Ode to the Structure

After a digital premiere in March 2021 and a series of live performances with pre-recorded music 24-26 September, Sasha Waltz & Guests’ new work “In C” finally premiered to a live audience with live music performed by New York based ensemble “Bang on a Can All-Stars” at radialsystem from 10 to 12 December. “In C” is set to an eponymous piece by US American minimalist composer Terry Riley, and follows a variable structure of 53 movement patterns that 12 dancers combine and intertwine in a seemingly improvisational fashion. 

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Weaving Wonder

In the performance “Silkworms” (Radialsystem, seen on 3 December 2021) choreographers and dancers Renae Shadler and Mirjam Sögner interweave choreography with poignant visuals in order to highlight the skin as a sensual vessel. Through persistent attention to tactile feedback, they generate a choreographic structure that is able to channel the creation and dismantling of imaginative landscapes and which is marked by the outcomes of a process of sensorial research and movement production.

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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.

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