Continue reading “You are conducted to this pressure”
TANZPLATTFORM 2022 >>> In “Overtongue”, Michelle Moura carries her audience off into the polymorphic world of ventriloquism and dissociates the perceptions of sounds and physicality. The performances from 23 to 27 April at the Sophiensæle will take place as a follow-up to Tanztage Berlin 2022.
TANZPLATTFORM 2022 >>> In “Telling Stories – a version for three” by Fabrice Mazliah / Work of Act, playing 17 – 19 March at Radialsystem, as part of Tanzplattform 2022, three dancers play with invisible objects that their imaginations, joined with those of the audience, make real.Continue reading “What a Table’s Dreams Are Made of”
TANZPLATTFORM 2022 >>> Choy Ka Fai entangles ballroom and Shamanism, bodies and technology in “Yishun is Burning“ (HAU2, 16./17. March 2022). This text was written as part of a two-day tanzschreiber writing workshop during Tanzplattform 2022 and under the direction of Mareike Theile, Johanna Withelm, and Alex Hennig. Inspired by a passion for writing and an exchange about dance and dance critique, the authors had an opportunity to challenge and expand their own writing practice. Text: Alica Minar.
“I leave the theater and realize that the colors of the city appear much more vibrant. My sensitivity is heightened. I hear the beats of Berlin’s turbulent rhythm and feel connected to a different world metropolis. I’ve been transported to Yishun, Singapore. I am proud of what the contemporary scene has to offer and how dance builds bridges, opens the doors to freedom of expression.”
Choy Ka Fai embarked on a journey to Yishun with dancer Sun Phitthaya Phaefuang (Amazon Sun) to participate in multi-religious celebrations. They transport this experience and research for the piece in a contemporary context and interconnect movement material and transcendence with voguing, ballroom, queerness, and multi-media.
By examining the relationship between Shamanism and dance, Choy Ka Fai taps into a colorful world between here and there, between now and then. He offers us a whole series of realities. An elaborate dramaturgy, divided into smaller parts, creates a complex albeit comprehensible composition in which the various worlds may encounter each other.
The viewers can marvel at a whole range of technologies, including live-streaming and pre-recorded videos, combined with the analog dance performance by Amazon Sun and instructions by Choy Ka Fai. Technology does not play the role of fancy tool. Instead, it is a useful and indispensable cornerstone of the performance.
The stage becomes a setting when the scent of incense and the introduction of the members of the live band from Singapore reach the senses. The documentary film on the one-week Shamanism celebration ritual exudes smoke and steam from the screen into the theater.
Interviews with a Shaman and a dancer question the relationship to body, sexuality, and transcendence. Sun sees the connection between Shamanism and ballroom as a gender performance that makes surmounting the body’s own limits and attributes, and even the human condition, a possibility. We are offered the opportunity to experience the role of gods and kings and queens in Shamanism and in the ballroom, without prejudice or interpretation.
As if simultaneously both here and there, we see the main dancer, Amazon Sun, traveling back and forth between documentary film material from a past time and the analog performance of today. Imagination fully unfolds as Sun, dressed in blinking, neon, sensory jewels, engages in a playful, circular dialog with his six-armed god-like avatar on the screen. How far can our being expand? Is there even a limit on possible modulations?
A ritual electric party beat accompanied by shrill text reveals the polyphonic call of Yishun. The show reaches its final climax as three voguers enter the stage and present a ballroom event while dancing to 80s disco songs. The analogy to the film “Paris Is Burning” is now fully appreciated.
“Yishun is Burning” is an ode to the freedom of expression and a prayer for an expanded awareness of ourselves. A diverse, energetic, well cut, and nevertheless respectful journey to the celebratory rituals of our times, where tradition and hyper-reality meet.
English translation by Melissa Maldonado
Photos: “Yishun is Burning” by Choy Ka Fai © Singapore Arts Museum
Concept, Documentation and Direction: Choy Ka Fai / Dramaturgy: Tang Fu-Kuen / Spiritual Presence: Kali and Kuan Yin / Choreography and Dance Performance: Sun Phitthaya Phaefuang / Sound Design and Musical Performance: NADA (Rizman Putra & Safuan Johari) and Cheryl Ong / 3D Visual Design and Technology: Brandon Tay / Visual Artist: Sven Gareis / telematique / Light Design, Installation, Technical Direction: Ray Tseng / Technical Direction Singapore Studio: ARTFACTORY / Stage Management: Sanja Gergorić / Touring Administration: Tammo Walter / Production Manager: Mara Nedelcu / Guest Dancers: Magia Prodigy, Loki, Pavka, Jade Mugisha
TANZPLATTFORM 2022 >>> At Radialsystem, Antje Pfundtner in Gesellschaft performed the solo “Sitzen ist eine gute Idee (“Sitting is a good idea”) on 16 and 17 March. These two texts were written as part of a two-day tanzschreiber writing workshop during Tanzplattform 2022 and under the direction of Mareike Theile, Johanna Withelm, and Alex Hennig. Inspired by a passion for writing and an exchange about dance and dance critique, the authors had an opportunity to challenge and expand their own writing practice. Texts: Heike Brunner, Doreen Markert.Continue reading “Sit-Stay. Re-envisioned.”
Continue reading “Herd Behaviour”
TANZPLATTFORM 2022 >>> “PACK” by Miller / de’Nobili, presented as part of Tanzplattform on 19 March 2022 at HAU2, showcases the virtuosity of its performers, and plays with group dynamics on multiple levels.
Continue reading “Cutting it up on the dance floor”
TANZPLATTFORM 2022 >>> Having premiered in 2020, “Flush” by Sheena McGrandles was shown as part of Tanzplattform 2022 on 16 and 17 March, and takes video-editing techniques as an inspiration. Movement and speech become material to be cut up, folded, manipulated and stitched back together, to form an absurdist patchwork.
TANZPLATTFORM 2022 >>> In “SHE LEGEND”, Carolin Jüngst and Lisa Rykena appropriate the archetypical narrative of the masculine superhero cosmos and reinterpret it from a queer-feminist perspective. The restaging of the 2019 premiere performance takes place on 16, 17, and 18 March as part of Tanzplattform (Dance Platform) 2022 at HAU3.Continue reading “Battle of the Superhero(in)es”
Continue reading “Towards a Broader Openness”
TANZPLATTFORM 2022 >>> Moritz Ostruschnajak’s “TANZANWEISUNGEN (It won’t be like this forever)” was the opening performance of Tanzplattform Deutschland 2022, hosted in Berlin for the first time since its launch 28 years ago. The Deutsches Theater served as the venue for this occasion, showing the work on 16 and 17 March 2022.
All reviews can be read here >>> From 16 to 20 March, the Tanzplattform Deutschland 2022 in Berlin, hosted by HAU Hebbel am Ufer, brings together 13 current and remarkable positions of dance and choreographic creation. Authors and guest authors from the Tanzbuero Berlin’s online review portal tanzschreiber are reviewing the 13 pieces selected for the Tanzplattform 2022 on tanzschreiber.de. Individual texts are written by the participants of the tanzschreiber writing workshop “Texte in Bewegung” under the direction of Mareike Theile, Johanna Withelm and Alex Hennig.Continue reading “tanzschreiber articles of the Tanzplattform Deutschland 2022 in Berlin selection”
Continue reading “Dream With Me”
TANZPLATTFORM 2022 >>> In “CASCADE” by Meg Stuart / Damaged Goods, running 24-26 February at HAU Hebbel am Ufer, a collective dream of time becomes reality — or was real all along? The show is one of the selected performances of Tanzplattform Deutschland 2022 and will appear again 19 & 20 March at the Volksbühne.
Continue reading “Bodies that have fallen out of history”
TANZPLATTFORM 2022 >>> The dance piece “Still Not Still” by Ligia Lewis, which was planned for April 2021 in HAU1, was presented for the time being in film format (in collaboration with film director Moritz Freudenberg) on 11 June and released on Vimeo. The work’s focus is an emotional corporeal mise-en-scène, which relies heavily on humor to express the exclusionary mechanisms of colonial and neo-liberal structures.
Continue reading “Onto the Weight Bench”
TANZPLATTFORM 2022 >>> In “Being Pink Ain’t Easy”, Joana Tischkau gleefully stages gestures and habits of exaggerated masculinity derived from US rap. In the context of this year’s Performing Arts Festival Berlin – still available online until 3 June 2021 – Sophiensæle is showing the successful cinematic product of this previously live performance, which addresses white masculinity by citing Black culture and through conscious clashes.
Continue reading “Forming Bodies / Embodying Forms”
TANZPLATTFORM 2022 >>> Julian Weber’s “Allongé”, which premiered on 31 October 2020 as part of Tanzfabrik’s OPEN SPACES festival, takes the sculptural work of Constantin Brâncuși as a jumping off point, and the movement vocabularies of pole dancing and ballet as its material.
Continue reading “An Oscillator Exchange”
TANZPLATTFORM 2022 >>> Performer, photographer, model, author and speaker Roland Walter was born with a lack of oxygen, causing spastic paralysis. In 2018 he proposed to choreographer Renae Shadler to develop a work together, which led to a research on the creation of a shared movement language. The duet “SKIN” premiered last Saturday 1 August 2020 at Uferstudios.