The piece addresses the necessity to talk about the paranoia and fear of violence to which we are constantly subjected and format our bodies and actions. The piece starts from a personal memory of the author and develop in an imaginary world of woman and bird, dancing newspaper sculptures that performs a lonely attack and is attacked at the same time. Is the violence only coming from the outside world, from the constantly bloody news? How much it can be present in our own soul? Do we create for ourselves the paranoia? Which tonus does this body develop? The experience of living in a big metropolis – São Paulo, Brazil – finds expression and echo in Berlin, where the creation of the piece turns concrete: urban spaces, train stations, open squares, where one is confronted with another and with itself.
The performance was presented in several venues as: Stage production (Festival Nômade de Dança 2012 – SãoPaulo/BRAZIL, Selva Festival Hamburg/GERMANY 2018 and Monsun Theater 2018 Hamburg/GERMANY) Alternative spaces (Transformance Festival 2011, Crack Punkt Tanz Festival 2011, and Festival Wedding at Staatsgericht Moabit 2013 – Berlin/GERMANY) Street Intervention (Ausufern Festival 2012 and Brotfabrik 2018 – Berlin/GERMANY)
Music: Henrique Iwao Thanks to: KIM Post School, Carolina Nóbrega, Rodrigo Caffer, 77StolenFish, Barbara Freitas, Tanzbasis.
Hommage, reverse anthropophagy, transformation. In search of cultural images the artist Andrea Krohn got inspired by the traditional history of the “Boi Bumba” and particularly with the situation of the original inhabitants of Brazil. For the natives, the identity is deeply connected with their physical territory. The artist questions the expectations that arises from her body image and performs a ritual based on the text “The ox and his herdsman” in which the Chan Master Guoan Shiyuan describes through haikus a way “to become yourself”.
The performance was presented in BERLIN (Ada Studio, Theaterhof Naunynstraße, AckerStadtPalast) FRANKFURT (Sommerwerft Festival) HAMBURGO (Sprechwerk Theater) FRANCE – ST ERME (Performing Arts Forum) and in BRAZIL (Porto Alegre, São Paulo and Belo Horizonte – supported by the ministry of culture of Hamburg and Palmas, Belém, Fortaleza, Maceió, Natal, Recife, Olinda and Salvador, in a tour supported by the Klauss Vianna Prize/BR and the Goethe-Institut eV )
Thanks to: Coletivo Grupo 8, Movedanta, Jens Baudisch, Tanzbasis
HERSTORY / BANANA FIGHTING
Attention! Stereotypes of Dancing Women – Breathe in, breathe out! Who knows which the first choreographer was? Are there any traces or signs in the history of dance that could tell us which woman was first recognized as a doer (producer)? I assume that the majority of dance teachers are women. In the dance halls are still mainly girls taught – or is that just a stereotype? The dance scene seems to be predominantly female. A world in which women have more power. Amazingly, and unlike other art genres. But is that really true? Do the women “wear the pants” in the dance?
The project Herstory – Ballbreaker is based on several points: Firstly, the breathing of the performer as the source of her movement. Second, it refers to various interviews who serve as a sound carpet for the performance. As a third point, the project is dedicated to an intensive examination of the history of dance and the images of famous dancers / choreographers from the so-called free dance period, from the beginning of the 20th century. The goal of this performance is to question the physical of power and femininity in dance and dance history.
Thanks to: Carolina Nóbrega, Tanzbasis, Eschschloraque, English Theater Berlin, Performance Studies Hamburg