germany (10)

Dance Platform 2018 
March 14–18, 2018 

Bullmannaue 20a 
45327 Essen
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The most noteworthy positions in contemporary dance, choreography and performance: The Dance Platform 2018, organised by PACT Zollverein, will take place from March 14–18, 2018 in Essen and Gelsenkirchen.

Dance Platform
Initiated in 1990, the biennal Dance Platform constitutes the most important event on the contemporary dance calendar in Germany. For the 14th edition of the Dance Platform, an expert jury has selected 13 impulse-setting works created within the last two years. Alongside PACT Zollverein, the festival organiser and hub, venues include a range of former industrial spaces across the UNESCO World Heritage Site Zollverein, as well as the Aalto-Theater, in Essen, and the Musiktheater im Revier, in Gelsenkirchen. The programmedeveloped for Dance Platform 2018 offers a resonating space for the most pressing issues of our time. The featured productions all echo urgent questions and celebrate the emancipatory power of dance and choreography and the diversity of bodies and identities. They also stand for the many other choreographic works from the past two years that have examined aesthetic, social and existential concerns in Germany and invite a shift of perspective. Alongside the performances, the essence of the Dance Platform lies in interaction and mutual exchange. In the mornings the Assembly at the SANAA building will host debates on the social dimension of choreography and dance. The Artist Summit–initiated by the artists’ group HOOD–will reflect on current developments, work on new perspectives and hold discussions with thirty invited artists. Each night after the performances, the Late Night Studio Talk, filmed live, will offer an open forum for reflection, music and shared activities.


Claudia Bosse / theatercombinat, Boris Charmatz / Musée de la danse, Claire Cunningham / Jess Curtis, CocoonDance Company, DANCE ON ENSEMBLE / William Forsythe, Grupo De Rua / Bruno Beltrão, Eisa Jocson, Xavier Le Roy, Ligia Lewis, Eszter Salamon, Richard Siegal / Ballet of Difference, Sasha Waltz, Julian Warner & Oliver Zahn / HAUPTAKTION

PACT Zollverein
The Dance Platform is co-organised by the community of institutions who have hosted it in the past and who actively support the promotion of contemporary dance in Germany. As of 2018, this includes PACT Zollverein.

PACT Zollverein is an international venue for contemporary arts housed in the former colliery shower building at the UNESCO World Heritage Site Zollverein in Essen. PACT produces and co-produces new dance and performance works, regularly presents guest performances, runs an international residency programme as well as diverse exchange formats connecting regional and international artists and academics working in a wide array of disciplines. Since its foundation in 2002, PACT Zollverein has become a focal point for innovative developments in the fields of dance, performance, theatre, media and the visual arts at the interfaces between science, technology and society. 

The complete programme, tickets and comprehensive information about the Dance Platform 2018 are available at 


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July 7-12, 2014 

The Live Legacy Project seeks to share the practices and techniques sprouted by the 1960s American avant garde and that migrated to Germany, often through the Dutch institutions (e.g. School for New Dance Development and European Dance Development School). The project reveals these revolutionary influences in German Contemporary Dance training, and highlights the visibility of such corporeal values in choreographic work and practice. What exactly are these embodied philosophies, and what kinds of cultural shifts have been enabled by their transmission?
The Live Legacy Project celebrates this movement by bringing together choreographers, dance artists, scholars, and educators, to converge in a six-day symposium. They will share their movement practices and stories through intensive workshops, lectures and conversations, and performances.
Funded by Tanzfonds Erbe - an initiative by the The German Federal Cultural Foundation. 

Come to tanzhaus nrw in Düsseldorf and join us for this landmark event.


Online registration from March 15, 2014. Options and Fees. 

A) Symposium with Workshops
Fee includes morning & afternoon workshops, lectures & conversations, corresponding events, performances, lunch and The Underscore with Nancy Stark Smith & Mike Vargas (music). 
without Lunch: 190 - 240Euro
including Lunch: 230 - 280Euro
B) For daily visits:
 8Euro. Please note: Lunch reservations only possible until June 15th.

Live streaming lectures & conversations, corresponding events: 6Euro/Day

C) Evening Performances
Tickets for evening performances will be available through the website of tanzhaus nrw: 
For more information:

Symposium Guests are:
Ric Allsopp, Angus Balbernie, Agnès Benoit-Nader, David Brandstätter, Fabian Chyle, Trude Cone, Jess Curtis, Joao da Silva, Pauline de Groot, Ingo Diehl, Benno Enderlein, Malgven Gerbes, Yvonne Hardt, Dieter Heitkamp, Ines Heckmann, Peter Hulton, Bernd Ka, Irmela Kästner, Thomas Kampe, Eva Karczag, Gabriele Klein, Stephanie Maher, Nina Martin, Gisela Müller, Martin Nachbar, Lisa Nelson, Mary O'Donnell, Peter Pleyer, Ka Rustler, Isabelle Schad, Barbara Stahlberger, Nancy Stark Smith, Silke Z, Alexandra Waierstall and Gabriele Wittmann.

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August 13-23, 2011

During ten days in August, the international Interaktionslabor in Göttelborn collaborates with XMLab and Donlon Dance Company on creating a new PERFORMANCE ACADEMY, a shared platform of workshop spaces and research facilities for performance-media design, interactional and wearable concepts, and investigations of gestural processes, protocols, and social choreography.

With its partners XMLab and Donlon Dance Company, Interaktionslabor shares the sense that the concept of research should be opened up (again), and aims to acknowledge the relevance of experimental treatments of actuality – of forms of collaborative creation – that may take us beyond the perspectives and protocols of (established academic) inquiry as we know it. Which is why we have chosen gesture as focus of the inaugural workshop – gesture as practice that is at once aesthetic, corporeal, and political.

The workshop in August will inaugurate a 12-months series of performance and research events open to individual, collective, and institutional actors especially from the Greater Region (Belgium, France, Luxembourg) to facilitate the sharing of approaches, experiences, and reflections. The events are varied, including workshops, hacklabs, and symposia, but will be organized under the common umbrella of the PERFORMANCE ACADEMY.  The new academy plans to include exhibitions and concert/installations in an open platform for the exchange of new performance and media work; locations for these events include venues in Saarbrücken and on the coal mine campus in Göttelborn.

Performance Academy 1

August 13-23, 2011 –
summer residency
enrollment € 400 [concs 300]

On location in the former Coal Mine Göttelborn
& Media Gallery HBK Saarbrücken/Academy of Fine Arts Saar , Germany     //

Facilitated by Johannes Birringer, in cooperation with Soenke Zehle (XMLab) and Marguerite Donlon (Donlon Dance Company).

contact: or
Deadline for applications: July 15, 2011.


XMLab has a research focus on experimental media and new forms of aesthetic communication, with a particular interest in the performative and play-based dimension of digital technologies. In  2011, our focus is on the question of gesture – as aesthetic practice, as re-engagement of the political, as way to reflect on synaesthetic experiences, and, eventually, as (non-representational) curatorial perspective. The research context includes experimental approaches to embodied/physical computing (such as XBox Kinect), to the constitution of (public) space, and more generally technologies of play.

Donlon Dance Company is based at the Saarlaendisches Staatstheater (State Theatre) in Saarbruecken, and is a young, exciting, innovative company attracting dancers of the highest calibre. The performers who work with Marguerite Donlon, the dynamic Irishwoman who was appointed Ballet Director in 2001, come from all over the world –Germany, France, Spain, Portugal, Poland, Japan, Korea, China, United States and Argentina.  One of Marguerite Donlon’s aims is to promote European exchange in dancing and bring other high standard choreographers to Saarbruecken, ranging in style from the wild queen of pop Constanza Macras to world renowned choreographer Jirí Kylián. The company is also working on several projects to be shown not just within the theatre but also on different locations in collaboration with a variety of cultural institutions in the region and beyond. Local artists from the Saarland have been invited to work with the company.

Interaktionslabor is a laboratory for interactive media, design, and performance, founded by Johannes Birringer in 2003 on the site of the former coal mine Göttelborn (Saarland), and developed over the past nine years into an annual summer residency-workshop for performers, media artists, filmmakers, engineers and writers from different artistic and cultural backgrounds, always open to participants’ ideas, processes and project proposals that nurture collaboration and research as well as the building of transcultural networks. At the end of the workshops, which are housed in the beautifully renovated industrial spaces of the Coal Mine (participants also live in new Guest House on the mine campus),  Interaktionslabor has exhibited works in progress as well as co-produced new installations or performance later premiered in other countries. The lab has been invited to Brasil and the US, and now enters into a new phase of collaborative research exchange and partnership across regions.
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Video about Tanzplan Dresden, Germany
(Mostly in German)

Watch live streaming video from dancetechtv at

marlon barrios solano, producer will be an embedded Vlogger
@ Tanzplan Dresden making interviews, lertures and Live streaming direct from

muse 010

Interdisciplinary Workshop for professional and advanced dancers
July 26th - August 6th, 2010
Palucca Schule Dresden – Hochschule für Tanz

STAY tuned!

About the workshop!

Getting back into shape is the focus of Tanzplan Dresden’s fourth Summer Workshop! Do you want to get trim once again after a well-earned summer break? This two-week course programme offers a wide range of training at various levels in contemporary and classical dance, as well as courses in improvisation. The classes take place in studios at the Palucca Schule and are taught by dance teachers with international reputation. Most instruction is in small groups to ensure that participants receive intensive individual attention. This year’s muse 010 Summer Workshop instructors include Prof. Jason Beechey (Rector of the Palucca Schule Dresden), Anton Lachky (Les Slovak ) and Marion Ballester (e.g. Rosas). Furthermore, during the Summer Workshop three young choreographers will also be undertaking a Creative Residency at the Palucca Schule and will enrich the evening programme with their choreographic works and showings. Participants can put together their own personal course programme. Small groups guarantee intensive individual attention. We recommend that you book early as the number of participants is limited and places are given on a ‘first-come, first-served’ basis.

Summer in Dresden – come and be kissed by the Muse in the city on the Elbe!
Yours sincerely Tanzplan Dresden

Watch live streaming video from dancetechtv at

Watch live streaming video from dancetechtv at

Watch live streaming video from dancetechtv at
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Informations according residencies for the first half of 2010:Download | PDF 0.2MB1 February 2010 (post-marked) is the closing date for applications for residencies for the second half of 2010 (August until December 2010).The program Tanzplan Potsdam: Artists-in-Residence offers international choreographers the opportunity of several weeks work residencies in the fabrik Potsdam.Proposals for research-oriented residencies from the fields of dance and choreography that would include collaborations between different artists, theorists as well as experts from other disciplines or which formulate an interest in such dialogues in the framework of a concrete research process will be particularly supported.The residencies provide, where appropriate, a rehearsal studio at your sole disposal. Accommodation is provided at no cost in guest rooms at fabrik or in a guest flat in the centre of Potsdam. Residents receive a scholarship between € 300,- and € 375,- per week per person (if the residency includes not more than 4 participants). Residencies are possible between 2-10 weeks maximum.Furthermore, Tanzplan Potsdam covers the costs for the one-time round trip to Potsdam and can partly cover material-/production costs. Individual guidance during the residency is possible and can include the research and distribution of contacts and possible dialogue partners as well as organizational, technical and artistic advice.Applications should include a residency proposal and information about work to date. Postal submissions only to:fabrik PotsdamTanzplan Potsdam: Artists-in-ResidenceSchiffbauergasse 10, PF 600607, 14406 Potsdam, GermanyApplications accepted in English or German.Applications postmarked after the deadline will not be accepted.All complete applications will be considered and replied to in writing (by e-mail). Residents are selected by a panel. Please note that we can unfortunately not return your application material to you.Contact: fabrik Potsdam, Ulrike MelzwigTel. +49 (0)331 2800314, e-mail:
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Raimund Hoghe is certainly one of the most intriguing dancer and choreographer in contemporary dance these days. I had an opportunity to interview him in May, during Queer Zagreb Festival, where his company performed ‘Boléro Variations’.Raimund Hoghe always pushes the boundaries of dance perception through profound and minimalist way of analyzing thingz. The public and dance experts from Ballettanz Magazine obviously recognized this by giving him The Dancer of the Year Award in male competition for the season 2008.

Raimund Hoghe, photos by Rosa Frank (c)

I really have to mark here that in female competition the same award was given to ex-ballerina Sylvie Guillem. They are both completely different in bodily physics and kinetics, but the result is actually the same. The result is strong and authentic.I already blogged about ‘Boléro Variations’ I saw back at Queer Festival, so I’m letting you to Mr. Raimund Hoghe and his ways of seeing thingz on the stage and in life…

Raimund Hoghe, photo by Rosa Frank (c)

While I was watching your performance ‘Bolero Variations’, I constantly thought about the line: tinny little thingz… You like to ‘dig’ through those hidden moments in our lives… exploring society and its reflection on your own inner landscape… What was the initial trigger that has brought you to this?RH: It’s different from each piece, but I don’t make pieces with big effects, for example. I’m not interested in virtuosity or how people can jump or do incredible things. I’m interested in simplicity, so very simple and the personality of dance. To share with audience the quality of dancers, and there are these very little things; and sometimes maybe you are wondering why it’s interesting?For some people, of course, it’s not interesting, but for many it’s interesting. Like for me, last time when I was here in Zagreb, three years ago in 2006 with ‘Swan Lake, 4 Acts ‘, there was a 3-year old child in the performance. And this child didn’t want to leave the performance in the break, because it was so interested. The child wanted to see the whole story. The mother wrote to me a letter and this child had very interesting comments. It was also a long piece. So, for some adults it’s very boring, for a 3-year child is different. It’s different for each person.

Lorenzo De Brabandere and Raimund Hoghe

Photo from Tanzgeschichten by Rosa Frank (c)

You have spent many years working with Pina Bausch … her pieces have a specific dramaturgy… and the set of dancers in your piece reminded me on some performances you did with Pina… having a strong female character on the stage… Ornella Balestra’s character reminded me on Mechtild Grossman…RH: Yeah, but it’s very different from Pina’s work now, because it’s much more entertain and light, not too long; all dancers are more or less young. So, I’m interested just in strong personality. And now, my works could be compared with early works by Pina, not with her works from today. Because she is working a lot with video now, and older pieces were used in films, too. I don’t use this kind of technology.And, the roads are different, like in Pina’s dance pieces women are women, and man are man. So, women have long hairs, very beautiful colourful dresses moving like women. Man wear white shirts with trousers, like this classical image of man and woman. I’m not really interested in this.

Ornella Balestra, photo by Rosa Frank (c)

People tend to stuck when they try to use canons of classical dramaturgy in contemporary dance… As dramaturge how do you make this distinction, because your field is dance dramaturgy? You are directly connected with the scene that coined the term Tanz theater…RH: For me, in dramaturgy you have to come from one point to the other and you have to know why. That’s something everybody has to find out. There is no recipe or so. For me it has to be clear how you come from one point to the other, and that you can repeat it easily… this outthinking. The dramaturgy has to be so clear, that you can just jump into the piece.We don’t have long rehearsals before performances. It’s just one day, but people do different things… Maybe one piece is for one night play and then you have one rehearsal. And it is possible, because for me, and also for dancers, the dramaturgy is very clear. You don’t have to think about it. In many dance pieces you see today, they have to sing or think a lot what is coming next. In my work you have to know why you are here.

Photo by Patrick Mounoud (c) taken from fipa

How would you describe your work with Pina Baush?RH: It was very interesting to work with her. People talk about her and her work in terms of personality and strong person. This is very personal related, but it could be said also for her art form. It was not that sort of work where you present only the feelings.Could you be so kind to describe a little bit your working process… from the beginning till the end…RH: I’m very inspired by music. So, this is the point, when I’m listening the music! I made a piece on Maria Callas, and she sang about all that: If you really listen to the music, the music tells you how to move. And this is what I’m also trying. Then this dramaturgy is coming together, I feel it. I just have to do ‘this next – this next – this next’…In this piece about Callas ‘36, Avenue Georges Mandel’, she wasn’t visible in the first performance. But I had a feeling I missed something and had to think why is this happening and then I put this motif in it as a scene or an aria or something.

Emmanuel Eggermont and Raimund Hoghe, photo by R. Frank (c)

How do your dancers react to these processes because they are all very physical, but seems like there is always a layer of trust?RH: Yeah, the trust. So, that everyone can be exactly what they are. For me, it’s also important that there is no competition between dancers. Everyone is so different, you can’t compare them, each has its own quality. For example Lorenzo (De Brabandere), who was also in ‘Swan Lake, 4 Acts’; and Emmanuel (Eggermont) have really big part in this piece. They cannot be compared. They have very different backgrounds, from education and so. This is important, that there is no competition.It’s interesting how they are bringing different experiences…RH: Yeah, different experiences … like Lorenzo, who wanted to become a football player, and he was underway to football player; and Emmanuel not at all. And Yutaka (Takei), the Japanese dancer – he did also martial arts and he have this background. Nabil (Yahia-Aissa) is a medical doctor and dancer. They all have this different backgrounds.

Charlotte Engelkes and Raimund Hoghe, photo by R. Frank (c)

Yeah, they enriched the performance…RH: Yeah! This is something you might feel when you’re in the audience – different personalities. And it’s important that they respect one another. This is also not so often on the stage.I got the impression that their bodies are not talking differently, not in a sense of different languages, but it’s something in their way of presentation, some thin line that makes them different…RH: Yes. I’m interested in which way they are different, and also to keep this diversity. This is one main point, you have this diversity – not one body, the ideal body.

Raimund Hoghe, photo by Rosa Frank (c)

One of your main drive is music, too. When did you discover this, or was it the sound itself that attracted you, or rhythm, or classic music…RH: …also popular music. It’s very simple. I grew up surrounded mostly by popular music.Which artists inspired you?RH: Oh, there are so many of them. So many movies… For example, Maria Callas inspires me, because she was so aware of the movement. She talked a lot about it. And also Japanese dance, Butoh dancers like Kazuo Ohno, Sankai Juku… I know them well, and this is something I’m very interesting in… I was also very interested in this concept of Bauhaus. This combination of fine arts, dance, theatre…

Raimund Hoghe, photo by Luca Giacomo Schulte (c)

I can relate your work with Butoh, because seems like you have similar aesthetic ground and this ‘less is more’ approach….RH: Yeah, less is more. I’m really into this, thinking about this very often. I’m into artists like Joseph Beuys, Christian Boltanski, Wolfgang Laib and his installations…I know you like Pasolini…RH: …and Pasolini, of course. So, there are many, many artists… from music and literature… I like German and Russian authors. I like a lot Anton Chekhov. But there are also some pieces by Maxim Gorki. In German literature I like Johann Gottfried von Herder, Heinrich von Kleist… Many, many artists…Mr. Hoghe, Thank You Very Much!(Originally published on blog Personal Cyber Botanica:
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Wand 5 invites you to submit your entry for the competition of the 23rd Stuttgarter Filmwinter in the categories Film/Video, New Media or Installation.Requirements:FILM & VIDEOContributions to the film/video competition must include a preview DVD or VHS tape (PAL or NTSC). Films and videos submitted to the »International Short Film Competition« can't be longer than 30 minutes.Submitted films and videos being longer than 30 minutes may run in a special programme outside the competition.MEDIA IN SPACE (INSTALLATION), PERFORMANCES, WORKSHOPSPlease enclose detailed plans, information, technical specifications and a calculation.There is no fee for works selected for the competition programme.ON-/OFFLINEOn-and Offline works on software, net-art and virtual communities may be submitted for this section. Online work can also be submitted via www.filmwinter. de.Prizes:TEAM-WORK-AWARD RITTER SPORT endows an award amounting 2.000 Euro for a film and video production realized by a team.NORMAN 2010 Award of the jury for film and video of 4.000 EuroAWARD FOR MEDIA IN SPACE Award for Media in Space (installations)AWARD FOR ON-/OFFLINE This award goes to an independently produced work in the field of software, net art or virtual communities.WAND 5 AWARD Our legendary Wand 5 team special price award!AUDIENCE AWARDS The prizes for the best short film and the best media-installation in the international competition will be awarded by the audience.We kindly ask you to send us a printed and filled copy of the application form along with the preview material of your work. Application shall be mailed to our address.Application formDeadline: 01/09/09Contact:Wand 5 e.V.Friedrichstr. 23 A70174 StuttgartGermanyPhone: 0049-711-99 33 98 0Fax: 0049-711-99 33 98 10E-mail:
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November 28, 2008 VIA dance-tech list Choreographic Captures 2008: Dear Artists and colleagues, We’re pleased to announce that the website is now online. The website contains about 100 choreographic short films which were submitted to the first international Choreographic Captures competition in 2008. Additional films will be added next year. Choreographic Captures, each of which is maximally sixty seconds long, reclaim the format of the advertising clip for a new and purely artistic purpose. Choreographic Captures are art in public space. The five prizewinning films from this year’s Choreographic Captures competition are now also being shown in selected cinemas, where they’re screened at an unexpected moment: in the midst of the series of advertising clips that precede a feature film, e.g. between ordinary ads for jeans or cars! Shown in the context of such commercial messages, the Captures entertain and surprise movie audiences: entirely in accord with the motto “art for those who didn’t ask for it!” For more information about the project, the upcoming competition in 2009 and the participating cinemas, please visit, where you will naturally also find all of the short films – so there’s no need to wait until the next time you go to your local cinema! Visit the website and discover exciting films. Perhaps they’ll inspire you to create a Choreographic Capture of your own for next year’s competition in the spring of 2009. Of course, we would be pleased if you would forward this link to all your friends and colleagues who might be interested in the project as well. Let’s bring art back to life! Enjoy the films! visit now
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I am in Dresden for the Post Me New ID Forum, an event framed within the CY NET art_08. Last night was the opening and awarding to artists with a mild protocol with the presence of the minister of culture, many other officials and of course many artists... I was impressed by the beautiful and historically meaningful building where the festival is taking place: HELLERAU


See more information in The Project Gutenberg EBook of The Eurhythmics of Jaques-Dalcroze, by Emile Jaques-Dalcroze
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Find more videos like this on interviewed via Skype dance and technology pioneer Robert Wechsler, director of Palindrome. He is a choreographer, dancer and developer of interactive ways of performing using new technology. His interest in sensors and electronic devices dates back to the 1970's when he used hand-held electronic devices to generate sounds through his movement on stage. This was in Ames, Iowa, in the United States where he was studying genetics. A move to New York City and a ten-year dance training (SUNY Purchase, Merce Cunningham, Maggie Black, ...) did little to lessen his interest in science and technology. For his choreography and dancing he has been honored with a Fulbright Fellowship, a Nürnberg Innovation Award (2000), CynetArt (first prize for multi-media achievement, 2001), first prize for best interactive art at the Berlin Transmediale (2002) and was second place for the Jury Prize of the Monaco Dance Forum in 2006. In 2004, Wechsler designed England's first masters degree program in digital performance at Doncaster College which he head for two years. He is the author of articles concerned with dance and new media for Leonardo Magazine, IEEE Technology and Society Magazine, Ballet International, Dance Magazine, Dance Research Journal, Nouvelle de Danse, Der Tanz der Dinge and others. His first book, "Motion Tracking -- a practical guide for performing artists" is scheduled for publication later this year. Video Editing courtesy of Ashley A. Friend
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