Foto: Sebastian Autenrieth

Die in Stuttgart lebende Choreografin und Tänzerin Smadar Goshen ist in der Spielzeit 2023/2024 Stipendiatin im Rahmen des Netzwerks Grand Luxe. Sie wird über den Zeitraum von einem Jahr an verschiedenen Partnerhäusern des Netzwerks Residenzen realisieren und in diesen an ihrem aktuellen Projekt "Body that Stands" (AT) arbeiten. In der 70-minütigen zeitgenössischen Tanzperformance erforschen drei Tänzer_innen den Begriff des Widerstands und seine körperlichen Ausdrucksformen in verschiedenen Epochen der Menschheitsgeschichte. Das Stück fängt den "Zeitgeist" globaler politischer Herausforderungen ein und erforscht die starke Kraft des körperlichen Widerstands in verschiedenen Kulturen, Situationen und Methoden.

Stuttgart-based choreographer and dancer Smadar Goshen is a scholarship holder in the Grand Luxe network for the 2023/2024 season. She will realize residencies at various partner houses and work on her current project "Body that Stands" (AT) in them. In this 70-minute contemporary dance performance, three dancers explore the notion of resistance and its physical expressions in different eras of human history. The piece captures the "zeitgeist" of global political challenges and explores the powerful force of physical resistance in different cultures, situations and methods.

Kurze Bio / Short bio
Smadar Goshen ist Tänzerin, Choreografin und Lehrerin. Als zertifizierte Gyrotonic- und Gyrokinesis-Trainerin sowie Gaga-Lehrerin beschäftigt sie sich intensiv mit der individuellen Bewegungssprache, die ein wichtiger Bestandteil ihrer Arbeit mit den Tänzern und ihres kreativen Prozesses ist. Sie absolvierte ihren Bachelor-Abschluss in Tanz und ihren Master-Abschluss in Choreografie an der Jerusalem Academy for Music and Dance. Geboren in Israel, verlegte sie 2019 ihren Lebens- und Arbeitsmittelpunkt nach Stuttgart.

Ihr erstes Stück Urbania entstand 2011 für das Shades in Dance Festival im Suzanne Dellal Centre, Tel Aviv. Seitdem kreiert und performt sie ihre Stücke auf der ganzen Welt auf verschiedenen Plattformen. Seit 2020 produziert Smadar in Deutschland ihre eigenen freien Produktionen, neben Auftragskreationen wie dem Solo Kamma für die renommierte Tanzkompanie Gauthier Dance im Rahmen des "The Dying Swans Project" und dem Stück Moono für das Choreolab 2021 des Tanz.Labor Roxy in Ulm. Bis 2023 schuf sie die abendfüllenden Stücke Peninsula Flora, Rocking Women like Rock, Hoomans und Grand Noir. Sowie 2 kurze Solostücke, die im Rahmen des internationalen solo-tanz Theaterfestivals in Stuttgart aufgeführt wurden. Ihre Stücke überbrücken die Distanz zwischen Publikum und Performern.

Derzeit arbeitet sie an ihrem Solo Ken | ??, das am 30. November 2023 im Theater FITZ Premiere haben wird. Im aktuellen Jahrbuch der Zeitschrift tanz wurde Smadar Goshen als eine der 10 vielversprechendsten Tanzpioniere geehrt. In der Spielzeit 2024/25 ist sie Teil des Residenzprogramms des Netzwerks Réseau GRAND LUXE mit besonderer Unterstützung durch die Tanzabteilung des Theaters Freiburg.

Smadar Goshen is a dancer, choreographer and a teacher. As a certified Gyrotonic and Gyrokinesis trainer as well as a Gaga teacher, she is intensively dealing with the individual language of movement, which is an important part of her work with the dancers and her creative process. She completed her bachelor's degree in dance and her master's degree in choreography at the Jerusalem Academy for Music and Dance. Born in Israel, she shifted her center of living and working to Stuttgart in 2019. 

Her first piece Urbania was created in 2011 for the Shades in Dance Festival at the Suzanne Dellal Centre, Tel Aviv. Since then, she has been creating and performing her pieces around the world on various platforms. Since 2020 Smadar produce’s her own independent productions in Germany, alongside commissioned creations such as the solo Kamma for the renowned dance company Gauthier Dance as part of "The Dying Swans Project", and the piece Moono for Choreolab 2021 by Tanz.Labor Roxy in Ulm. By 2023 she had created the full length pieces Peninsula Flora, Rocking Women like Rock, Hoomans and Grand Noir. As well as 2 short solo pieces which performed as part of the international solo-tanz theatre festival in Stuttgart. Her pieces bridge the distance between the audience and the performers. 

She is currently working on her solo Ken | ??, which will premiere at Theater FITZ on 30 November 2023. In the current yearbook of the magazine tanz, Smadar Goshen was honored as one of the 10 most promising dance pioneers. In the 2024/25 season, she is part of the residency programme of the Réseau GRAND LUXE network with special support from the Theater Freiburg's dance department.

Weitere Infos unter https://smadargoshen.com/

 Foto: Enzo Tonati

Das Duo COGNITIVE OVERLOAD wurde 2019 von Lucas Bassereau und Constance Diard gegründet. Es entstand aus dem gemeinsamen Wunsch heraus, eine Plattform zu schaffen, die der choreografischen Forschung und einer bestimmten Perspektive auf den Tanz gewidmet ist. Die beiden Künstler_innen möchten einen künstlerischen Ansatz entwickeln, der Forschung, Kreation und Vermittlung miteinander verbindet. Eine zentrale Frage ihrer Arbeit ist unter anderem, wie abstrakte Ideen verkörpert werden können und wie ihnen eine materielle und teilbare Realität verleiht werden kann. Ein weiterer zentraler Punkt ihres Ansatzes ist die Beziehung zwischen Kognition und Bewegung. Die beiden experimentieren mit der Überlastung unserer kognitiven Grenzen, um darüber einen Zustand erhöhter Wahrnehmung zu erreichen.  

Who are you? / Short bio
We are Constance Diard and Lucas Bassereau. We both have a career as dancers for different choreographers and we started to work and create together in 2019. Last season in 2023 we created two works: Ambiance, une installation chorégraphique et sonore - a 3 hour dance and sound installation with 5 dancers and 1 musician for La Villa Cavrois. And Big Bang - a dance piece made for the stage in which we both dance, built as a triptych with 2 solos and a duet

 What are the main focuses and questions in your work? / Short description
Our work focuses in creating abstract forms and performances and how to make them dialog with other medias as sound, architecture, light etc… Another central point of our approach is the relationship between cognition and movement. We are looking to what extent it is possible to superpose informations of several kinds, to increase our cognitive load: to come close to the limits of "cognitive overload".

 What project will you be working on during your residency?
During our residency we will be looking at new ideas for our next projects. It is the very beginning of a new chapter for us, trying to clarify some tools we already work with and understand how to share them with a large audience.

What do you expect from your residency? What are you looking forward to?
We hope to find new ways to articulate ideas and processes we work with since a while. But also to go further with them as movements practices and understand how to share them with the audience, both verbally or physically.

 What inspires you?
We both have a strong interest for sciences such as mathematics and physics. In the creation process, we often talk about physical phenomena that fascinate us. We are inspired by the way scientists can describe entities like time, space, movement and we like to play with those ideas to give them a choreographic shape.

 Links to Website/Instagram/Facebook/etc.
https://cognitiveoverload.squarespace.com/
https://www.instagram.com/cog.ove/   

Foto: Leslie Artamanow

Julien was born in Brussels in 1985. He began dancing through the practice of Breakdance. Alongside his dance pursuits, he studied physiotherapy at the Free University of Brussels and obtained a Master's degree in 2009. He self-taught himself in artistic creation through encounters, interdisciplinary exchange projects, and collective creations. His approach combines the virtuosity of his Hip-Hop dance background with an exploration of intimacy and sensitivity. His work draws inspiration from encounters, diverse practices, and life experiences. Through hybrid choreographic forms, he explores the porosity between the reality experienced by the individual internally and the reality perceived by others externally. His interest lies in the transition from the real world to the stage space, with the body serving as a medium/witness of this transformation. Among his themes of creation, he explores the intersection of dance with other artistic practices, the relationship to constraint, effort, and physical commitment, the notion of perspective, image composition, and zoom, as well as a search for boundaries.

Since 2015, Julien has been developing his own choreographic work, progressively expanding its reach internationally. His works include MON/DE (2015), DÉJÀ VU (2016), GOLEM (2019), DRESS CODE (2021), COLLAPSE (2021), TRAJECTOIRES (2022), PAYSAGE (upcoming in 2024).

He has participated twice in training programs at the Royaumont Abbey in Paris: Prototype IV in 2016-17, and OPUS in August 2021. From 2020 to 2022, he has been  associated artist at Charleroi Danse, and will be associated with the Théâtre de Liège between 2024 and 2028. Julien is also supported by the Grand Studio, Bloom Project, and their respective networks.

Julien Carlier has become a regular coach for the Master Dance and Choreographic Practice (Insas, La cambre, Charleroi-danse).

 Foto: Quentin Bacchus 

Who are you?
I am Karine Dahouindji, dancer and choreographer. I studied at the CNDC in Angers and at the Manufacture in Lausanne. I work with different artists in Switzerland. I am currently working as a dancer with Maud Blandel for her next creation. I am also co-artistic director of the OUINCH OUINCH collective with Marius Barthaux with whom we work with different regular members. We work on how to form a group around joyful, carnivalesque and often insitu themes.

What are the main focuses and questions in your work?
I am at the beginning of my personal research and I am putting together a solo. I'm working on my origins and cancer. More specifically around phantom limb syndrome and connections.

What project will you be working on during your residency?
I will be working on this solo project that I started a year ago called "Reset - la Reunion". I would like to continue this work in a more abstract and physical relationship.

What do you expect from your residency? What are you looking forward to?
This will be my first residency of the year on this work with my collaborator Alex Aguirreche, and I'm looking forward to seeing how we get into this work together. I also hope to meet some local artists to discuss my work.

What inspires you?
I am inspired by wonderful and fantastic worlds. I like to think of myself as a different being whether it be a witch, elf or animal.

Links
Karine Dahouindji:
https://www.facebook.com/karinedahouindji/
https://www.instagram.com/kaie_da/

OUINCH OUINCH:
http://www.ouinchouinch.com/
https://www.instagram.com/ouinch_ouinch/
https://www.facebook.com/OuinchOuinch/

 Foto: Tasos Chatzis 

Who are you?
My name is Fotini Stamatelopoulou and I am based in Athens, Greece. I am involved in performance making and choreography. I also studied psychology and worked in research themes of performance and existential psychology. Themes that I usually use through the practices that I develop for each piece till now.

What are the main focuses and questions in your work?
I feel like I am deeply intrigued by practices deriving from the connection of sound and movement, concerning and highlighting the exposure of mechanisms that are connected to how we perceive our body image and how we explore emotional states and depth through the ways we connect with our bodies in contemporary relations and relationships.

What project will you be working on during your residency?
On my new piece-to-be- under the working/research title “Divine Thanks For Near Misses”. This new project will be based on a one-year movement, sound and even historical research on the notions of human anatomy and the perceptions of the body through it –focusing more specifically on the gaze on the female body image, on the ways and rituals of contemporary human faith, as well as on the use and cause of votive offerings in Mediterranean cultures. Votive offerings are small metallic objects offered by the faithful to religious temples that usually showcase fragmented body parts, written wishes, animals and other faith symbols. Matters of body illness, death and the notion of persistence connect “doom” concepts to life and love and depend on how we deliberate with our bodies through these notions, while we get to know them through fortunate and unfortunate events.

What do you expect from your residency? What are you looking forward to?
Since it will be my first residency through the spectrum of Grand Luxe network, I am willing to take it slow and have the space and time to organise and start expanding my options connecting the materials that I will bring with me, texts and experimentation on the physicality and depth of sound and it's connection to some ways and practices that I will be developing concerning emotional depth and resilience on the performance part.

What inspires you?
Long talks, intimate sharings, small rituals between friends, awkwardness, acceptance and resilience, live gigs, texts and “letting go” acts.

Links 
https://www.instagram.com/fo.matel/

Foto: Marc Doradzillo

Who are you?
I’m Emi Miyoshi, Japanese choreographer based in Freiburg. After working with the dance company Pretty Ugly tanz koeln under direction by Amanda Miller, I moved to Freiburg and since 2013 I have been producing in Freiburg under the name SHIBUI collective at the intersection of dance and installation. SHIBUI is a Japanese word that refers to the aesthetics of simple, modest and rare beauty - to a beauty that can also offend and leave a bitter aftertaste. SHIBUI is directed against short-lived trends or generally accepted ideas.  I’m currently an advisory board member of the local dance network TANZNETZ Freiburg.

What are the main focuses and questions in your work? 
The last 3 years, I explored the feeling of interconnectedness in a variety of ways. My artistic works poignantly confronted the sense of social and emotional alienation. Most recently, in my latest work RESTEP I have researched a variety of steps from folks dance, traditional dance and their correlation.  I am interested in how folk, or traditional steps, have been passed down from generation to generation and how they relate to what could be a universal base for the current culture and beyond.

What project will you be working on during your residency?
I’ll start to work for the new project S_HE IS SEA. Since I started to research folk and traditional dances, I became interested in polyrhythm. Specific rhythm scores bring our body into special states. And I’m very interested in the sensation of crashing with very different rhythm scores in our body. And I’d like to also research our organic body rhythms which could unconsciously happen. And how we can manipulate these rhythms?  And how we can bring this body sensation towards an audience?

What do you expect from your residency? What are you looking forward to?
It will be the beginning of my research, so I would like to take time to dive into some experiments. I’m very looking forward to working at the beautiful Ballettsaal again in a very calm good environment :-)

What inspires you?
Conversations with people on a daily base, music, arts, nature, animals, rituals, people…

Links to Website/Instagram/Facebook/etc.
www.shibuicollective.com
https://www.instagram.com/miyoshi.emi/
https://www.facebook.com/emi.miyoshi

 Foto: Guido Stuch

Short bio
Smadar Goshen is a dance maker, a performer and a trainer. She completed her Bachelors degree in dance and her Masters degree in choreography at the Jerusalem Academy for Music and Dance (JAMD). Born in Israel, she had shifted her professional base to Stuttgart since 2019. Smadar is a certified Gaga teacher as well as GYROTONIC & GYROKINESIS® Trainer and Pre-Trainer. Her extensive knowledge about the moving body is an important part of her work with both, professional and non-professional movers. In the current yearbook of the magazine Tanz, she was honored as one of the 10 most promising pioneer dance makers in Germany.

What are the main focuses and questions in your work? 
In my creative path, as well as in life, I’m enchanted by nature and human beings as an integral part of it. Drawing Inspiration from natural and social phenomena I deal with the topic of non-mediated communication. I explore the many ways through which people can connect and communicate. Our Physical capability to embody endless qualities, textures, behaviors and phenomena that occur in nature and around us. The performers body can then wonder between many different representations, such as of a human body, animalistic body, botanical body; but also male or female body, younger or older body and so on.

What project will you be working on during your residency?
Chaos & Multi-Layered Reality 

Towards my new solo work, I explore various physical expressions of Chaos and layered reality. I observe tensions between order and randomness in different systems and formulate it through movement. Living in these fluctuating times calls for making peace with chaos. Relearning the natural eco-systems we are a part of and acquiring new techniques for survival within it. Alongside the universal relevance of the topic, this research field confronts me with my own cultural-political eco-system as an Israeli | German artist. 80 years after my family immigrated from Germany to Israel, I had reversed that move and relocated my base from the fabulously chaotic environment in Israel to the untarnished organized system in Germany. This mixture raises rich conflicts which I explore and express through my physical language.

What do you expect from your residency? What are you looking forward to? 
As I’ve been working in Theater Freiburg in the past, in the format of a residency program, I already know that the theatre offers a welcoming and inspiring working environment. I’m looking forward to be working in the specious lightened studio, to have my own time and space away from my routine and focus on the research. Moreover, I look forward to encounters with the community of Freiburg, both professional movers and spectators, to exchange and reflect with more souls and hearts.

What inspires you?
One of the things I enjoy in the medium of performance in general and dance in particular is that it bonds many art fields together. As a curious and open person I find myself intuitively inspired and influenced by musicians, textile artists, painters, dance makers, philosophers, authors and poets I’m exposed to. I’m appealed mostly to artists who reflect nature and the nature of humanity in one way or another. My making is based on and includes the movers-artists I work with. They are a strong influence on the creation processes. For this reason, my works are different than one another, and at the same time there’s a clear thread connecting them all, such as human beings.

Links to Website/Instagram/Facebook/etc.
www.smadargoshen.com

Foto: Veronique Baudoux

Short bio
After her studies at P.A.R.T.S, Fanny Brouyaux, a dancer and choreographer from Brussels, created performances in a collective with, among others, Christian Schreurs, a minimalist pianist-composer (ex-Venus) and the performance Un bruit with the collaboration of the sound artist Yann Leguay. She then founded her company Too Moved to Talk in 2018, in which she continues her creative work. For her pieces De la poésie, du sport, etc (2019), Warm (2022) and To be schieve or a romantic attempt (in progress), she collaborates with artists from the fields of dance, performance, theatre, scenography and experimental music. Among them are Sophie Guisset, David Séchaud and Florian Vuille. Through a work of figures, archetypal characters or presences, she leads the public to reflect and feel the dance through codes that she decontextualizes.

What are the main focuses and questions in your work?
How can we invite new ways of looking at bodies through the decontextualisation of their gestures?
How can we create performances that are a subtle reflection of our time?
How can we create sensitive spectator experiences that are grounds for care and emancipation?

What project will you be working on during your residency?
As part of my residency at Theater Freiburg, I will work with my team on my current piece: "To be schieve or a romantic attempt" (working title). It explores the different aspects and ambivalences of the romantic movement. Accompanied by a carefully chosen soundtrack (Tchaikovsky, Paganini, ...), I will try to face this imposing heritage by immersing my body in the music of these composers. Waves, suspensions, lyrical flights, vibrato, I will explore the palette of tensions and states of mind and body that underlie their compositions. I will be interested in the traces and impacts that this artistic movement has left in my body as a woman and contemporary dancer, as well as in the context in which this movement was born and how it can echo in our time.

What do you expect from your residency? What are you looking forward to?
During this residency, I would like to be able to test my intentions in a new context, to meet an audience that I do not know at all, to test new devices, to practice my relationship with the audience. I would also like to deepen the choreographic material developed so far and its writing in space. I am looking forward to the public sharing at the end of the residency and all the surprises that this meeting will bring me that I could not have anticipated.

What inspires you?
Materials, colours, sensations before they become emotions, shy people, monsters, tensions and their resolutions, my family, my friends, silence and caresses.


Links to Website/Instagram/Facebook/etc.
https://en.fannybrouyaux.com/
Facebook : too moved to talk asbl
Instagram: fannybrouyaux

 Foto: HC

Wer bist du? 
Ann-Leonie Niss ist Tänzerin und Choreografin aus Hamburg. Ihre tänzerische Ausbildung erhielt sie an der Erika Klütz Schule für Theatertanz und Tanzpädagogik sowie der Folkwang Universität der Künste. Anschließend arbeitete sie u.a. mit den Choreograf*innen Guy Marsan, Sabine Glenz, Suse Tietjen und José Vidal. Sie ist Gründungsmitglied des interdisziplinär arbeitenden Künstler*innen-Kollektivs THE CURRENT DANCE COLLECTIVE. Mit ihren eigenen Arbeiten war sie international in Deutschland, Italien und Chile zu sehen.

Was sind die Schwerpunkte und Fragen deiner Arbeit? 
In meiner choreografischen Arbeit beschäftige ich mich derzeit mit der Funktion von „Führen und Folgen“ im Tanz. Dabei stelle ich mir die Frage, was passiert, wenn wir Altbekanntes aufbrechen und haltgebende Elemente zerfallen. Finden wir neue Ankerpunkte oder gehen wir verloren?

An welchem Projekt wirst du während deines Aufenthaltes arbeiten?
Fractura 2.0
Ausgehend von meiner Solo-Choreografie „Fractura“ werde ich in meiner Residenzzeit gemeinsam mit den Tänzerinnen Nona Munnix, Sophia Otto und Anja Thal meine Recherche zum Thema „Führen und Folgen“ vertiefen. Dabei nutzen wir Elemente des argentinischen Tangos und entwickeln ein zeitgenössisches Bewegungsrepertoire.

Was erwartest du von deinem Aufenthalt? Worauf freust du dich?
Ich freue mich auf die Möglichkeit meine Ideen und Gedanken zunächst mit meinem Team und anschließend in einem offenen Showing mit Tanzinteressierten zu teilen. Dabei erhoffe ich mir einen regen Austausch und neue Impulse für meine weitere Arbeit.

Was inspiriert dich?
Mich inspirieren Emotionen, die uns im Alltag begegnen. Gefühlszustände wie Sehnsucht oder Verletzlichkeit, Wut oder auch Kontrollverlust können einen großen Einfluss auf unsere Körperlichkeit haben und bilden den Ausgangspunkt für meine Bewegungsfindung.

Links Website/Instagram/Facebook/etc.
www.annleonieniss.de
www.instagram.com/ann_leonie

Foto: Camille Rochon

Who are you? 
I am Akiko Hasegawa, a dancer and choreographer of contemporary dance based in Strasbourg, in France.

What are the main focuses and questions in your work?
Dance is above all for me the place of sharing: human, cultural, but also with space, time, it is a movement that circulates. It is communicant, rich in encounters, sensations and emotions. Everyone can dance, of joy and sadness, big and small, in Japan and elsewhere, in music or silence, in a calm or dynamic way.

What project will you be working on during your residency? 
On my solo «Haré Dance». A solo on the state of joy, the party.

What do you expect from your residency? What are you looking forward to?
To get into the whole piece that I’ve never had a chance to before. To film to make a video recording of the solo. And to meet with you : Theater Freiburg and your audience!

 What inspires you?
Little things: buds swelling in the cold air, pretty mugs on the flea market stall, a stork flying past my window, seeing the beginning of an enthusiastic smile, listening to life stories of seniors….

Foto: Peter Hönnemann

Marlene Monteiro Freitas (*1979, Kap Verde) studierte Tanz an der Schule für zeitgenössischen Tanz P.A.R.T.S. in Brüssel sowie an der Escola Superior de Dança und an der Fundação Calouste Gulbenkian in Lissabon. In ihrem Heimatland Kap Verde ist sie Mitbegründerin der Tanzgruppe Compass und arbeitet mit dem Musiker Vasco Martins zusammen. In ihrer Rolle als Choreografin kreierte sie zahlreiche Stücke und Performances, unter anderem auch Bacchae - Prelude to a Purge, welches sie zuletzt im März 2019 am Theater Freiburg präsentierte. Ihre Werke zeichnen sich vor allem durch ihre Offenheit und Intensität aus. Im Jahr 2017 erhielt sie von der Portugiesischen Autorengesellschaft (SPA) für ihr Stück Jaguar den Preis für die beste Choreografie. 2018 wurde ihr durch die Biennale di Venezia den Silbernen Löwen für Tanz an verliehen. Im Jahr 2020 erhielt ihr Stück Bacchae - Prelude to a Purge den Preis für die beste internationale Performance von Les Prémis de la Critica d'Arts Escèniques de Barcelona. Die Werke von Marlene Monteiro Freitas werden regelmäßig in den renommiertesten europäischen Kulturstätten präsentiert. 

Im Rahmen ihrer Residenz am Theater Freiburg arbeitet Marlene Monteiro Freitas gemeinsam mit ihrem Team an ihrem neusten Stück idiota. Sie setzt sich darin mit dem Mythos der Pandora auseinander, der oftmals als Antwort auftaucht auf die uralte Frage: Warum passieren schlimme Dinge? Warum werden Menschen krank und sterben? Am Anfang der Kreation, einer Auftragsarbeit des CNAD in Mindelo (Kap Verde) steht ein Dialog zwischen dem Werk der kapverdischen Choreografin und dem des Malers Alex Silva (1974-2019). 

Who are you?
My name is Simon Feltz. I am Dancer and Choreographer.
I started dancing professionally in 2010 for Alonzo King Lines Ballet. From january 2011 to 2016, I danced for the Lyon Opera Ballet where I performed in many works by choreographers such as W.Forsythe, J.Kylian, C.Rizzo, O.Naharin, M.Cunningham, T.Brown, R.Ouramdane, M.Marin, B.Milliepied etc. In 2016, I started working on my own creations. Since then, I created Phase with Karline Marion, In
Between, and Abyme. My last creation, Echo, was premiered in Marseille in february 2022.As a
dancer, I keep performing in Maud le Pladec’s 27 Perspectives and I also reset her piece in different
places such as the Conservatoire National Supérieur de Paris and the Juinior Ballet of Geneva.

What are the main focuses and questions in your work?
Since Echo, I focus my work on the synchronization phenomenons between voice and gesture in
within our daily interactions. I tend to explore them and to translate them into writing tools in order to extract the sentient essence out of it.

What project will you be working on during your residency? What is ist about?
We will use this residency as a Laboratory for my next creation, GRAINS. In this work, we will focus on
the loving exchange and how the language tend to disappear whereas the physical interactions
increase. 

What do you expect from your residency? What are you looking forward to?
During this residency, I would like to try things out in order to establish the writing methods we will
use in this creation. A big part of the work will be based on the voices and we have to figure out how
to build the vocl scores that can be “embedded” within the choreography.

What inspires you?
Too many things to mention ! :) I would say litteratury and sociological studies…

Links to Website/Instagram/Facebook/etc.
Instagram: https://www.instagram.com/compagniesimonfeltz/
Facebook: Simon feltz
Website: https://www.simonfeltz.com 

 Foto: Marc Doradzillo

Who are you? / Short bio

Ab 2005 arbeitete Emi Miyoshi in der Tanzkompanie pretty ugly tanz köln unter der Leitung von Amanda Miller. 2008 bekam sie von der Kunststiftung NRW ein Stipendium und nahm als Choreografin am SiWiC Schweizerischer internationaler Weiterbildungskurs in Choreografie) teil. Seit 2014 produziert sie in Freiburg unter dem Namen SHIBUI Kollektiv an der Schnittstelle von Tanz und Installation. Ihre Arbeit war bereits beim Tanzfestival in Köln, in Munchen, Heidelberg, Stuttgart, der Schweiz, Taiwan und Japan zu sehen. 2016 erhielt sie eine 3-jährige Konzeptionsförderung des Kulturamts der Stadt Freiburg. 2017 und 2019 gewann sie den Tanz- und Theaterpreis der Stadt Stuttgart und des Landes Baden-Wurttemberg. 2020 erhielt sie eine 3-jährige Konzeptionsförderung des Landesverbands Freie Tanz- und Theaterschaffende Ba-Wu e.V.  Aktuell erhielt das SHIBUI Kollektiv eine Förderung TANZPAKT RECONNECT von Diehl+Ritter. In ihren medienubergreifenden Produktionen mit installativem Charakter arbeitet das SHIBUI Kollektiv in Zusammenarbeit mit visuellen Kunstler_innen und Klangkunstler_innen.

What are the main focuses and questions in your work? / Short description

Zentraler Aspekt meiner Arbeit liegt im Blick auf verschiedene interdisziplinäre Projekte, die das Thema der oft unsichtbaren interpersonellen Verbundenheit zwischen Menschen im Sinne einer kollektiven Erfahrung in den Vordergrund stellen. Der Fokus meiner Residenz soll auf der Entstehung des traditionellen japanischen Tanzes und seiner modernen Weiterentwicklung und Neuinterpretation liegen. Speziell das Bewegungsmaterial des japanischen Volkstanzes Bon Odori soll untersucht werden. Die charakteristischen Hand- und Fußbewegungen werden aus ihrem kulturellen Kontext herausgelöst, mit einem kritischen Blick auf geschlechtsspezifische Hierarchien untersucht und in einen neuen kulturellen und tänzerischen Kontext gebracht.

What project will you be working on during your residency?

Ich werde für die nächste Tanzproduktion RESTEP arbeiten, die im März 2023 in Freiburg uraufgeführt werden soll.

What do you expect from your residency? What are you looking forward to?

Zum ersten Mal werde ich mit einer traditionellen japanischen Taiko-Trommlerin zusammenarbeiten. Ich bin gespannt, wie wir zusammenarbeiten können, um einen neuen Ansatz für die traditionelle Kultur zu schaffen, mit vielen Schichten von Musik, Tanzschritten, aber auch Hierarchien zwischen den Geschlechtern.

What inspires you?

Was mich inspiriert, ist, was uns in unserer Gesellschaft verbindet und wie der Tanz und die Musik als Medium funktionieren können, um miteinander zu kommunizieren. Vor langer Zeit war der Volkstanz ein sehr wichtiges Ereignis, um die Menschen zu treffen und den Zusammenhalt in der Gemeinschaft zu spüren, zumindest in Japan. Mich interessiert, wie sich die primitiven Stammesbewegungen und die traditionelle Musik verändert haben, aber auch, wie sie an die nächste Generation weitergegeben werden. Und auch der Unterschied zwischen westlicher und östlicher Kultur.

Links to Website/Instagram/Facebook/etc.

www.shibuicollective.com
www.emimiyoshi.de
https://www.facebook.com/Shibuikollektiv
https://www.instagram.com/shibuikollektiv/
https://vimeo.com/user33637167

 

Foto: Philippe Bissières

Fotografien und bewegte Bilder sind seit jeher wichtig für den kreativen Prozess der französischen Choreografin Catherine Contour: Polaroids, analoge und digitale Fotos, Super-8-, 16-mm- und Videofilme für fotografische und filmische Selbstporträts, choreografischee Tagebücher, Filme für Installationen, die mit choreografischen Kreationen verbunden sind - mit all diesen Bildformen arbeitet sie konstant. Seit 2012 kontinuierlich gemeinsam mit dem Viseuellen Künstler und Videokünstler Mathieu Bouvier. Nach mehreren gemeinsam realisierten Filmen, in denen es darum ging, den eigenen Schreibprozess mit dem Werkzeug der Hypnose in verschiedenen Phasen der Entwicklung und Kreation zu dokumentieren, möchten die beiden einen Screendance-Film realisieren. 

Seit 2018 ist die Tanzsparte des Theater Freiburg Teil des Netzwerks (franz. réseau) Grand LUXE, das sich als Austauschquelle für Choreograf_innen definiert, die innovative Projekte entwickeln. Acht unterschiedliche Häuser haben sich zusammengeschlossen, um ihr handwerkliches Können und ihr Team ausgewählten Künstler_innen während ihrer Schaffensphasen zur Verfügung zu stellen. Unterstützt werden sie unter anderem mit Arbeitsräumen, Ansprechpersonen, dramaturgischer Beratung und Begleitung, administrativer Hilfe und der Dokumentation der jeweiligen Projekte. Durch die Entwicklung alternativer Modelle des Zusammenarbeitens jenseits der etablierten Mechanismen von Produktion, Vermittlung und Präsentation ist das Netzwerk Grand LUXE einzigartig in seinem Genre.

Since 2018 the Dance Department of Theater Freiburg is part of the Grand LUXE network, a platform for exchange for young emerging choreographers and their innovative projects. In order to support regional artists, eight institutions join together to merge their skills and teams. These diverse institutions offer working spaces, contact persons, dramaturgical advice, and provide help in documenting respective projects. Developing new ideas of co-working outside the standard mechanism of production, mediation and presentation, Grand LUXE is unique in its genre.

Réseau Grand LUXE Plattform bei POLE-SUD in Straßburg vom 10.-11.10.2022

Bei diesem Plattformtreffen, das 2018 zum ersten Mal in Luxemburg und seitdem jährlich in verschiedenen  Formen und Formaten stattfand, werden sich die Künstler_innen des Netzwerk Grand LUXE in Straßburg austauschen und den Organisator_innen ihre jeweiligen Projekte und Fragestellungen präsentieren.

At this platform meeting, which took place for the first time in Luxembourg in 2018 and has since been held online in various forms and formats, the artists of the Grand LUXE network in Geneva will exchange ideas and present their respective projects and issues to the organisers.

Réseau Grand LUXE: 

Grand Studio à Bruxelles // CCN – Ballet de Lorraine à Nancy // Ballet de l’Opéra national du Rhin – Centre chorégraphique national de Mulhouse // POLE-SUD – Centre de développement chorégraphique national de Strasbourg // TROIS C-L-Centre de Création Chorégraphique Luxembourgeois // L’Abri Genf // Onassis Stegi (Athen) // Theater Freiburg Tanz

Seit der vergangenen Spielzeit ist die Tanzsparte des Theater Freiburg Teil von Tour de Dance, einem Netzwerk, welches die Aufführung zeitgenössischer, außereuropäischer Tanzgastspiele in Belgien, Luxemburg, Frankreich, den Niederlanden und Deutschland ermöglichen will. Durch die Zusammenarbeit verschiedener Produktionshäuser können die teils hohen Reise- und Transportkosten gestemmt werden, die eine Einladung mancher Kompanien und Künstler_innen oftmals unmöglich machen.

Since last season, the Dance Department of Theater Freiburg has been part of Tour de Dance, a network which aims to make it possible to stage contemporary, non-European dance guest performances in Belgium, Luxembourg, France, the Netherlands and Germany. Through the cooperation of different production companies, the sometimes high travel and transport costs can be overcome, which often make it impossible to invite some companies and artists.

Tour de Dance: 

Le Théâtre de Liège // Les Théâtres de la Ville de Luxemburg // La Comète – Scène Nationale de Châlons-en-Champagne // Charleroi/Danses – Centre Chorégraphique de la Fédération Wallonie-Bruxelles // Holland Dance Festival à La Haye // Le Concertgebouw/cultuurcentrum de Brugge // La Scène Nationale 61 d’Alençon // Les deux Scènes de Besançon // tanzhaus nrw // Theater Freiburg Tanz 

Seit der Spielzeit 2019/2020 ist der Tanz des Theater Freiburg Teil des Screendance residency Network, in dem sich etliche französische Produktionshäuser zusammengeschlossen haben, um aufstrebende Screendance-Künstler_innen zu unterstützen. In dieser aktuellen Spielzeit wurde Zoë Schreckenberg für die Residency ausgwählt.

Since the season 2019/2020, Theater Freiburg‘s Dance Department has been part of the Screendance residency Network, in which several French production companies have joined forces to support aspiring screendance artists. In this season Zoë Schreckenberg was selected for the residency.

Screendance residency Network: 

La Briqueterie – CDCN in Val-de-Marne // Festival International de Vidéo Danse de Bourgogne // POLE-SUD – Centre de développement chorégraphique national de Strasbourg // Les Hivernales – CDCN in Avignon // Le Phare – CCN in Le Havre, Normandy // La Place De La Danse – CDCN Toulouse Occitanie // Le Gymnase – CDCN in Roubaix, Hauts-de-France // Cinéma Utopia – La Manutention in Avignon // Theater Freiburg Tanz