists should report on”. Then came the easing of restrictions in the summer. And now we’re back to square one. However, unlike before, we know what to expect. It’s easier for some artists to rethink things (in part because their work is better suited to online adaptations), for others it’s unfortunately not. What I sometimes sense in the city is a sense of rage: the dull, sad fury of caged animals and the (thankfully, more rarely) existential angst of those who don’t know how they’re supposed to make ends meet (if you’re in a position to help, please support your fellow human beings!). And just like the first lockdown, something remains astir inside the apparent stillness of the closed performance venues.
Continue reading “The Sound of Energy”
In correspondence with Lina Gómez
An artist profile on Lina Gómez and her work “Restraint”, which resounds with power, energy, and detail at Tanznacht Berlin.
Continue reading “Back to the Future”
In honor of its 40 year anniversary, Tanzfabrik Berlin invites us to look back at its beginnings – but not without opening the Uferstudios stages to young artists. A review of the program from 17 July 2018.