Monday, 5.5. I 9h30 – 14h I Radialsystem
9h30 – 10h30 Warm Up
group 1: Halle, group 2: Saal, group 3: Studio A
10h45 – 11h30 Feedback session,
group 1: Halle, group 2: Saal, group 3: Studio A
11h 30 – 12h Lunch break
12h -14h A conversation with Sasha Waltz, Halle
Invited by Sasha Waltz, all Biennale participants will spend the last day at the company Sasha Waltz & Guests in Radialsystem, the house where the company works and often performs. The day starts with a short welcome and introduction by Emilie Guerin (Head of Education) and Anja Schmalfuß (Head of Networking & Development). There will be three warm-up offered by company members Maria Colusi, Idan Yoav and long time collaborator of Sasha Waltz and regular guest artist David Zambrano. The warm-ups are followed by facilitated evaluation and feedback formats in regard to the previous days and experiences during the Biennale week.
The visit – and the Biennale – will end with an encounter with Sasha Waltz. This format will start with an overview given by Sasha Waltz of her beginnings as an artistic as well as her further career and development. The second half of the conversation is open for students to ask questions to Sasha Waltz.
Sunday, 4.3. I 13h30 – 15h I Uferstudios, Seminarraum 1
for AK|T members and international guests
Towards the end of the Biennial we invite our guests, who run dance programmes abroad, to give feedback. How did they experience the Biennial? Which concrete further steps would be desirable for the format of the Biennial and its potential for international dialogue?
Facilitation: Nik Haffner
Sunday, 4.3. I 10h15 – 11h45 I Studio 8
Studio 8 is reserved for students who wish to offer training for and with their colleagues. You can decide together what kind of training it will be and announce it beforehand in Studio 12 or come up with it on the spot, and organise it accordingly. The floor is yours.
Sunday, 4.3. I 10h15 – 11h45 I Studio 6
Christopher Matt’s ballet class follows the rules of classical training with a keen eye for the individual needs of the dancers. His classes are characterised by musicality, an organic flow of movement, a strong connection to the floor and space shifting movement sequences. The class combines elements from the French school with Russian style and influences from the English training system.
Christopher Matt has been working as a teacher for different companies and training schools in Europe and the USA since 1995. He leads the classical training of the DANCE ON Ensemble in Berlin and has taught at the Alvin Ailey American Dance Theatre, The Ballets de Trocadero and the Kompanie des Tiroler Landestheaters, among others.
Sunday, 4.3. I 10h15 – 11h45 I Studio 11
Aymeric’s class is based on a high level of classical technique with the main focus being on coordination and musicality. His class gives dancers the freedom to move in space through using the dynamics in the precision of each movement.
Aymeric Mosselmans was born in Lesquin, France. He studied dance at the l’École Supérieure de Danse de Cannes Rosella Hightower, and danced for Ballet National De Nancy (Pierre Lacotte), City Ballet Of London (Harold King), Ballett der Deutschen Oper am Rhein Düsseldorf (Youri Vamos). He has been dancing in the ensemble of the Staatsballett Berlin since 2004.
Sunday, 4.3. I 10h15 – 11h45 I Studio 9
What does an authentic game with gravity look like? Does it exist? What is potential energy and where is it located? How much resistance and letting go do we need? What about falling up, and how small can a micro fall be? These and other questions concerning falling are the subjects of this training, which invites participants to surrender, pretend, beat or meet gravity – who is sometimes a beast and sometimes a magical wizard. The matter of falling can be feared or harnessed into making movement effortless. We will work on disarming our fear and cultivating falling as a primary impulse for movement development and phrase work. We will transform falling into an overall filter through which we perceive our anatomy and structure. You can expect lively contact between theory and practice, hands on work, experimenting, movement research and falling as dancing.
Kira Kirsch is an East-Berlin movement artist, community organiser, mother and curator. She is deeply involved in creating and shaping spaces for people to experience, learn about and sensitise their mind-body-movement continuum. She is a pioneer, teacher and researcher of the Axis Syllabus (AS) method, a co-organiser of the Nomadic College at Earthdance, teacher of laboratories and has built a community for AS research.
Sunday, 4.3. I 10h15 – 11h45 I Studio 3
Jennifer Mann and Heidi Weiss teach the weiss-mann technique, which they developed through their years of artistic collaboration. Its roots lie in modern dance, but its expression breaks past molds, becoming a fusion that is structured, yet highly physical and dynamic. With influences from Yoga, Alexander Technique and Release, the class explores a balance between one’s technical skills and the capacity to flow and move through space freely. Dancers are continually encouraged to experience their energy, and then to consciously direct it into space. Particular movement themes such as rhythm and musicality, quick directional and level changes, following initiation points (the fingertips, toes, hip, sternum, etc.), or floorwork are explored. Dancers are challenged to take risks, to expand their boundaries, to build stamina and to cover more space. Soulful music motivates, inspires and supports the entire class.
Heidi Weiss is a teacher at Tanz Akademie balance 1 and at KARI Dance in Kempten. She was a Professor at Palucca Hochschule für Tanz Dresden from 2004-07. She also teaches training for professional dancers and companies such as Sasha Waltz and DV8. She has been a guest artist in residence in the USA, Prague, London, Salzburg and New Delhi. She choreographed and performed with Group Motion from 1992-96. In 1997 she moved to Germany and founded Zen in theBasement Co with Jennifer Mann with whom she also developed the weiss-mann technique*.
Sunday, 4.3. I 09h30 – 10h I Studio 14
For BA and MA students as well as AK|T members, international guests and workshop leaders.
When Deborah Hay answered this question simply with “Dance is my form of political activism. It is not how I dance or why I dance. It is that I dance.”, what did she actually mean?
How is dance political in the 21st century?
From feminism to the ecological turn in the performance arts, from body representations to the ethics of working in the studio, there are numerous examples of how you can look at dance as political.