“Tanz im Lichthaus“, die Ballettschule im Hafen von Carolin Böhse-Krings, feiert die Filmpremiere ihres Programms ‘Der kleinen Prinz aus Gröpelingen’, das am 02. und 03. März mit 110 Tanzschülerinnen und -schülern im Tabakquartier aufgeführt wurde.
Das Deutsche Tanzfilminstitut unter der Leitung von Heide-Marie Härtel hat die Vorstellung gefilmt und aus dem Material einen Dokumentation produziert.

WER? Es tanzen 110 Lichthaustänzerinnen und -tänzer unter der Leitung von Carolin Böse-Krings.

Wo? Im wunderschönen neuen Theater der Bremer Philharmoniker, Am Tabakquartier 10 in Bremen.

Wann? Die Produktion wird 3x aufgeführt:
am Samstag, den 2. März, um 17 Uhr und
am Sonntag, den 3. März um 12 Uhr und noch einmal um 17 Uhr.

Karten unter: kartenbestellungprinz@posteo.de / Karten Erwachsene € 15,- und Kinder € 8,-

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Das Team des Deutschen Tanzfilminstituts um Heide-Marie Härtel freut sich, die Premiere filmisch zu dokumentieren.

17 November 2023, 1 p.m. to 6 p.m.
Working conference of the Association of German Dance Archives

Miscellaneous topics

18 November 2023
Bibliotheca Albertina

10.00 a.m. Words of welcome

Charlotte Bauer, Deputy Director of Leipzig University Library

Holk Freytag, Saxon Academy of the Arts

10.15 am Dance archives in Germany

* Archive Performing Arts of the Academy of Arts Berlin, Stephan Dörschel (Head of the Archive)
* German Dance Archive Cologne, Thomas Thorausch (Deputy Head of the Dance Archive Cologne)
* German Dance Film Institute Bremen, Heide-Marie Härtel (Artistic Director)
* Mediathek für Tanz und Theater, Christine Henniger (Head of MTT at the International Theatre Institute Centre Germany e.V.)
* Dance Archive Leipzig e.V., Prof. Dr Patrick Primavesi (Professor of Theatre Studies at the University of Leipzig and board member)
* University Archive of the Palucca University of Dance Dresden, Bianca Gleiniger (Head of the
University Archive)

10.45 am Dance-memory-digitality: a research

Caroline Helm, Clara Dolinschek, Michael Freundt (Dachverband Tanz Deutschland e.V.)

11.00 am Discussion: Dance and Archive – Transformation into the Digital

11.45 a.m. short break

12.00 pm Digital stages for dance: tanz:digital as an example

Michael Freundt (Dachverband Tanz Deutschland e.V.)

12.15 pm Discussion: Complicity of art, technology, science and archive

* Thomas Thorausch, Deputy Director of the Dance Archive Cologne
* Stephan Dörschel, Director of the Archive for Performing Arts at the Academy of Arts Berlin
* Heide-Marie Härtel, Artistic Director of the German Dance Film Institute Bremen
* Christine Henniger, Head of the Media Library for Dance and Theatre at the International Theatre Institute -
Zentrum Deutschland e. V.
* Patrick Henniger, Head of the Media Library for Dance and Theatre at the International Theatre Institute -
Zentrum Deutschland e. V. V.
* Patrick Primavesi, Professor of Theatre Studies at the University of Leipzig, Board of Directors of Tanzarchiv Leipzig e.V.
* Bianca Gleiniger, Head of the University Archive of the Palucca University of Dance Dresden
Moderation: Melanie Gruß, Institute for Theatre Studies

14.00 Small reception with drinks and snacks

“Inclusivity’ is now a central concept in the world of contemporary dance: but what exactly does it mean?
From a collaboration between the TAFI team and Burkhart Siedhoff of Dachverband Tanz, these interviews with some dancers with disabilities tell us how the world of dance can open up to different bodies, and poetics.

The symposium Positions:Dance #5ACCESS

What development must there be in German (contemporary) dance so that everyone has access? What impulses are needed so that we do not equate professional dance exclusively with protonormalistic body images and movements? Can cultural policy give impulses so that dance does not just open a door here and there for people with disabilities, but that the whole world of dance is open to them – with all the support and freedom for artistic development?

Together with artists, organisers and politicians with and without disabilities, we would like to discuss structures and funding so that people with disabilities have sustainable access to dance. We had originally planned this year’s symposium within the framework of the German Dance Prize from 13 to 15 October. In discussion with artists and cultural actors with and without disabilities, we developed the idea of leaving the usual format of a three-day tightly scheduled symposium and choosing a decelerated and more sustainable format with regard to the negotiation of the topic.

The 5 modules of the symposium will take place online and will each be dedicated to a focus of the theme ‘Access’, from dance education to questions of professionalisation and transnational perspectives.

https://www.deutschertanzpreis.de/symposium/symposium-2022

POSITIONS:DANCE #5 ACCESS is funded by the Federal Government Commissioner for Culture and the Media in the programme NEUSTART KULTUR, aid programme DIS-TANZEN of the Dachverband Tanz Deutschland.

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.

“Learning by doing” has always been the basis for learning dance. Professor Martin Puttke, leading dance educator and former director of the German State Ballet Berlin and the Aalto Ballett Theatre Essen, wants to revolutionise this tradition with his concept “DANAMOS -dance native motion system”. With DANAMOS, Puttke brings together dance didactics, music, neurocognition and biomechanics in an unusual way.

The team of the Dance Film Institute has documented some experiments of this groundbreaking training technique in the Locomotion Laboratory at the TU Darmstadt, Department of Human Sciences, Lacomotion Laboratory. The gains and progress of Puttke’s training principles are made convincingly visible with the help of state-of-the-art digital technology “motion capture”. Many thanks to Maximillian A. Stacia and his team.