[ 17.01.2023 ]
Stephan Brinkmann, Professor of Contemporary Dance at the Folkwang University of the Arts, gladly accepted the opportunity to [...mehr]
News
An dieser Stelle können Sie Neuigkeiten des Deutschen Tanzfilminstituts Bremen auf einen Blick verfolgen.
Ein Event-Kalender informiert Sie darüber hinausgehend über zukünftige als auch gewesene Veranstaltungen und weitere Aktivitäten des Instituts.
Ein Klick lohnt sich.
[ 20.01.2023 ] My year at the Deutsches Tanz Film Institut came to an end, and I leave with the bittersweet feeling of [...mehr]
[ 12.01.2023 ]
Inspired by a quote by Christian Drosten, according to whom overcoming the Corona pandemic is like dancing with a [...mehr]
[ 13.12.2022 ]
In this lecture, Dorothée Hahne talks about her work as a musician and as a composer for dance [...mehr]
[ 06.12.2022 ]
German choreographer Reinhild Hoffmann, winner of the Tanzpreis for Lifetime Achievement in 2022, talks about her solo performances, focusing [...mehr]
[ 01.12.2022 ] How much longer will we be able to control the technologies we have created? This is the question that choreographer [...mehr]
[ 30.11.2022 ]
In Talk2Me4D, Wayne Götz and Lucy Flournoy, both physical theatre performers, want to explore the possibilities and limitations of [...mehr]
[ 07.11.2022 bis 11.11.2022 ] [...mehr]
[ 25.10.2022 bis 17.01.2023 ]
This new digital mediation format is being developed by the German Dance Film Institute Bremen thanks to the support [...mehr]
[ 18.10.2022 bis 31.01.2023 ]
Funded by the dbv German Library Association, Heide-Marie Härtel is developing a new digital mediation format for students at [...mehr]
[ 15.10.2022 ] The German Dance Prize is the most prestigious prize for dance in Germany and has been awarded annually at a [...mehr]
[ 14.10.2022 ]
The 2022 Dance Prize winners:in conversation about their work with : Marco Goecke, Christoph Winkler, Reinhild Hoffmann and the [...mehr]
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Inner Suspension (1). With Susanne Linke in Berlin |
Dreharbeiten | Susanne Linke / Deutsches Tanzfilminstitut Bremen | Berlin | D | 14.-16.6.2022 |
Masters are truly great for what they pass on to their students: they leave traces that settle over time, becoming footsteps that others can walk in the future. The Deutsches Tanzfilminstitut team went to Berlin to document the “Inner Suspension” training programme, developed by dancer and choreographer Susanne Linke. The aim is to record and pass on this basis of her working method. An immersive experience with the great choreographer and her closest collaborators.
A special place for a special event: in Poolhaus Blankenese in Hamburg, the 25th anniversary of KOÏNZI-DANCE e.V. is celebrated with a show. Founder and dedicated chairwoman Dr. Nele Lipp curates an interdisciplinary show to which 19 artists are invited to show their works on the theme “Books as an endangered species”. A festive program frames the exhibition: a discussion with three accomplished speakers, the premiere of the film “Bibliothèque sac à dos” by Dr. Nele Lipp and performances by actors: inside the film deal with printed works of various genres. Another highlight will be the auction, during the finissage, of the artistic backpack libraries created for the film by artist Burkhard Scheller.
Program
June 18, 2022
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19:00: Opening with film premiere “Bibliothèque sac à dos” by Dr. Nele Lipp and live performances
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June 26, 2022
17:30 Film: “Bibliothèque sac à dos” by Dr. Nele Lipp.
19:00 Discussion: are books an endangered species? with Michael Diers, Rainer Moritz and Wilfried Weinke
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July 01, 2022
17:30: Film: “Bibliothèque sac à dos” by Dr. Nele Lipp
19:00: Finissage with performances and auction of backpack libraries
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Registration and other dates in consultation: info@ koinzi.de
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To all events: Admission free
At the exhibition celebrating the 25th anniversary of KOÏNZI-DANCE e.V. both members and artists invited to participate will show works on the given theme. On view are the following works:
Angela Breidbach – Ferdyfilm (StopMotion version), 2020/2021
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Noam Ben-Jacov – Altar for a Book-Time, 2022
Tom Bunk – Ferdyfilm (comic version), 2020
Christel Burmeier – Röntgen, 2020
Doris Cordes-Vollert – Endless Text, 1997
Free in empty space floats a hole, 1998
and others.
Achim Lipp – From the life of books. Habitat cabinet, 1973/2021
Nele Lipp – Bibliothèque sac à dos (film, 61′), 2021/2022
Pierres Mémoriales, 2021
Ferdyfilm. A complete fragment (photo version), 2020
Ferdyfilm. A complete fragment (film version), 2021
Volker Lippens – Simulacra of education, 2021
Hannes Möller – Burn books, ash books, fragments, 2017
Wittwulf Y Malik – Ferdyfilm (image and music video version The Duel), 2020
Pino Polimeno – Libri Posati, 2020
Burkhard Scheller – library backpacks, 2021
Hajo Schiff – SHIP MESSAGES – books and metatext, 2022
Ursula Wagner / Burkhard Scheller – Ex Libris and book dances, 2008
Simon E. Waßermann – V e r s c h w I e g e n v e r s , 2022
VA Wölfl – The Chrome and You (scene photo), 2006 and Woodstock, 2020
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The team of the German Dance Film Institute Bremen congratulates Dr. Nele Lipp, founder and longtime chairwoman of the interdisciplinary association KOÏNZI-DANCE e.V. and is pleased to document the vernissage on film.
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(Deutsch) DANCING IN THE STREETS 2022 – Raus in den hellen Tag |
Veranstaltung | LV TanzSzene Bremen, TanzRAUM Nord gUG,+ steptext dance project e.V. | Bremen. Marktplatz | D | 17.+18.6.2022 |
Sorry, this entry is only available in Deutsch.
“With tanz:digital, the umbrella organization Tanz Deutschland, in cooperation with dance archives, production houses and the model projects funded within the project, is pursuing the goal of making dance a virtual and immersive experience and presenting it online as part of the NEUSTART KULTUR program.
With tanz:digital, dance artists*, dance ensembles and institutions of dance (venues, archives, dance schools, mediation projects, etc.) are to be strengthened in the medial presentation of artistic productions.” Dachverband Tanz Deutschland
The German Dance Film Institute Bremen has made it its task in this framework to build a bridge between the motivation of the realizing artists:inside and the thus focused circle of users. In concrete terms, this means that “making ofs” will be created for about 10 individual projects, which will prepare potential users, whether they are tech-savvy or not, for what to expect if they want to entrust themselves to one of the many new offerings.
The Making Ofs will follow the highly unique production process of each of the selected projects on one day of filming, making the choice of technical, aesthetic, and possibly educational means accessible to a wide audience in a film of about 10 minutes about each project. Interviews with the artistic directors and other project participants will complement the film report.
The German Dance Film Institute Bremen will accompany selected projects as part of “tanz:digital II”
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tanz digital is a project in the umbrella organization Tanz Deutschland funded by the NEUSTART KULTUR program of the Federal Commissioner for Culture and the Media.
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(Deutsch) TANZ Bremen Festival 2022 Bühne frei für TANZ Bremen 2022 |
Dreharbeiten | TANZ Bremen | Bremen | D | 4.5. bis 15.5.2022 |
Sorry, this entry is only available in Deutsch.
Art wants, art should, art may, it must! It spreads and becomes loud when a dance performance is called ART ATTACK. With this group piece, the experienced duo Niv Sheinfeld and Oren Laor from Israel illuminate a relationship: that of the society, perhaps represented by the audience, with the art and with the artists. The performers pose and run, tumble, dance and entertain so that the sparks fly. Dynamism! Variety! Eyes open! Music drives into the limbs and memory.
“We want to praise the aggressive movement, the fiebrige sleeplessness, the running step, the somersault, the slap in the face and the punch in the fist”, wrote Filippo Tommaso Marinetti in Manifesto of Futurism in 1909. Manifestos play a crucial role in ART ATTACK, written by artists of different professions. None of them has the last word, and what is serious and what is not keeps the attack in the balance. “We must stop despising desire,” demanded Valentine de Saint-Point in the 1913 Lust-Futurism counter-manifesto.”
NIV SHEINFELD was a dancer and choreographer for Kibbutz and Batsheva Dance Company, among others. OREN LAOR studied acting and drama at Tel Aviv University. They have been working together and touring worldwide since 2004. The quartet ART ATTACK premiered in Tel Aviv in April 2021.
The team of the German Dance Film Institute Bremen documents this dance performance.
“Cemeteries are gardens. Something grows. Someone dies. “Everything returns to the earth,” we are told at one point in this multi-voiced performance GRAVEYARDS AND GARDENS. Canadian dancer and choreografin Vanessa Goodman created it with New York-based musician and composer Caroline Shaw. The premiere was in January 2021 (online due to pandemic). Vanessa Goodman takes the solo role in the space, which is defined by a round of antique lamps, like heirlooms, side by side with green plants in earthen pots and technical equipment, old and new. Cables. Connectedness. The sounds have a life of their own. Are they placeless? Sea, song, organ, piano, violin, clacking and snapping, speech. They point to their sources, where they were recorded, and they click something in the brain of the listener. Bach, Chopin. Return. Some sounds are also made on stage, feeding the floating web of traces in the air. In addition, the dance that hears the grass grow and becomes more violent, as if nudged by gusts, like echoes or like mechanically switched, click, click. This is how remembering works.” DanceBremen
Pulitzer Prize winner CAROLINE SHAW works for films, for music ensembles, dance companies, opera houses and releases her own CDs.
The team of the German Dance Film Institute Bremen documents the European premiere.
UNTITLED I
“A picture of a man. But the picture alone doesn’t do it, so he has to be active. And being active means wanting to get better. Faster. In whatever. So repeat! What the dancer François Richard performs in the solo UNTITLED I and Andrea Peña worked out with him is a tirelessness in what is actually senseless activity. This figure on stage constructs movement phrases out of swings, jumps, rolls, bends, and it runs; or is it itself built, guided, laid down and raised up? As if this muscular, fleshy being had no personality, was only a surface, the title calls it “Untitled”. The “I” behind it, says the choreographer, is an “I” for “I”. For it is, after all, a human being. “We speak of being human in our own way with this work”. TanzBremen
As a trained industrial designer, the Canadian choreografin Andrea Peña is interested in cross-genre work, in the relentlessly recurring movement sequences of everyday life shaped by objects, and in vulnerabilities. Colombian-born, she was first a dancer in major Canadian companies, founded her own label ANDREA PEÑA & ARTISTS in 2014, and has since won several awards.
CONTAINER
“She is never alone, but is the only person on stage. Canadian choreographer and dancer Vanessa Goodman’s solo CONTAINER unfolds the relationship of a person, a woman, to her inside and to an outside. It seems to be a struggle with expectations. It dances Andrea Peña, who stands there in her boots like a defensible Super Woman; she strides forwards, backwards, forwards, she is buffeted, bent, struggles through a matter that presses against her body, invisible. Frees herself – almost. Paths of light open up to her, crossroads too. But like a forbidding pointer, such a bar of light threatens her. It swings. Sharp scythe blade. A Yiddish good-humour song frames the solo: “Chiribim Chiribom”. Its cheerfulness gives the dancer the rest. The end. Beginning.” DanceBremen
VANESSA GOODMAN, artistic director of Vancouver-based company ACTION AT A DISTANCE DANCE SOCIETY, worked as a dancer after graduating. The 2013 Iris Garland Emerging Choreographer Award enabled her to produce her first full-length piece as a choreografin. The works are meant to reflect the human condition and use dance to break down contemporary experiences, she writes about her company.
The team of the German Tnazfilmminstitute Bremen documents the double performance.
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Andrea Peña & Artists 6.58: MANIFESTO – Festival TANZ Bremen Wir glauben ans Destabilisieren. Andrea Peña & Artists |
Dreharbeiten | TANZ Bremen | Theater Bremen | D | 8.5.2022 um 19:30 Uhr |
“When everyone is sitting around, tugging at clothes or jumping around, as if to get the circulation going, and then one is just standing, then one more is standing, all upright. Later, all of them. In expectation. In readiness. This is the beginning of the show. The dancers now receive and do as told. In the three-part 6.58: MANIFESTO by Canadian choreografin Andrea Peña, it is different announcements or voices and moods to which they submit. And anyone who has ever taken a dance class knows the “Five, six, seven, eight!” command. Whether numbers, tones, beats or waltz tradition, they take the decision from the seven people here on stage. In the process, repetitions, sequences, pairings emerge. No stories. Only the bodies are exhausted. But already they are stretching their arms again, strutting, bending, kneeling.” DanceBremen
ANDREA PEÑA, a native of Colombia, worked in Canada as a dancer with Ballet BC and Les Ballets Jazz de Montréal, among others, studied industrial design and founded her own company ANDREA PEÑA & ARTISTS in Montréal in 2014. As someone who lives in two cultures, she’s interested in the in-between spaces, she says. In them, she wants to dig, “and show on stage the relationship between the known and the unknown.”
The German Dance Film Institute team is documenting the European premiere.
Two dancers of two generations. But SEE ME! does not care about age distinction. The duet by Tomas Bünger and Sergey Zhukov does not seek a divide or even competition, but an interested approach. “Look at me!”, the title says, as if someone were asking for attention. The dancers show facets of themselves, their preferences. This strikes a chord in the other person, something like agreement – yes, me too, but a little differently; and a coexistence emerges. A feeling of not being alone. A living room with an armchair, sofa and lamps areenough for their little shows. As if they were spending a quiet evening and had an infinite amount of time. Music is played, music of longing. No television. So the images remain their own. With the clothes they wear, the trousers and pumps, with tumbling around, drifting, floating, with falls, too, and with flights.
TOMAS BÜNGER, co-founder of TanzKollektivBremen, was a long-time member of Tanztheater Bremen. SERGEY ZHUKOV from Kazakhstan studied in Essen at the Folkwang Hochschule and danced as a guest with the Tanztheater Wuppertal Pina Bausch, among others. In 2021, the two began to research the topic of queer identity in dance-choreografisch. SEE ME! premiered in early 2022.
The team of the German Dance Film Institute Bremen documented the performance.
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Clara Furey DOG RISING – Festival TANZ Bremen |
Dreharbeiten | TANZ Bremen | Theater Bremen | D | 7. 5.2022 um 20.00 Uhr |
“In DOG RISING, Clara Furey explores the invisible. What is between the lines, she expresses with and through the body. That which borders on the known, which thus becomes the only supposedly known. If something is continuously shaken, it could change. Or does something rhythmic, something lasting emerge in the pulsation? Furey awakens a very own, inner force that does not turn against anything, but simply proves its own existence, places it in space and draws paths in it. Permanence and change, both are possible, and yet the dance seems so easy, as if everyone could simply join in. What exactly is to be read in the lines of the three performers, who differ, approach, resemble and drift apart, is left to the viewers.”
The emptiness fascinates her, writes CLARA FUREY about DOG RISING, which premiered in May 2021 in her native Montréal, Canada. Trained as a musician and dancer, she first worked for choreographers such as George Stamos and Peter Jasko. Her first group choreografie of her own was COSMIC LOVE in 2017.
DOG RISING she developed together with the two dancers Be Heintzman Hope and Winni Ho. The music was composed by Tomas Furey, Clara’s brother and working partner.
The team of the German Dance Film Institute Bremen documented the German premiere.
“How does change actually happen? This was the question Victor Quijada pondered about his first choreografie for a large cast – after 14 full-length pieces and numerous short ones. Then, at the end of 2018, in Montréal, Canada, the home of his company RUBBERBAND, he released EVER SO SLIGHTLY; the French version rhymes, “Vraiment doucement” (Really Soft).
In pandemic times, it’s good for recognition: the unravelling of emotions and the disintegration of positions once decided. The ten dancers form a kind of society that sometimes moves together and light-footedly masters balances, sometimes frays into groups, finally into individual elements that lose their hold. The contrast is formed by gentle tones in the encounters, in the willingness to help, in the release of airy centrifugal forces. The action is musically accentuated by Jasper Gahunia and William Lamoureux, who play an impressive selection of electronic and amplified instruments on one side of the stage. EVER SO SLIGHTLY earned huge cheers when it ended Vancouver’s long theatre closure in October 2021.” DanceBremen
VICTOR QUIJADA grew up listening to hip hop in Los Angeles and, after dance training and engagements as a dancer, developed his own method, which he named after his ensemble RUBBERBAND , founded in 2002. It combines floor-based urban dance with partnering and contemporary ballet.
Andnbsp;
RUBBERBAND.
The team of the German Dance Film Institute Bremen documented the European premiere.
In this piece, among other things, the value of artistic work from past eras and its lasting effects on today’s creative work are questioned. Among other things, the waste pyramid is interpreted in a cultural-historical context.
Recycling and reuse are omnipresent on stage and shape the development process of the new production.
This material cycle is examined and stretched into artistic approaches and realisations. In this way, a poetic-satirical study of our being in a time full of tension is presented.
The team of tanzbar_bremen is supported by Delia Nordhaus, the director of the Upcycling Gallery Wallerie, as well as by Prof. Dr.-Ing. Henning Albers, who is working on recycling in the field of environmental and bioengineering.
Tickets: 19 € / con. 9 €
Tickets available via the Theater Bremen.
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Details
Concept and choreography: Günther Grollitsch in collaboration with the dancers
Dance: Jenny Ecke, Till Krumwiede, Corinna Mindt, Oskar Spatz, Adrian Wenzel
Dramaturgy: Tom Bünger
Stage design: Delia Nordhaus, Janina Mau
Costume: Lui Nilson, Katja Fritzsche
Production management: Stina Hinrichs
Production
tanzbar_bremen in cooperation with Theater Bremen
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Supported by the Senator for Culture Bremen.
Funding: Fonds Darstellende Künste aus Mitteln der Beauftragtenderder Bundesregierung für Kultur und Medien im Rahmen von NEUSTART KULTUR, Karin und Uwe Hollweg Stiftung sowie Waldemar Koch Stiftung.
Premiere on 27 April 2022, 8pm
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As part of TANZ Bremen 2022 on 06 May 2022, 6pm
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***
The team of the German Dance Film Institute Bremen is pleased to document the premiere on film
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Sorry, this entry is only available in Deutsch.
Sorry, this entry is only available in Deutsch.
Many facets become visible in the almost 40 portraits of Bremen’s dance practitioners, which were commissioned by the Landesverband TanzSzene Bremen and captured by photographer Marianne Menke.
While looking for a photo setting, Marianne Menke came to the Tanzfilminstitut: together with Heide-Marie Härtel, she developed the idea of using the photo setting at the institute as a backdrop for a personal interview with the respective artist. Together with existing film material from the Dance Film Institute’s archive and supplemented by current film footage from the ballet schools and dance studios as well as rehearsals in progress, the informative series of short portraits was created: “moving faces” show the protagonists in their professional environment.
The result is 36 video clips of about three minutes, which reflect the high level of professionalism, the artistic diversity and the whole range of creative work of dance artists who come to Bremen from all over the world.
The series of short portraits shows the protagonists in their professional environment.
The film clips were realised by the team of the German Dance Film Institute and Médoune Seck.
The video portraits of the participating artists will be online on the homepage of the Landesverband TanzSzene Bremen from 12.12.2021 and can be accessed there under “TanzSzene“.
The team of the German Dance Film Institute Bremen would like to thank all participants for their creative collaboration.
Supported by DIEHL+RITTER/TANZPAKT RECONNECT, funded by the Federal Government Commissioner for Culture and the Media as part of the NEUSTART KULTUR initiative. Aid Programme Dance
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Deutscher Tanzpreis 2021. The Gala |
Dreharbeiten | Dachverband Tanz Deutschland / Aalto-Theater Essen | Essen | D | 23.10.2021 um 18.00 Uhr |
On Saturday, 23 October 2021, the German Dance Award will be presented at the Aalto Theatre in Essen – the most prestigious award for dance in Germany. The award ceremony is embedded in a top-class dance gala programme with contributions from classical ballet, dance theatre and contemporary dance.
The German Dance Prize 2021 will be awarded to the founder and director of the German Dance Film Institute Bremen, Heide-Marie Härtel. Her life’s work is associated with a globally outstanding institution and the impulse to capture dance in the medium of film and to bring it to new life.
Honours will also be awarded to ballet teacher Ursula Borrmann, choreographer Claire Cunningham and trade unionist Adil Laraki.
One of the highlights of the evening will be the pas de deux from John Cranko’s “Eugene Onegin” danced by the Stuttgart Ballet as well as Reinhild Hoffmann’s “Solo with Sofa”.
Siham El-Maimouni, presenter at Westdeutscher Rundfunk, will accompany the audience through the evening.
Details on the programme of the gala can be found here [click].
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The ticket for the live streaming can be purchased online at the following link: click here.
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You can optionally copy the following link: https://www.eventbrite.de/e/deutscher-tanzpreis-2021-tickets-166287537501
The team of the German Dance Film Institute Bremen is especially pleased to document the gala on film this year.