How can theatre become a space where a society, mediated through a 'third thing', critically engages with itself and its unresolved issues? Starting from this question and drawing on the festival’s decolonial, feminist, and intersectional approaches, a group of 40 international students and scholars will contrib- ute to a developing encyclopedia of Comparative Dramaturgy and Performance Research (CDPR).
An event of the Theatre Studies Department of the Goethe University within the network of the M.A. Comparative Dramaturgy and Performance Research (Université libre de Bruxelles, Université Paris Nanterre, Oslo National Academy of the Arts, University of the Arts Helsinki) in cooperation with the Wiesbaden Biennale, supported by the Hessian Theatre Academy, the BIP-Erasmus program of the EU and the Goethe University.
DO 18.09. until SO 21.09.
How can theatre become a space where a society, mediated through a 'third thing', critically engages with itself and its unresolved issues? Starting from this question and drawing on the festival’s decolonial, feminist, and intersectional approaches, a group of 40 international students and scholars will contrib- ute to a developing encyclopedia of Comparative Dramaturgy and Performance Research (CDPR).
An event of the Theatre Studies Department of the Goethe University within the network of the M.A. Comparative Dramaturgy and Performance Research (Université libre de Bruxelles, Université Paris Nanterre, Oslo National Academy of the Arts, University of the Arts Helsinki) in cooperation with the Wiesbaden Biennale, supported by the Hessian Theatre Academy, the BIP-Erasmus program of the EU and the Goethe University.
DO 18.09. until SO 21.09.
Robert Machiri also known as Chi works with sound as an object he observes through a social, itinerant and multimedia practice. Machiri’s work is rooted in aural imagination, weaving together oral histories, landscapes and cityscapes as living archives on the African continent and abroad. His approach is both curatorial and pan-disciplinary, deeply informed by an agency to draw on music as a site for knowledge reproduction and a source for progressive imaginaries.
Machiri’s most notable project, PUNGWE, is an interdisciplinary platform that explores African soundings in relation to contemporary arts and cultural discourses. PUNGWE produces collaborative works, ‘Pungwe Nights’, ‘Listening at Pungwe’, and ‘Pungwe Soundtrails’, each its own project with a distinctive approach to auditory praxis.
Robert Machiri has presented works with numerous institutions and organisations, such as the Makassa Biennale- Indonesia, Venice Biennale Musica, Blaffer Art Museum- University of Houston, Texas, and Melly Institute- Rotterdam to name a few. In 2021, he was a fellow at the Akademie Schloss Solitude in Stuttgart which was preceded by another fellowship offered by the DAAD Artist in Berlin Programme in 2022. Born in 1978 in Zimbabwe. Lives and works between Berlin, Joburg and Harare.
Robert Machiri
Foto: Eunice Maurice
Robert Machiri also known as Chi works with sound as an object he observes through a social, itinerant and multimedia practice. Machiri’s work is rooted in aural imagination, weaving together oral histories, landscapes and cityscapes as living archives on the African continent and abroad. His approach is both curatorial and pan-disciplinary, deeply informed by an agency to draw on music as a site for knowledge reproduction and a source for progressive imaginaries.
Machiri’s most notable project, PUNGWE, is an interdisciplinary platform that explores African soundings in relation to contemporary arts and cultural discourses. PUNGWE produces collaborative works, ‘Pungwe Nights’, ‘Listening at Pungwe’, and ‘Pungwe Soundtrails’, each its own project with a distinctive approach to auditory praxis.
Robert Machiri has presented works with numerous institutions and organisations, such as the Makassa Biennale- Indonesia, Venice Biennale Musica, Blaffer Art Museum- University of Houston, Texas, and Melly Institute- Rotterdam to name a few. In 2021, he was a fellow at the Akademie Schloss Solitude in Stuttgart which was preceded by another fellowship offered by the DAAD Artist in Berlin Programme in 2022. Born in 1978 in Zimbabwe. Lives and works between Berlin, Joburg and Harare.
Robert Machiri
Foto: Eunice Maurice
The Wiesbaden Biennale and the Hessian Theatre Academy are organizing the Biennale Campus for the fourth time. Twenty students from various fields of Applied Theater Studies, Dance, Choreography, Performing Arts in the social fields, Directing, and Stage Design are taking part. They exchange ideas about the festival program in discussions and meetings. In this way, they combine theory with practice. The program is headed by Friederike Thielmann and Dr. Philipp Schulte.
FR 12.09. until SO 14.09
The Wiesbaden Biennale and the Hessian Theatre Academy are organizing the Biennale Campus for the fourth time. Twenty students from various fields of Applied Theater Studies, Dance, Choreography, Performing Arts in the social fields, Directing, and Stage Design are taking part. They exchange ideas about the festival program in discussions and meetings. In this way, they combine theory with practice. The program is headed by Friederike Thielmann and Dr. Philipp Schulte.
FR 12.09. until SO 14.09
Katharina Kraft (she/her), Luzia Oppermann (she/her), and Caspar Weimann (he/she/they) form onlinetheater.live. The collective understands social media platforms as the largest stages of our reality and positions its projects as active contributions to shaping this theater—and thus our digitized reality. A key focus of their work lies in intervening in and preventing right-wing, anti-feminist, and masculinist radicalization processes, for which they have been recognized by numerous institutions.
Caspar Weimann
Katharina Kraft (she/her), Luzia Oppermann (she/her), and Caspar Weimann (he/she/they) form onlinetheater.live. The collective understands social media platforms as the largest stages of our reality and positions its projects as active contributions to shaping this theater—and thus our digitized reality. A key focus of their work lies in intervening in and preventing right-wing, anti-feminist, and masculinist radicalization processes, for which they have been recognized by numerous institutions.
Caspar Weimann
Katharina Kraft (she/her), Luzia Oppermann (she/her), and Caspar Weimann (he/she/they) form onlinetheater.live. The collective understands social media platforms as the largest stages of our reality and positions its projects as active contributions to shaping this theater—and thus our digitized reality. A key focus of their work lies in intervening in and preventing right-wing, anti-feminist, and masculinist radicalization processes, for which they have been recognized by numerous institutions.
Luzia Oppermann
Katharina Kraft (she/her), Luzia Oppermann (she/her), and Caspar Weimann (he/she/they) form onlinetheater.live. The collective understands social media platforms as the largest stages of our reality and positions its projects as active contributions to shaping this theater—and thus our digitized reality. A key focus of their work lies in intervening in and preventing right-wing, anti-feminist, and masculinist radicalization processes, for which they have been recognized by numerous institutions.
Luzia Oppermann
Raphaëlle Red was born in 1997 in Paris and grew up in Berlin, where she still lives today. She studied social sciences, conducted research, and recently taught contemporary literature of the African diaspora before turning to literary writing. Raphaëlle Red writes in French, English, and German. Her German-language texts have already appeared in the anthologies Resonanzen (Spector Books, 2022) and Glückwunsch (Hanser Berlin, 2023). Adikou is her debut novel.
Raphaëlle Red
Foto: Adeline Rapon
Raphaëlle Red was born in 1997 in Paris and grew up in Berlin, where she still lives today. She studied social sciences, conducted research, and recently taught contemporary literature of the African diaspora before turning to literary writing. Raphaëlle Red writes in French, English, and German. Her German-language texts have already appeared in the anthologies Resonanzen (Spector Books, 2022) and Glückwunsch (Hanser Berlin, 2023). Adikou is her debut novel.
Raphaëlle Red
Foto: Adeline Rapon
Lene Albrecht, born in 1986 in Berlin, studied cultural studies in Frankfurt (Oder) and at the Leipzig Literature Institute. In 2019, her debut novel Wir, im Fenster was published. For her work on Weiße Flecken (2024), she received the research grant from the Berlin Senate. As a member of the collective WRITING WITH CARE/RAGE, she organized a conference of the same name in 2021 addressing the question of reconciling care work and authorship. She works as a freelance editor, journalist, and moderator, among others, for the Radiokunst editorial team at Deutschlandfunk Kultur.
Lene Albrecht
Foto: Jacintha Nolte
Lene Albrecht, born in 1986 in Berlin, studied cultural studies in Frankfurt (Oder) and at the Leipzig Literature Institute. In 2019, her debut novel Wir, im Fenster was published. For her work on Weiße Flecken (2024), she received the research grant from the Berlin Senate. As a member of the collective WRITING WITH CARE/RAGE, she organized a conference of the same name in 2021 addressing the question of reconciling care work and authorship. She works as a freelance editor, journalist, and moderator, among others, for the Radiokunst editorial team at Deutschlandfunk Kultur.
Lene Albrecht
Foto: Jacintha Nolte
The filmmaker was born in Warsaw in 1984. His parents fled from Poland to Germany, carrying him in a handbag. He dropped out of school and worked as a wine and diamond dealer before earning money as a decorator. This allowed him to travel the world. In between, he completed his high school diploma and studied philosophy for two semesters. Then he enrolled in the film department at the Mainz Academy of Fine Arts. Today, he is a director and producer of documentary films and is currently working on his first feature film projects.
The filmmaker was born in Warsaw in 1984. His parents fled from Poland to Germany, carrying him in a handbag. He dropped out of school and worked as a wine and diamond dealer before earning money as a decorator. This allowed him to travel the world. In between, he completed his high school diploma and studied philosophy for two semesters. Then he enrolled in the film department at the Mainz Academy of Fine Arts. Today, he is a director and producer of documentary films and is currently working on his first feature film projects.
Clara Hüneke was born in Frankfurt. After studying video art, she worked as first assistant director. In 2015, she made her bachelor documentary „Parko“ in Athens about an occupied parking lot during the Greek crisis. The film screened across Europe. In 2018, she began directing studies at Filmakademie Baden-Württemberg and created the animation film „auf bald, deine Clara“.
Clara Hüneke was born in Frankfurt. After studying video art, she worked as first assistant director. In 2015, she made her bachelor documentary „Parko“ in Athens about an occupied parking lot during the Greek crisis. The film screened across Europe. In 2018, she began directing studies at Filmakademie Baden-Württemberg and created the animation film „auf bald, deine Clara“.
Matthew is co-founder and co-artistic director of Touretteshero. We’ve been friends with for over twenty years and we’ve worked together on many creative projects for children, young people, and adults during that time. Matthew writes, directs and looks after a lot of the day-to-day activity at Touretteshero, particularly our busy calendar
Matthew is co-founder and co-artistic director of Touretteshero. We’ve been friends with for over twenty years and we’ve worked together on many creative projects for children, young people, and adults during that time. Matthew writes, directs and looks after a lot of the day-to-day activity at Touretteshero, particularly our busy calendar
Martina Priessner is an author and director living in Berlin. She has worked for many years on German-Turkish migration. In 2010, she directed the Grimme Award-nominated film Wir sitzen im Süden (“We’re Sitting in the South”), followed in 2013 by Everyday I’m Capuling about the Gezi protests. Die Möllner Briefe had its world premiere at the Berlinale Panorama in 2025 and was awarded the Panorama Audience Award, the Amnesty Prize, and the Roman Brodmann Prize.
Martina Priessner is an author and director living in Berlin. She has worked for many years on German-Turkish migration. In 2010, she directed the Grimme Award-nominated film Wir sitzen im Süden (“We’re Sitting in the South”), followed in 2013 by Everyday I’m Capuling about the Gezi protests. Die Möllner Briefe had its world premiere at the Berlinale Panorama in 2025 and was awarded the Panorama Audience Award, the Amnesty Prize, and the Roman Brodmann Prize.
Katharina Kraft (she/her), Luzia Oppermann (she/her), and Caspar Weimann (he/she/they) form onlinetheater.live. The collective understands social media platforms as the largest stages of our reality and positions its projects as active contributions to shaping this theater—and thus our digitized reality. A key focus of their work lies in intervening in and preventing right-wing, anti-feminist, and masculinist radicalization processes, for which they have been recognized by numerous institutions.
Katharina Kraft
Katharina Kraft (she/her), Luzia Oppermann (she/her), and Caspar Weimann (he/she/they) form onlinetheater.live. The collective understands social media platforms as the largest stages of our reality and positions its projects as active contributions to shaping this theater—and thus our digitized reality. A key focus of their work lies in intervening in and preventing right-wing, anti-feminist, and masculinist radicalization processes, for which they have been recognized by numerous institutions.
Katharina Kraft
Writer, artist and part time superhero Jess Thom co-founded Touretteshero in 2010 as a creative response to her experience of living with Tourettes Syndrome.
Touretteshero is a disabled-led CIC whose mission is to create a more inclusive and socially just society.
With an award-winning cultural practice which includes performance, film, and television, they identify and remove barriers that exclude disabled people wherever they occur. Their research, training and consultancy programmes inspire and drive change within the cultural sector and beyond.
Based in Southeast London, Touretteshero are rooted in a community connected by shared experience and knowledge. They work in solidarity with disabled people in London, nationally and internationally.
Jess Thom
Writer, artist and part time superhero Jess Thom co-founded Touretteshero in 2010 as a creative response to her experience of living with Tourettes Syndrome.
Touretteshero is a disabled-led CIC whose mission is to create a more inclusive and socially just society.
With an award-winning cultural practice which includes performance, film, and television, they identify and remove barriers that exclude disabled people wherever they occur. Their research, training and consultancy programmes inspire and drive change within the cultural sector and beyond.
Based in Southeast London, Touretteshero are rooted in a community connected by shared experience and knowledge. They work in solidarity with disabled people in London, nationally and internationally.
Jess Thom
Karin Lustenberger is a media artist, performer, researcher, educator, and care activist. She lives with her family in Basel and has been part of the core team of the interdisciplinary artist network art+care Switzerland since 2023. Her interests focus on care perspectives in art, technology, and society, as well as interdisciplinary processes and forms of exchange. In her artistic practice, she exploratively and generatively investigates perceptions, connections, and systematics. She works with multimedia, performative, and audiovisual structures and formats. Currently, she is researching gender and social gaps in posthumanism. Karin Lustenberger is a master student and graduate of the Universität der Künste Berlin (specializing in Generative / Computational Art) and previously studied Art & Mediation at the Lucerne University of Applied Sciences and Arts – Design Film Art.
https://www.karinlustenberger.ch/
Karin Lustenberger is a media artist, performer, researcher, educator, and care activist. She lives with her family in Basel and has been part of the core team of the interdisciplinary artist network art+care Switzerland since 2023. Her interests focus on care perspectives in art, technology, and society, as well as interdisciplinary processes and forms of exchange. In her artistic practice, she exploratively and generatively investigates perceptions, connections, and systematics. She works with multimedia, performative, and audiovisual structures and formats. Currently, she is researching gender and social gaps in posthumanism. Karin Lustenberger is a master student and graduate of the Universität der Künste Berlin (specializing in Generative / Computational Art) and previously studied Art & Mediation at the Lucerne University of Applied Sciences and Arts – Design Film Art.
https://www.karinlustenberger.ch/
Teresa Monfared is a freelance scenographer, performer, activist, and co-leader of the Culture.Care project within the Bühnenmütter* association. Until October 2024, she headed the office of the Scenography Association. Together with Nicola Bramkamp and Luca Sonnen, she leads the Burning Issues Academy.
She is passionate about improving the reconciliation and visibility of caregiving work in the arts, as well as advocating for fair working conditions for freelance artists in the performing and visual arts, and for transforming stage and costume production toward ecological sustainability and circular processes. She lives and works in Berlin with her 1 to 4 children.
Teresa Monfared is a freelance scenographer, performer, activist, and co-leader of the Culture.Care project within the Bühnenmütter* association. Until October 2024, she headed the office of the Scenography Association. Together with Nicola Bramkamp and Luca Sonnen, she leads the Burning Issues Academy.
She is passionate about improving the reconciliation and visibility of caregiving work in the arts, as well as advocating for fair working conditions for freelance artists in the performing and visual arts, and for transforming stage and costume production toward ecological sustainability and circular processes. She lives and works in Berlin with her 1 to 4 children.
Dr. Sascia Bailer is a researcher, author, and curator working at the intersection of care, gender, and socially engaged art. She completed her PhD in curatorial practice at the Zurich University of the Arts and the University of Reading. As artistic director of the M.1 Arthur Boskamp Foundation from 2019 to 2020, she developed a participatory program focused on care. This research led to her book Caring Infrastructures: Transforming the Arts Through Feminist Curating (transcript, 2024). She is part of the collectives Mothers, Warriors, and Poets*, Field Narratives, and is involved in the art+care community. She lives with her son and her grandfather in the Freiburg area.
https://sasciabailer.com
Dr. Sascia Bailer is a researcher, author, and curator working at the intersection of care, gender, and socially engaged art. She completed her PhD in curatorial practice at the Zurich University of the Arts and the University of Reading. As artistic director of the M.1 Arthur Boskamp Foundation from 2019 to 2020, she developed a participatory program focused on care. This research led to her book Caring Infrastructures: Transforming the Arts Through Feminist Curating (transcript, 2024). She is part of the collectives Mothers, Warriors, and Poets*, Field Narratives, and is involved in the art+care community. She lives with her son and her grandfather in the Freiburg area.
https://sasciabailer.com
The Roter Tisch on Motherhood, Work-Life Balance, and Care is a coalition of Berlin-based motherhood and care activists. Among us are artists, scientists, lawyers, journalists, and coaches—and we’ve had enough!!! We want greater visibility and audibility for the concerns and needs of mothers* and other unpaid caregivers.
Our vision: A society that recognizes and supports caregiving as the foundation for social cohesion and quality of life.
https://icp-berlin.org/feministischer-roter-tisch-zu-mutterschaft-vereinbarkeit-und-care/
The Roter Tisch on Motherhood, Work-Life Balance, and Care is a coalition of Berlin-based motherhood and care activists. Among us are artists, scientists, lawyers, journalists, and coaches—and we’ve had enough!!! We want greater visibility and audibility for the concerns and needs of mothers* and other unpaid caregivers.
Our vision: A society that recognizes and supports caregiving as the foundation for social cohesion and quality of life.
https://icp-berlin.org/feministischer-roter-tisch-zu-mutterschaft-vereinbarkeit-und-care/
The Bühnenmütter* e.V. was founded in 2022. The association is made up of artists who have personally experienced how challenging it is to balance parenthood and a career in the arts. The association now has 180 members from Germany, Austria, and Switzerland – including not only mothers but also fathers and all people who take on caregiving responsibilities or support their vision.
The Bühnenmütter* e.V. was founded in 2022. The association is made up of artists who have personally experienced how challenging it is to balance parenthood and a career in the arts. The association now has 180 members from Germany, Austria, and Switzerland – including not only mothers but also fathers and all people who take on caregiving responsibilities or support their vision.
Caring Culture Lab – a newly established competence center for equality and the reconciliation of art and caregiving in the cultural sector. Together, the lab advocates for the visibility, recognition, and structural improvement of the living and working conditions of artists with caregiving responsibilities.
The lab was initiated by Dr. Sascia Bailer and is supported by Marie Lienhard, Anna Gohmert (Mothers*, Warriors, and Poets), Marcia Breuer (More Mothers for the Arts), Teresa Monfared (Bühnenmütter* e.V.), Gabi Blum and Anna Schölss (K&K – Alliance Art & Child Munich), Ellen Louise Weise (kunst+kind Berlin), Ines Doleschal & Alice Münch (fair share! Visibility for Women Artists), and Tanja Blum (freelance cultural manager).
www.caringculturelab.com
Caring Culture Lab – a newly established competence center for equality and the reconciliation of art and caregiving in the cultural sector. Together, the lab advocates for the visibility, recognition, and structural improvement of the living and working conditions of artists with caregiving responsibilities.
The lab was initiated by Dr. Sascia Bailer and is supported by Marie Lienhard, Anna Gohmert (Mothers*, Warriors, and Poets), Marcia Breuer (More Mothers for the Arts), Teresa Monfared (Bühnenmütter* e.V.), Gabi Blum and Anna Schölss (K&K – Alliance Art & Child Munich), Ellen Louise Weise (kunst+kind Berlin), Ines Doleschal & Alice Münch (fair share! Visibility for Women Artists), and Tanja Blum (freelance cultural manager).
www.caringculturelab.com
art+care is a growing network of people from the arts across Switzerland - a whole cosmos. We want to start from an understanding of artists that builds on the basis of caregiving and caring. We publicise our experiences, needs and resources, form empowering alliances and join forces to bring about necessary changes in the cultural sector.
https://www.artandcare.org
art+care is a growing network of people from the arts across Switzerland - a whole cosmos. We want to start from an understanding of artists that builds on the basis of caregiving and caring. We publicise our experiences, needs and resources, form empowering alliances and join forces to bring about necessary changes in the cultural sector.
https://www.artandcare.org
Born in Madagascar, Joel Rabesolo is a talented guitarist who, in 2006, won first prize in a “Jazz Guitar” competition in Antananarivo, the capital of his country. He then moved to Belgium to continue his studies at the Conservatoire Royal de Bruxelles, while developing a variety of musical projects with the aim of sharing the rich musical culture of the Indian Ocean.
His unique style, which he defines as “Marovanistic”, is inspired by the distinctive sound of the Marovany, an ancestral instrument from Madagascar. This influence is at the heart of his music, which blends rhythms and harmonies typical of his native island.
Joel has had the opportunity to collaborate with some of the biggest names on the music scene, such as Linley Marthe and D'Gary... Now based in Belgium, he performs in a variety of musical projects, exploring styles ranging from traditional to blues, Afro-groove and jazz.
Joel Rabesolo
Born in Madagascar, Joel Rabesolo is a talented guitarist who, in 2006, won first prize in a “Jazz Guitar” competition in Antananarivo, the capital of his country. He then moved to Belgium to continue his studies at the Conservatoire Royal de Bruxelles, while developing a variety of musical projects with the aim of sharing the rich musical culture of the Indian Ocean.
His unique style, which he defines as “Marovanistic”, is inspired by the distinctive sound of the Marovany, an ancestral instrument from Madagascar. This influence is at the heart of his music, which blends rhythms and harmonies typical of his native island.
Joel has had the opportunity to collaborate with some of the biggest names on the music scene, such as Linley Marthe and D'Gary... Now based in Belgium, he performs in a variety of musical projects, exploring styles ranging from traditional to blues, Afro-groove and jazz.
Joel Rabesolo
Audrey Merilus is a French artist of Afro-Caribbean descent based in Brussels.
Her artistic practice revolves around performance, curation, and dramaturgy.
She studied at the Conservatoire Régional de Paris (CRR) and continued her training at the Conservatoire National Supérieur de Musique et de Danse de Lyon (CNSMDL), before obtaining her bachelor’s degree in dance from the Training Cycle at P.A.R.T.S.
She has worked with various international productions and artists, including Gisèle Vienne, Soa Ratsifandrihana, Florentina Holzinger, Maud le Pladec, Michiel Vandevelde, and Rosas.
As an extension of her artistic journey, Audrey’s evolving practice has extended into curation.
For the tenth edition of Radiant Nights at DeSingel (Antwerp), she initiated the project COLLECTIVE MEMORIES, a program in which she invited several artists to share their work during two evenings composed of performances, literature, visual arts, textiles, and sound. She’s currently working on the second edition of COLLECTIVE MEMOERIES in Brussels (2025).
Recently, she has taken on the role of dramaturg for Stanley Ollivier’s upcoming work Spine of Desire: Wounds Without Tears, Out of One Skin in Diamonds and Shit (2025) and will be collaborating with Gisèle Vienne, as a performer on her forthcoming production with Schauspielhaus Zürich (2026).
Audrey Merilus
Foto: privat
Audrey Merilus is a French artist of Afro-Caribbean descent based in Brussels.
Her artistic practice revolves around performance, curation, and dramaturgy.
She studied at the Conservatoire Régional de Paris (CRR) and continued her training at the Conservatoire National Supérieur de Musique et de Danse de Lyon (CNSMDL), before obtaining her bachelor’s degree in dance from the Training Cycle at P.A.R.T.S.
She has worked with various international productions and artists, including Gisèle Vienne, Soa Ratsifandrihana, Florentina Holzinger, Maud le Pladec, Michiel Vandevelde, and Rosas.
As an extension of her artistic journey, Audrey’s evolving practice has extended into curation.
For the tenth edition of Radiant Nights at DeSingel (Antwerp), she initiated the project COLLECTIVE MEMORIES, a program in which she invited several artists to share their work during two evenings composed of performances, literature, visual arts, textiles, and sound. She’s currently working on the second edition of COLLECTIVE MEMOERIES in Brussels (2025).
Recently, she has taken on the role of dramaturg for Stanley Ollivier’s upcoming work Spine of Desire: Wounds Without Tears, Out of One Skin in Diamonds and Shit (2025) and will be collaborating with Gisèle Vienne, as a performer on her forthcoming production with Schauspielhaus Zürich (2026).
Audrey Merilus
Foto: privat
Stanley Ollivier is a French-Caribbean artist based in Brussels. They studied at the Académie Internationale de Danse de Paris (AID), the CNSMDP in Paris, and P.A.R.T.S (BE) where they obtained their master in arts, dance & choreography. They have previously worked for various international productions and artists such as: Soa Ratsifandrihana, Cie Tabea Martin, Lasseindra Lanvin, Geert Belpaemeu, Calixto Neto, Iván Pérez, Disney Channel, Brahim Tall, among others. They created the performances PARADE (2021), The Mirror Stand (2022), Just A Taste (2024) and 'Spine Of Desire: Wounds without tears, out of one skin in diamonds and shit' (2025). Stanley is also a resident artist at Oroko Radio (Accra, Ghana), Kiosk Radio (BE), Kaaitheatre (BE), as well as the co-founder of Entwined Studio.
Stanley Olliver
Foto: Matias Rocha Moura
Stanley Ollivier is a French-Caribbean artist based in Brussels. They studied at the Académie Internationale de Danse de Paris (AID), the CNSMDP in Paris, and P.A.R.T.S (BE) where they obtained their master in arts, dance & choreography. They have previously worked for various international productions and artists such as: Soa Ratsifandrihana, Cie Tabea Martin, Lasseindra Lanvin, Geert Belpaemeu, Calixto Neto, Iván Pérez, Disney Channel, Brahim Tall, among others. They created the performances PARADE (2021), The Mirror Stand (2022), Just A Taste (2024) and 'Spine Of Desire: Wounds without tears, out of one skin in diamonds and shit' (2025). Stanley is also a resident artist at Oroko Radio (Accra, Ghana), Kiosk Radio (BE), Kaaitheatre (BE), as well as the co-founder of Entwined Studio.
Stanley Olliver
Foto: Matias Rocha Moura
David Gaete’s artistic training began at the Ballet School of the Municipal Theater of Santiago and at the BAFONA Academy. David Gaete Paredes, an actor with a Bachelor's degree from Universidad ARCIS, has performed and/or collaborated as part of the creative team in various Chilean theater companies such as Cía. CreaCuerpo, La Niña Horrible, Teatro La Palabra, Geografía Teatral, El Gran Circo Teatro, among others. His most recent work includes a performance in Vampyr, directed by Manuela Infante.
He has taught acting at various universities, institutes, and theater schools across Chile. His audiovisual credits include numerous projects such as: 12 Días que Estremecieron Chile (2016), Zamudio (2014), Matar a Pinochet (2019), the series Dignidad (2019), Un Lugar Llamado Dignidad (2019), Inés del Alma Mía (2020), La Vida de Nosotras (2021), Poemas Malditos (2020), Vencer o Morir (2023), La Cacería 2 (2023), and Guerra de Verano (2024), among others.
David Gaete
Foto: Tom Chenette, Tyare Dreyer
David Gaete’s artistic training began at the Ballet School of the Municipal Theater of Santiago and at the BAFONA Academy. David Gaete Paredes, an actor with a Bachelor's degree from Universidad ARCIS, has performed and/or collaborated as part of the creative team in various Chilean theater companies such as Cía. CreaCuerpo, La Niña Horrible, Teatro La Palabra, Geografía Teatral, El Gran Circo Teatro, among others. His most recent work includes a performance in Vampyr, directed by Manuela Infante.
He has taught acting at various universities, institutes, and theater schools across Chile. His audiovisual credits include numerous projects such as: 12 Días que Estremecieron Chile (2016), Zamudio (2014), Matar a Pinochet (2019), the series Dignidad (2019), Un Lugar Llamado Dignidad (2019), Inés del Alma Mía (2020), La Vida de Nosotras (2021), Poemas Malditos (2020), Vencer o Morir (2023), La Cacería 2 (2023), and Guerra de Verano (2024), among others.
David Gaete
Foto: Tom Chenette, Tyare Dreyer
Marcela Salinas is an actress with a Bachelor’s Degree in Arts from the University of Chile (2004).
Her participation in professional theater productions spans from 2000 to the present, having taken part in more than 60 stage productions in Chile and abroad. Notable milestones include co-founding the multidisciplinary creative collective LÁGRIMAS, CELOS Y DUDAS (2007–2020), and performing in and co-writing the solo piece ESTADO VEGETAL, directed by Manuela Infante. This work has been presented in over 14 countries across Latin America, Asia, and Europe between 2017 and 2025.
In the audiovisual field, she has participated in LOS FUERTES by Omar Zúñiga Hidalgo (2020), ISLA NEGRA by Jorge Riquelme Serrano (2022), KAYE by Juan Pablo Cáceres Cornejo (2023), and the second season of the series LA JAURÍA (Amazon, 2021) She has been teaching since 2005, focusing on Voice and Singing in many renown undergraduate acting programs in Chile. Her approach is centered on observing and researching the performer's creative process from a neuroscientific perspective.
Marcela Salinas
Marcela Salinas is an actress with a Bachelor’s Degree in Arts from the University of Chile (2004).
Her participation in professional theater productions spans from 2000 to the present, having taken part in more than 60 stage productions in Chile and abroad. Notable milestones include co-founding the multidisciplinary creative collective LÁGRIMAS, CELOS Y DUDAS (2007–2020), and performing in and co-writing the solo piece ESTADO VEGETAL, directed by Manuela Infante. This work has been presented in over 14 countries across Latin America, Asia, and Europe between 2017 and 2025.
In the audiovisual field, she has participated in LOS FUERTES by Omar Zúñiga Hidalgo (2020), ISLA NEGRA by Jorge Riquelme Serrano (2022), KAYE by Juan Pablo Cáceres Cornejo (2023), and the second season of the series LA JAURÍA (Amazon, 2021) She has been teaching since 2005, focusing on Voice and Singing in many renown undergraduate acting programs in Chile. Her approach is centered on observing and researching the performer's creative process from a neuroscientific perspective.
Marcela Salinas
Tonderai Koschke (she/her) is an architectural researcher and educator local to Berlin and Harare. She is currently Lecturer at Weissensee School of Art, teaching about and researching post-colonial identities and power dynamics in the built environment. She also co-founded Isusu Ffena, a pan-Afrikan collective that produces events and a festival. Through mappings, sketches, writing and installations, her work challenges the violences of colonial capitalism and celebrates the resistance and present/future realities and possibilities of subaltern communities.
Tonderai Koschke
Foto: Andrea Ave
Tonderai Koschke (she/her) is an architectural researcher and educator local to Berlin and Harare. She is currently Lecturer at Weissensee School of Art, teaching about and researching post-colonial identities and power dynamics in the built environment. She also co-founded Isusu Ffena, a pan-Afrikan collective that produces events and a festival. Through mappings, sketches, writing and installations, her work challenges the violences of colonial capitalism and celebrates the resistance and present/future realities and possibilities of subaltern communities.
Tonderai Koschke
Foto: Andrea Ave
ALPAS Pilipinas works to support and organize the Filipino community in Berlin and provides a bridge to the vibrant anti-imperialist struggle in the Philippines
ALPAS Pilipinas works to support and organize the Filipino community in Berlin and provides a bridge to the vibrant anti-imperialist struggle in the Philippines
Lizza May David's multidisciplinary practice anchors in painting which she connects with artistic research, collaborations and other formats. She is interested in gaps and silences in personal and institutional archives. Previous video works dealt with issues on labour migration, memory, and language. She studied at the Academy of Fine Arts Nuremberg and at the Berlin University of the Arts. Currently, she lectures at the Weißensee Academy of Art Berlin. Recent exhibitions include "Stories that We Imagine, Stories that Connect Us", Kunstverein Langenhagen, 2025, "Traces of Interest", ifa-Galerie, Stuttgart, 2024, "Snare for Birds: Rereading the Colonial Archive", Ateneo Art Gallery, Manila 2023-2024 and "Prussian Palaces. Colonial Histories", Charlottenburg Palace, Berlin, 2023. David lives and works in Berlin.
Lizza May David
Lizza May David's multidisciplinary practice anchors in painting which she connects with artistic research, collaborations and other formats. She is interested in gaps and silences in personal and institutional archives. Previous video works dealt with issues on labour migration, memory, and language. She studied at the Academy of Fine Arts Nuremberg and at the Berlin University of the Arts. Currently, she lectures at the Weißensee Academy of Art Berlin. Recent exhibitions include "Stories that We Imagine, Stories that Connect Us", Kunstverein Langenhagen, 2025, "Traces of Interest", ifa-Galerie, Stuttgart, 2024, "Snare for Birds: Rereading the Colonial Archive", Ateneo Art Gallery, Manila 2023-2024 and "Prussian Palaces. Colonial Histories", Charlottenburg Palace, Berlin, 2023. David lives and works in Berlin.
Lizza May David
Angelo V. Suarez is a poet who explores conceptualism and performance in his art practice. His last book was Philippine English: A novel published as a downloadable PDF in 2015. He volunteers for Unyon ng mga Manggagawa sa Agrikultura (UMA, Federation of Agricultural Workers) and makes his living as an advertising copywriter.
Angelo V. Suárez
Angelo V. Suarez is a poet who explores conceptualism and performance in his art practice. His last book was Philippine English: A novel published as a downloadable PDF in 2015. He volunteers for Unyon ng mga Manggagawa sa Agrikultura (UMA, Federation of Agricultural Workers) and makes his living as an advertising copywriter.
Angelo V. Suárez
Heidi Eckwall (Technical and Production Manager) is a lighting designer based in Minneapolis, MN whose work in dance, theater and performance spans several decades. She has toured with Nora Chipaumire, Rosy Simas, Emily Johnson, Urban Bush Women, BodyCartography Project, Hijack, and Margaret Jenkins. Heidi teaches Lighting Design at Colorado College.
Heidi Eckwall (Technical and Production Manager) is a lighting designer based in Minneapolis, MN whose work in dance, theater and performance spans several decades. She has toured with Nora Chipaumire, Rosy Simas, Emily Johnson, Urban Bush Women, BodyCartography Project, Hijack, and Margaret Jenkins. Heidi teaches Lighting Design at Colorado College.
Kwamina “Binnie” Biney (Sound Assistant) moved to the Big Apple to pursue a dream of creating meaningful art that could affect countless lives and/or in fact change the world. Starting out as a recording artist, Binnie soon realized to hone in on the passion there must be a holistic understanding of the craft. Not too soon after, He began to learn Audio engineering and producing. Along with a few close comrades, Binnie and his team founded red autumn studios and have worked for close to 10 years in pre/post A/V production.
Kwamina “Binnie” Biney (Sound Assistant) moved to the Big Apple to pursue a dream of creating meaningful art that could affect countless lives and/or in fact change the world. Starting out as a recording artist, Binnie soon realized to hone in on the passion there must be a holistic understanding of the craft. Not too soon after, He began to learn Audio engineering and producing. Along with a few close comrades, Binnie and his team founded red autumn studios and have worked for close to 10 years in pre/post A/V production.
Vusumuzi “Vusa” Moyo is a freelance sound engineer from Zimbabwe with over two decades of experience. He has toured internationally as the principal sound engineer for prominent artists like Oliver Mtukudzi, Mahube, and Victor Kunonga. Known for his acute ear and technical expertise, Vusa is a top choice for major festivals in Zimbabwe and Zambia, including HIFA and Miombo Magic. He is equally skilled in both studio work and live events, and is expanding his expertise into film, working on documentaries, short films, and features.
Vusumuzi “Vusa” Moyo is a freelance sound engineer from Zimbabwe with over two decades of experience. He has toured internationally as the principal sound engineer for prominent artists like Oliver Mtukudzi, Mahube, and Victor Kunonga. Known for his acute ear and technical expertise, Vusa is a top choice for major festivals in Zimbabwe and Zambia, including HIFA and Miombo Magic. He is equally skilled in both studio work and live events, and is expanding his expertise into film, working on documentaries, short films, and features.
Shamar Watt is an interdisciplinary artist born and raised in Kingston, Jamaica, and Miami. His work has been presented on international stages, including the Cartier Foundation (Paris), Sandrell Rivers Theater (Miami), and Roulette Intermedium (New York), among numerous others. He has collaborated with world-renowned sculptor and filmmaker Matthew Barney and has worked closely with the globally acclaimed multidisciplinary artist and choreographer nora chipaumire since 2015. Watt’s practice is grounded in a deep commitment to the (pre)formance of spiritual entertainment, the choreography of noise, and the illumination of movement through darkness. Through these devotions, his work aspires toward the manifestation of a new heaven and earth—a reimagined relation to relations.
Shamar Watt is an interdisciplinary artist born and raised in Kingston, Jamaica, and Miami. His work has been presented on international stages, including the Cartier Foundation (Paris), Sandrell Rivers Theater (Miami), and Roulette Intermedium (New York), among numerous others. He has collaborated with world-renowned sculptor and filmmaker Matthew Barney and has worked closely with the globally acclaimed multidisciplinary artist and choreographer nora chipaumire since 2015. Watt’s practice is grounded in a deep commitment to the (pre)formance of spiritual entertainment, the choreography of noise, and the illumination of movement through darkness. Through these devotions, his work aspires toward the manifestation of a new heaven and earth—a reimagined relation to relations.
Tyroneisaacstuart is a multidisciplinary artist, currently working on an album and supporting gallery space project that combines sound, movement, artist book making and the spoken word. He began his journey at 14, later earning a BA in Jazz Saxophone from MDX University and the University of New Orleans. His career highlights include performing with Tomorrow’s Warriors Jazz Ensemble, Boy Blue Entertainment, dancing in productions like East Wall (East London Dance), Multiplication of Rhythm (Anni Katrin Elmer/Irene Wernli), Concrete Dreams (Freddie Opoku-Addaie), a Sadler's Wells residency and he’s in the first cohort of Studio Wayne McGregor’s Resident6.
Tyroneisaacstuart is a multidisciplinary artist, currently working on an album and supporting gallery space project that combines sound, movement, artist book making and the spoken word. He began his journey at 14, later earning a BA in Jazz Saxophone from MDX University and the University of New Orleans. His career highlights include performing with Tomorrow’s Warriors Jazz Ensemble, Boy Blue Entertainment, dancing in productions like East Wall (East London Dance), Multiplication of Rhythm (Anni Katrin Elmer/Irene Wernli), Concrete Dreams (Freddie Opoku-Addaie), a Sadler's Wells residency and he’s in the first cohort of Studio Wayne McGregor’s Resident6.
Mohamed Y. Shika is an Egyptian contemporary dancer of Nubian origin whose work blends Nubian folk dances, martial arts, house, and Afro-traditional and Afro-contemporary styles into dynamic forms. In 2017, he received the Pina Bausch Fellowship, marking the start of his collaboration with choreographer nora chipaumire. Since 2018, Shika has been based in Sweden, performing with Cullberg. Beyond dance, he explores painting and photography, enriching his movement with visual depth. He continues to shape an artistic voice that bridges cultural heritage and contemporary exploration, reflecting intersecting identities.
Mohamed Y. Shika is an Egyptian contemporary dancer of Nubian origin whose work blends Nubian folk dances, martial arts, house, and Afro-traditional and Afro-contemporary styles into dynamic forms. In 2017, he received the Pina Bausch Fellowship, marking the start of his collaboration with choreographer nora chipaumire. Since 2018, Shika has been based in Sweden, performing with Cullberg. Beyond dance, he explores painting and photography, enriching his movement with visual depth. He continues to shape an artistic voice that bridges cultural heritage and contemporary exploration, reflecting intersecting identities.
Soko Jena is a multifaceted artist, musician, dancer, and choreographer from Zimbabwe. He founded the Jerahuni Movement Factory, offering free dance classes to those interested in movement. He believes physical expression gives outlet to spiritual and emotional undercurrents often ignored in other dance forms. A former dancer, choreographer, and artistic director of Tumbuka Dance Company, he explores the body through his ‘jerahuni-technique’ without judgment. Jerahuni is a Pina Bausch Dance Fellow (2020) and an MFA student at University of the Arts in Philadelphia.
Soko Jena is a multifaceted artist, musician, dancer, and choreographer from Zimbabwe. He founded the Jerahuni Movement Factory, offering free dance classes to those interested in movement. He believes physical expression gives outlet to spiritual and emotional undercurrents often ignored in other dance forms. A former dancer, choreographer, and artistic director of Tumbuka Dance Company, he explores the body through his ‘jerahuni-technique’ without judgment. Jerahuni is a Pina Bausch Dance Fellow (2020) and an MFA student at University of the Arts in Philadelphia.
Jonathan Kudakwashe Daniel is a Zimbabwean artist whose journey in dance began at age 12 at St. Michael's Primary School, where he learned traditional dances like Muchongoyo and Mhande. Shortly after, he joined Chiedza Child Care Center, touring nationally and internationally, and in 2014, he became part of Chipawo Arts Trust. In 2018, he joined Ngorimba Arts Trust before its closure. He later trained at AfriKera Arts Trust, studying Contemporary, Ballet, and Traditional Dance, graduating in 2021. Since then, he has worked with AfriKera Dance Theatre, Faye Jackson Dance Academy, and Company Chabarwa. Currently, he performs with nora chipaumire’s company. Also an instrumentalist, Jonathan plays mbira, drums, and marimba.
Jonathan Kudakwashe Daniel is a Zimbabwean artist whose journey in dance began at age 12 at St. Michael's Primary School, where he learned traditional dances like Muchongoyo and Mhande. Shortly after, he joined Chiedza Child Care Center, touring nationally and internationally, and in 2014, he became part of Chipawo Arts Trust. In 2018, he joined Ngorimba Arts Trust before its closure. He later trained at AfriKera Arts Trust, studying Contemporary, Ballet, and Traditional Dance, graduating in 2021. Since then, he has worked with AfriKera Dance Theatre, Faye Jackson Dance Academy, and Company Chabarwa. Currently, he performs with nora chipaumire’s company. Also an instrumentalist, Jonathan plays mbira, drums, and marimba.
Fatima Katiji is a Zimbabwean musician, songwriter, performer, percussionist, and dancer, best known as “Stimy Stimela,” a backing vocalist for Jah Prayzah and 3G The Band. She began her career in 2005 as the lead vocalist for Five Fold, led by Hudson Simbarashe, and has since become a prominent voice in Zimbabwe’s music scene, collaborating with artists like Diana Samkange and Alexio Kawara. Co-founder of StimyBee Arts Factory, Fatima trains children in performing arts and performs in NeHanda by nora chipaumire, touring festivals globally. Recently, she performed with Sages Comme Des Sauvages at Festival Africolor in Paris.ges, performing at Festival Africolor in Paris, and continues to tour and work on innovative global projects.
Fatima Katiji is a Zimbabwean musician, songwriter, performer, percussionist, and dancer, best known as “Stimy Stimela,” a backing vocalist for Jah Prayzah and 3G The Band. She began her career in 2005 as the lead vocalist for Five Fold, led by Hudson Simbarashe, and has since become a prominent voice in Zimbabwe’s music scene, collaborating with artists like Diana Samkange and Alexio Kawara. Co-founder of StimyBee Arts Factory, Fatima trains children in performing arts and performs in NeHanda by nora chipaumire, touring festivals globally. Recently, she performed with Sages Comme Des Sauvages at Festival Africolor in Paris.ges, performing at Festival Africolor in Paris, and continues to tour and work on innovative global projects.
Joyce Edwards stands as a beacon of transformative artistry, leaving an indelible mark in New York and across the USA. Honored with the 2023 Bessie Award for Outstanding Performer, Edwards has garnered acclaim for her roles in Ronald K. Brown’s "Grace," "The Equality of Night and Day," and "Open Door." Her performances transcend mere expression, woven from a deep connection to her ancestral roots, which guides her innovative spirit and artistic insight. As her artistry evolves, Edwards solidifies her role as a pivotal and inspiring force, influencing both her contemporaries and future generations of dancers. Her work not only highlights her exceptional talent but also redefines the possibilities within the dance world, making her a crucial figure in the ongoing evolution of the art form.
Joyce Edwards stands as a beacon of transformative artistry, leaving an indelible mark in New York and across the USA. Honored with the 2023 Bessie Award for Outstanding Performer, Edwards has garnered acclaim for her roles in Ronald K. Brown’s "Grace," "The Equality of Night and Day," and "Open Door." Her performances transcend mere expression, woven from a deep connection to her ancestral roots, which guides her innovative spirit and artistic insight. As her artistry evolves, Edwards solidifies her role as a pivotal and inspiring force, influencing both her contemporaries and future generations of dancers. Her work not only highlights her exceptional talent but also redefines the possibilities within the dance world, making her a crucial figure in the ongoing evolution of the art form.
Tatenda Chabarwa is a Zimbabwean performer, dancer, choreographer, and musician. He worked as a full-time performer with Tumbuka Dance Company (2015-2016) and is currently a freelancer. Active in the art scene, he collaborates with Dunia Dance Theatre, Company Chipaumire, and works on his solo projects. A graduate of The Dance Trust of Zimbabwe, Tatenda has presented his choreographic work at festivals like Windhoek International Dance Festival and the Pan-African Creative Exchange. In 2024, he was selected for DanceWeb in Vienna.
Tatenda Chabarwa is a Zimbabwean performer, dancer, choreographer, and musician. He worked as a full-time performer with Tumbuka Dance Company (2015-2016) and is currently a freelancer. Active in the art scene, he collaborates with Dunia Dance Theatre, Company Chipaumire, and works on his solo projects. A graduate of The Dance Trust of Zimbabwe, Tatenda has presented his choreographic work at festivals like Windhoek International Dance Festival and the Pan-African Creative Exchange. In 2024, he was selected for DanceWeb in Vienna.
Eddy Sarayut Phetsamrit (42) is a Thai actor with a diverse stage career. His stage credits include SAPAN KWAI MY LOVE (2006), KING LEAR AND HIS DAUGHTERS (2012), and TAXI RADIO (2019). He is also part of the upcoming production DECEPTION OF THE
DEMON (2024-2025). Eddy’s roles span various genres, from ensemble performances to key roles in productions by Makhampom Theatre Group and B Floor Theatre.
Eddy Sarayut Phetsamrit
Eddy Sarayut Phetsamrit (42) is a Thai actor with a diverse stage career. His stage credits include SAPAN KWAI MY LOVE (2006), KING LEAR AND HIS DAUGHTERS (2012), and TAXI RADIO (2019). He is also part of the upcoming production DECEPTION OF THE
DEMON (2024-2025). Eddy’s roles span various genres, from ensemble performances to key roles in productions by Makhampom Theatre Group and B Floor Theatre.
Eddy Sarayut Phetsamrit
Phiao Duangjai Hiransri is a Thai actress known for her roles in both films and television. Her notable film credits include MYSTERIOUS OBJECT AT NOON (2000) by Apichatpong Weerasethakul, BANG RAJAN (2002), PATONG GIRL (2014), and THE BLUE HOUR (2015). On TV, she has featured in SRI AYODHAYA (2017-2019), THAI CAVE RESCUE (2022), and I FEEL YOU LINGER IN THE AIR (2023). Phiao continues to work in both Thai and international media, making significant contributions to the industry.
Phiao Duangjai Hiransri is a Thai actress known for her roles in both films and television. Her notable film credits include MYSTERIOUS OBJECT AT NOON (2000) by Apichatpong Weerasethakul, BANG RAJAN (2002), PATONG GIRL (2014), and THE BLUE HOUR (2015). On TV, she has featured in SRI AYODHAYA (2017-2019), THAI CAVE RESCUE (2022), and I FEEL YOU LINGER IN THE AIR (2023). Phiao continues to work in both Thai and international media, making significant contributions to the industry.
Graduated and based in Bangkok, Noom Sorawis Chinsangthip is a theatre practitioner with a background in Performing Arts (B.A., Chulalongkorn University). Since 2017 he has been working as a performer and actor for several companies and individual artists, aiming to find his own approach and artistic practice. In 2019, he started his role as stage manager/project coordinator for Thai-German collaborative project ‘Streaming’. Continuing his path as a project manager for international theatre meetings and festivals, including BIPAM (Bangkok International Performing Arts Meeting), BTF (Bangkok Theatre Festival) and BICT (Bangkok International Children’s Theatre Festival), he is still actively working as a performer along the way.
Graduated and based in Bangkok, Noom Sorawis Chinsangthip is a theatre practitioner with a background in Performing Arts (B.A., Chulalongkorn University). Since 2017 he has been working as a performer and actor for several companies and individual artists, aiming to find his own approach and artistic practice. In 2019, he started his role as stage manager/project coordinator for Thai-German collaborative project ‘Streaming’. Continuing his path as a project manager for international theatre meetings and festivals, including BIPAM (Bangkok International Performing Arts Meeting), BTF (Bangkok Theatre Festival) and BICT (Bangkok International Children’s Theatre Festival), he is still actively working as a performer along the way.
Alex ”highly innovative...of exceptional creative imagination and musical energy, packed with life force unlike anything else” (Ivor Novello British Composer Awards.) is an award-winning composer & jazz-trombonist. His scores are published by Ricordi (Berlin). He has been described as “A Magician of Sound...hyperkinetic rainbow-hued...joy & freedom” (Financial Times), “the most joyous sound I’ve heard in ages!” (New York Times), "A riotous overabundance of love and rage...an extraordinary experience” (The Wire),”a system-
crasher of genre...unmistakable style...highly complex, sophisticated and extremely entertaining, virtuoso ad absurdum" (Neue Zeitschrift fur Musik), and “a super nova...a brazen sensorial mash up...riot and a rainbow...brimmingly heartfelt multi sensorial, genuinely energising fizzer of a new work...super charged joy...forces us all to sit up and loosen up and buck up” (Kate Mollison BBC New Music Show). Prizes include an Ivor Novello, Paul Hindemith Prize: “a Brit who defies every conceivable genre boundary...an
extremely modern and future-oriented style” Ernst von Siemens Composer Prize: “Unbridled joy… sophisticated, passionate music full of pulsating energy and stylistic diversity”, Elb Philharmonie’s Claussen Simon Composition Prize, RPS Royal Philharmonic Society Prize. Alex has released four critically acclaimed albums MUSIC for BOSCH PEOPLE (Birmingham Record Company/ NMC label), iLOLLI-POP (non-classical) and HAPPY MUSIC for ORCHESTRA (Delphian), DELICIOUS (New Amsterdam).
“Paxton is a monster improviser” - Bandcamp
Alex Paxton
Alex ”highly innovative...of exceptional creative imagination and musical energy, packed with life force unlike anything else” (Ivor Novello British Composer Awards.) is an award-winning composer & jazz-trombonist. His scores are published by Ricordi (Berlin). He has been described as “A Magician of Sound...hyperkinetic rainbow-hued...joy & freedom” (Financial Times), “the most joyous sound I’ve heard in ages!” (New York Times), "A riotous overabundance of love and rage...an extraordinary experience” (The Wire),”a system-
crasher of genre...unmistakable style...highly complex, sophisticated and extremely entertaining, virtuoso ad absurdum" (Neue Zeitschrift fur Musik), and “a super nova...a brazen sensorial mash up...riot and a rainbow...brimmingly heartfelt multi sensorial, genuinely energising fizzer of a new work...super charged joy...forces us all to sit up and loosen up and buck up” (Kate Mollison BBC New Music Show). Prizes include an Ivor Novello, Paul Hindemith Prize: “a Brit who defies every conceivable genre boundary...an
extremely modern and future-oriented style” Ernst von Siemens Composer Prize: “Unbridled joy… sophisticated, passionate music full of pulsating energy and stylistic diversity”, Elb Philharmonie’s Claussen Simon Composition Prize, RPS Royal Philharmonic Society Prize. Alex has released four critically acclaimed albums MUSIC for BOSCH PEOPLE (Birmingham Record Company/ NMC label), iLOLLI-POP (non-classical) and HAPPY MUSIC for ORCHESTRA (Delphian), DELICIOUS (New Amsterdam).
“Paxton is a monster improviser” - Bandcamp
Alex Paxton
Violinist Mayah Kadish plays across genres—from baroque to experimental pop. She is a member of La Vaghezza, s t a r g a z e, and Ensemble x.y, and performs internationally as soloist in halls such as the Barbican (UK), Amsterdam Muziekgebouw (NL), Lucerne Opera (CH), Volksbuehne Berlin (DE). Her own compositions tend to be creaky, and do not conform to specific styles.
Maya Kadish
Violinist Mayah Kadish plays across genres—from baroque to experimental pop. She is a member of La Vaghezza, s t a r g a z e, and Ensemble x.y, and performs internationally as soloist in halls such as the Barbican (UK), Amsterdam Muziekgebouw (NL), Lucerne Opera (CH), Volksbuehne Berlin (DE). Her own compositions tend to be creaky, and do not conform to specific styles.
Maya Kadish
Elischa Kaminer is a composer, performer, and theatre-maker blending music theatre, sound art, electronics, queer pop, and Yiddish musics. His works have been shown across Europe, North America, and Asia. He is founder of the record label JONAH RECORDS and was artist-in-residence at Britten Pears Arts and The Glasshouse International Centre of Music in 2024. His interdisciplinary practice centres collaboration, experimentation, and themes such as identity, play, and radical vulnerability.
Elischa Kaminer
Foto: Chen Jerusalem
Elischa Kaminer is a composer, performer, and theatre-maker blending music theatre, sound art, electronics, queer pop, and Yiddish musics. His works have been shown across Europe, North America, and Asia. He is founder of the record label JONAH RECORDS and was artist-in-residence at Britten Pears Arts and The Glasshouse International Centre of Music in 2024. His interdisciplinary practice centres collaboration, experimentation, and themes such as identity, play, and radical vulnerability.
Elischa Kaminer
Foto: Chen Jerusalem
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Bildunterschrift
Barby Asante is a London-based artist, curator, and researcher interested in black feminism, decolonial methodologies. Asante draws from her Akan heritage, family stories and the histories that have created an African Diaspora to explore the politics of place, space and the ever-present legacies of slavery and colonialism. She is interested in how these legacies persist and inform the realities we live in today and how we undo them through imagining and enacting practices of liberation for otherwise ways of living. Asante also embeds within her work notions of collective study, countless ways of knowing and dialogical practices that embrace being together and breathing together. She explores this through works and processes using performance, film, collective writing practices, re-enactment and creating spaces for transformation, ritual and healing. Her most recent project Declaration of Independence (2017- Ongoing) has been presented in several different iterations in the UK and Europe, including a large-scale performance and public art project with Art on the Underground (2023-2025) and at HKW in Berlin as part of the exhibition and research project O Quilombismo: Of Resisting and Insisting. Of Flight as Fight. Of Other Democratic Egalitarian Political Philosophies (2023).
Barby Asante
Barby Asante is a London-based artist, curator, and researcher interested in black feminism, decolonial methodologies. Asante draws from her Akan heritage, family stories and the histories that have created an African Diaspora to explore the politics of place, space and the ever-present legacies of slavery and colonialism. She is interested in how these legacies persist and inform the realities we live in today and how we undo them through imagining and enacting practices of liberation for otherwise ways of living. Asante also embeds within her work notions of collective study, countless ways of knowing and dialogical practices that embrace being together and breathing together. She explores this through works and processes using performance, film, collective writing practices, re-enactment and creating spaces for transformation, ritual and healing. Her most recent project Declaration of Independence (2017- Ongoing) has been presented in several different iterations in the UK and Europe, including a large-scale performance and public art project with Art on the Underground (2023-2025) and at HKW in Berlin as part of the exhibition and research project O Quilombismo: Of Resisting and Insisting. Of Flight as Fight. Of Other Democratic Egalitarian Political Philosophies (2023).
Barby Asante
Marina Frenk (* 1986) is a German actress, speaker, musician and author. She was born in the Republic of Moldova and came to Germany in 1993. She studied acting at the Folkwang Hochschule in Essen from 2005-2008, after which she worked at Schauspielhaus Bochum, Schauspiel Leipzig, Schauspiel Köln, Schauspiel Frankfurt and Maxim Gorki Theater Berlin. She has been a freelance artist since 2015. In 2015, together with Sibylle Berg, she received the “Hörspielpreis der Kriegsblinden” for “Und jetzt die Welt”; in 2017, she received the “CIVIS Europe's Media Prize” for her self-written radio play “Jenseits der Kastanien”; in 2018, she directed and performed her solo play “Valeska Gert - The Animal Show” at the Maxim Gorki Theater, which was invited to the “Radikal Jung Regie-Festival” at the Münchner Volkstheater; In 2020, her novel “Ewig her und gar nicht wahr” was published by Wagenbach Verlag, for which she received the Vera Doppelfeld Literature Prize; the book was also published by btb Verlag and is available as an audio book from Buchfunk Verlag; in 2023, she staged and performed her solo play “Eine Niere hat nichts mit Politik zu tun” at the Maxim Gorki Theater; in 2024, an essay by her was published in the anthology “Wir schon wieder - 16 jüdische Erzählungen” by Rowohlt Verlag.
Marina Frenk
Marina Frenk (* 1986) is a German actress, speaker, musician and author. She was born in the Republic of Moldova and came to Germany in 1993. She studied acting at the Folkwang Hochschule in Essen from 2005-2008, after which she worked at Schauspielhaus Bochum, Schauspiel Leipzig, Schauspiel Köln, Schauspiel Frankfurt and Maxim Gorki Theater Berlin. She has been a freelance artist since 2015. In 2015, together with Sibylle Berg, she received the “Hörspielpreis der Kriegsblinden” for “Und jetzt die Welt”; in 2017, she received the “CIVIS Europe's Media Prize” for her self-written radio play “Jenseits der Kastanien”; in 2018, she directed and performed her solo play “Valeska Gert - The Animal Show” at the Maxim Gorki Theater, which was invited to the “Radikal Jung Regie-Festival” at the Münchner Volkstheater; In 2020, her novel “Ewig her und gar nicht wahr” was published by Wagenbach Verlag, for which she received the Vera Doppelfeld Literature Prize; the book was also published by btb Verlag and is available as an audio book from Buchfunk Verlag; in 2023, she staged and performed her solo play “Eine Niere hat nichts mit Politik zu tun” at the Maxim Gorki Theater; in 2024, an essay by her was published in the anthology “Wir schon wieder - 16 jüdische Erzählungen” by Rowohlt Verlag.
Marina Frenk
TEXT WERKSTATTGESPRÄCH
SA 20.09. at NOON
With: Soa Ratsifandrihana & Donna Miranda
TEXT WERKSTATTGESPRÄCH
SA 13.09. 11:00 AM
With: nora chipaumire & Manuela Infante
Raquel Meseguer Zafe & Noa Winter
Productivity is more visible and accepted than pausing. Yet for many people with invisible disabilities or chronic illnesses, resting is a natural part of everyday life. Raquel Meseguer Zafe has collected their stories and created an audio piece that invites listeners to pause through sound and text. It tells of the subversive act of lying down, of resting in public space, and of the power found in doing nothing – poetic, meditative, and political all at once.
SU 21.09. 7:30 PM
Written & directed by: Raquel Meseguer Zafe
Translation: Noa Winter
Composition: Jamie McCarthy
Dramaturgy: Felicitas Arnold
Technical Realisation: Sebastian Neumann, Jamie McCarthy
Production: Mayk 2024 (Auftragsproduktion von: Westdeutscher Rundfunk)
Szenography: Silvia Gioberti, Shahrzad Rahmani (Guerilla Architects)
Raquel Meseguer Zafe & Noa Winter
Productivity is more visible and accepted than pausing. Yet for many people with invisible disabilities or chronic illnesses, resting is a natural part of everyday life. Raquel Meseguer Zafe has collected their stories and created an audio piece that invites listeners to pause through sound and text. It tells of the subversive act of lying down, of resting in public space, and of the power found in doing nothing – poetic, meditative, and political all at once.
SU 21.09. 7:30 PM
Written & directed by: Raquel Meseguer Zafe
Translation: Noa Winter
Composition: Jamie McCarthy
Dramaturgy: Felicitas Arnold
Technical Realisation: Sebastian Neumann, Jamie McCarthy
Production: Mayk 2024 (Auftragsproduktion von: Westdeutscher Rundfunk)
Szenography: Silvia Gioberti, Shahrzad Rahmani (Guerilla Architects)
With Raphaëlle Red and Lene Albrecht
PRESENTATION: DR. IBOU C. DIOP
Raphaëlle Red and Lene Albrecht read from their novels. They talk about literature, politics, and re- sistance. Their stories illustrate how people struggle, feel, and hope. Who am I? Where do I belong? What can language change? Both authors combine personal experiences with social analysis, creating spaces for new perspectives.
Lene Albrecht
Foto: Jacintha Nolte
Raphaëlle Red
Foto: Adeline Rapon
German
TU 16.09. 8:00 PM
Reading & Discussion: Raphaëlle Red und Lene Albrecht
Presentation: Dr. Ibou C. Diop
With Raphaëlle Red and Lene Albrecht
PRESENTATION: DR. IBOU C. DIOP
Raphaëlle Red and Lene Albrecht read from their novels. They talk about literature, politics, and re- sistance. Their stories illustrate how people struggle, feel, and hope. Who am I? Where do I belong? What can language change? Both authors combine personal experiences with social analysis, creating spaces for new perspectives.
Lene Albrecht
Foto: Jacintha Nolte
Raphaëlle Red
Foto: Adeline Rapon
German
TU 16.09. 8:00 PM
Reading & Discussion: Raphaëlle Red und Lene Albrecht
Presentation: Dr. Ibou C. Diop
Four years after the racist terrorist attack in Hanau: a film about grief, courage, and the fight for justice.
Studio, Hessisches Staatstheater Wiesbaden
SU 21.09. 4 PM
Followed by an Artist Talk with director Marcin Wierzchowski, Laura Cazés and others
Written & directed by Marcin Wierzchowski
Production: Marcin Wierzchowski, Pola Sell, Dorothea Braun, Kurt Otterbacher, Julius Theiss
Camera: Marcin Wierzchowski, Peter Peiker
Duration: 132 Minutes
Germany 2025
in black and white
Four years after the racist terrorist attack in Hanau: a film about grief, courage, and the fight for justice.
Studio, Hessisches Staatstheater Wiesbaden
SU 21.09. 4 PM
Followed by an Artist Talk with director Marcin Wierzchowski, Laura Cazés and others
Written & directed by Marcin Wierzchowski
Production: Marcin Wierzchowski, Pola Sell, Dorothea Braun, Kurt Otterbacher, Julius Theiss
Camera: Marcin Wierzchowski, Peter Peiker
Duration: 132 Minutes
Germany 2025
in black and white
Three friends rap about their lives. They fight for respect, freedom, and against discrimination.
Studio, Hessisches Staatstheater Wiesbaden
DO 18.09. 7:00 PM
Followed by an Artist Talk
Written & directed by Clara Stella Hüneke
Production: Franziska Gärtner, Filmakademie Baden-Württemberg GmbH, ZDF/Das kleine Fernsehspiel
Supported by The Good Media Network
Duration: 97 Minutes
in color
Three friends rap about their lives. They fight for respect, freedom, and against discrimination.
Studio, Hessisches Staatstheater Wiesbaden
DO 18.09. 7:00 PM
Followed by an Artist Talk
Written & directed by Clara Stella Hüneke
Production: Franziska Gärtner, Filmakademie Baden-Württemberg GmbH, ZDF/Das kleine Fernsehspiel
Supported by The Good Media Network
Duration: 97 Minutes
in color
İbrahim survived the racist arson attack in Mölln at the age of seven Decades later, he learns about the solidarity that remained hidden.
SA 13.09. 5:00 PM
Followed by an Artist Talk with İbrahim Arslan and Martina Priessner
Written & directed by Martina Priessner
With: Hava Arslan, İbrahim Arslan, Namık Arslan, Yeliz Burhan
Production: Gregor Streiber, Friedemann Hottenbacher
Camera: Ayşe Alacakaptan, Julia Geiß Ute Freund, Anne Misselwitz
Duration: 96 Min.
Germany 2025
in color
İbrahim survived the racist arson attack in Mölln at the age of seven Decades later, he learns about the solidarity that remained hidden.
SA 13.09. 5:00 PM
Followed by an Artist Talk with İbrahim Arslan and Martina Priessner
Written & directed by Martina Priessner
With: Hava Arslan, İbrahim Arslan, Namık Arslan, Yeliz Burhan
Production: Gregor Streiber, Friedemann Hottenbacher
Camera: Ayşe Alacakaptan, Julia Geiß Ute Freund, Anne Misselwitz
Duration: 96 Min.
Germany 2025
in color
onlinetheater.live
Targeted online radicalization of young men is real and has serious consequences. For years, violence against FLINTA* and queer people has been rising. In 2024, the collective onlinetheater infiltrated anti-feminist content bubbles on TikTok with a video campaign. Between dating tips, self-optimization marketing, and fantasies of male dominance, they created counter-narratives to the dominant image of masculinity. In this lecture performance, they share the results of their research.
Foto: Press kit
FR 19.09.
2:00 PM, Workshop MYKE - Empathische Gegenrede
7:30 PM, Lecture Performance
SA 20.09.
7:30 PM Lecture Performance followed by an Artist Talk
Concept, Implementation, Account management and core team: Kathi Kraft, Toni Minge, Luzia Oppermann, Caspar Weimann
Lecture Performance: Kathi Kraft, Luzia Oppermann und Caspar Weimann
Video Performance: Davíd Gaviria, Lukas Lüdeking, David Zico
Production: Dilan Aytac
Supported by and thanks to: Fikri Anıl Altıntaş, Serdar Gençol, Dan Kanin, Veronika Kracher, Tim Oppermann, Tilmann Lindner
Co-Production by HAU Hebbel am Ufer, FFT Düsseldorf und Kleintheater Luzern.
onlinetheater.live
Targeted online radicalization of young men is real and has serious consequences. For years, violence against FLINTA* and queer people has been rising. In 2024, the collective onlinetheater infiltrated anti-feminist content bubbles on TikTok with a video campaign. Between dating tips, self-optimization marketing, and fantasies of male dominance, they created counter-narratives to the dominant image of masculinity. In this lecture performance, they share the results of their research.
Foto: Press kit
FR 19.09.
2:00 PM, Workshop MYKE - Empathische Gegenrede
7:30 PM, Lecture Performance
SA 20.09.
7:30 PM Lecture Performance followed by an Artist Talk
Concept, Implementation, Account management and core team: Kathi Kraft, Toni Minge, Luzia Oppermann, Caspar Weimann
Lecture Performance: Kathi Kraft, Luzia Oppermann und Caspar Weimann
Video Performance: Davíd Gaviria, Lukas Lüdeking, David Zico
Production: Dilan Aytac
Supported by and thanks to: Fikri Anıl Altıntaş, Serdar Gençol, Dan Kanin, Veronika Kracher, Tim Oppermann, Tilmann Lindner
Co-Production by HAU Hebbel am Ufer, FFT Düsseldorf und Kleintheater Luzern.
Who takes care of the artists who care for others? At the network meeting of art + care initiatives from Germany and Switzerland, we celebrate the launch of the CARING CULTURE LAB (caringculturelab.org). The meeting is a special performance: SPARK THE FLAME! Around the fire, we will make space for exchanges between art and care work - open to children, adults, and new ideas for an art world based on solidarity.
Foto: Karin Lustenberger
FR 19.09. 4:00 PM - open end
Hosts:
Caring Culture Lab, Bühnenmütter*
art+care
Roter Tisch_Care
Guerilla Architects
Who takes care of the artists who care for others? At the network meeting of art + care initiatives from Germany and Switzerland, we celebrate the launch of the CARING CULTURE LAB (caringculturelab.org). The meeting is a special performance: SPARK THE FLAME! Around the fire, we will make space for exchanges between art and care work - open to children, adults, and new ideas for an art world based on solidarity.
Foto: Karin Lustenberger
FR 19.09. 4:00 PM - open end
Hosts:
Caring Culture Lab, Bühnenmütter*
art+care
Roter Tisch_Care
Guerilla Architects
DAMBUDZO means “trouble/unrest” in the Shona language and is also the first name of radical thinker Dambudzo Marechera. In this dynamic installation, nora chipaumire explores the history of Zimbabwe. Set in a shabeen—an informal bar often found in private homes—people gather to explore possibilities of resistance and uprising against political powers. With powerful images, sounds, and movements, chipaumire takes us on a journey through Zimbabwe’s revolution (1964–1979), the life of author Dambudzo Marechera (1952–1978), and her own deeply personal story of awakening, transformation and Joy.
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
FR 12.09. 8:00 PM Performance
SA 13.09.
11:00 AM Workshop Discussion: STAGING REVOLUTION with nora chipaumire & Manuela Infante in the Foyer
4:00 PM Performance followed by an Artist Talk
Concept & Direction: Nora chipaumire
With: nora chipaumire, SoKoJena, Tatenda Chabarwa, Fatima Katiji, Joyce Delores Edwards, Jonathan Kudakwashe Daniel, Mohamed Y. SHIKA, Shamar Watt
Sound Design: Kwamina Biney , Moyo Vusumuzi
Technical Management: Heidi Eckwall
Stage: Irene Pätzug
Management: Laetitia Tshombe, Amélie Gaulier
Distribution: Thomas O. Kriegsmann / ArKtype, Astrid Rostaing
Music Recordings: Bhundu Boys
Callies Residency: Kwadwo Owusu Ansah, Johanna Rau, Abigail Hutchinson, Catalina Wortmann
Film Production: Mieke Ulfig
Production: company chipaumire inc
Ein Auftragswerk und eine Koproduktion von Wiener Festwochen |
Freie Republik
Coproduction: Festival d’Automne (Paris) Wien
Residency: Callie’s Berlin
With the support of the Goethe Institut
company nora chipaumire is supported by the Mellon Foundation
DAMBUDZO means “trouble/unrest” in the Shona language and is also the first name of radical thinker Dambudzo Marechera. In this dynamic installation, nora chipaumire explores the history of Zimbabwe. Set in a shabeen—an informal bar often found in private homes—people gather to explore possibilities of resistance and uprising against political powers. With powerful images, sounds, and movements, chipaumire takes us on a journey through Zimbabwe’s revolution (1964–1979), the life of author Dambudzo Marechera (1952–1978), and her own deeply personal story of awakening, transformation and Joy.
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
Foto: Guto Muniz
FR 12.09. 8:00 PM Performance
SA 13.09.
11:00 AM Workshop Discussion: STAGING REVOLUTION with nora chipaumire & Manuela Infante in the Foyer
4:00 PM Performance followed by an Artist Talk
Concept & Direction: Nora chipaumire
With: nora chipaumire, SoKoJena, Tatenda Chabarwa, Fatima Katiji, Joyce Delores Edwards, Jonathan Kudakwashe Daniel, Mohamed Y. SHIKA, Shamar Watt
Sound Design: Kwamina Biney , Moyo Vusumuzi
Technical Management: Heidi Eckwall
Stage: Irene Pätzug
Management: Laetitia Tshombe, Amélie Gaulier
Distribution: Thomas O. Kriegsmann / ArKtype, Astrid Rostaing
Music Recordings: Bhundu Boys
Callies Residency: Kwadwo Owusu Ansah, Johanna Rau, Abigail Hutchinson, Catalina Wortmann
Film Production: Mieke Ulfig
Production: company chipaumire inc
Ein Auftragswerk und eine Koproduktion von Wiener Festwochen |
Freie Republik
Coproduction: Festival d’Automne (Paris) Wien
Residency: Callie’s Berlin
With the support of the Goethe Institut
company nora chipaumire is supported by the Mellon Foundation
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Soa Ratsifandrihana is a Franco-Malagasy dancer and choreographer based in Brussels. After studying at the CNSMD in Paris, Soa worked with James Thierrée, Salia Sanou and Anne Teresa de Keersmaeker. In 2021, she presented her first solo, g r oo v ein Brussels. The show has been performed more than 60 times and continues to tour in Europe, Canada, Asia and soon in Madagascar. In spring 2024, Soa presented a diptych comprising a radio creation, Rouge cratère, and a performance entitled Fampitaha, fampita, fampitàna. Following on from her first solo, she explores the possible intersections between different media, from radio storytelling to choreographic and musical composition. Her practice reminds us that our bodies, like our words, are the bearers of stories which, however we choose to communicate them, must be told. Soa is artist-in-residence at the Kaaitheater (Belgium).
Soa Ratsifandrihana
Foto: Lara Gasparotto
Soa Ratsifandrihana is a Franco-Malagasy dancer and choreographer based in Brussels. After studying at the CNSMD in Paris, Soa worked with James Thierrée, Salia Sanou and Anne Teresa de Keersmaeker. In 2021, she presented her first solo, g r oo v ein Brussels. The show has been performed more than 60 times and continues to tour in Europe, Canada, Asia and soon in Madagascar. In spring 2024, Soa presented a diptych comprising a radio creation, Rouge cratère, and a performance entitled Fampitaha, fampita, fampitàna. Following on from her first solo, she explores the possible intersections between different media, from radio storytelling to choreographic and musical composition. Her practice reminds us that our bodies, like our words, are the bearers of stories which, however we choose to communicate them, must be told. Soa is artist-in-residence at the Kaaitheater (Belgium).
Soa Ratsifandrihana
Foto: Lara Gasparotto
Manuela Infante Güell (Santiago, Chile, 1980) is a Chilean theater director, playwright, scriptwriter and musician. MA in Cultural Analysis at University of Amsterdam. She is well known for offering scenic articulations of contemporary theoretical issues, creating work that stands somewhere between music, theater and literature. Her plays have been published and translated into English, German, Italian and Portuguese. Her work has toured important theaters and festivals in North America, South America, Europe and Asia. She has produced work with KVS (Belgium), Kai Theater (Belgium), TheaterWorks (Singapore), Schauspielhaus Bochum (Germany), Theater Basel (Switzerland), Kyoto Experiment (Japan), Volkstheater Vienna (Austria), Schauspielhaus Hannover (Germany), FIBA (Buenos Aires), Teatre Nacional de Cataluña (Spain), Nord Nederland Toneel (Holland) amongst others. In 2015 she was the first woman to be appointed director of The National Festival for Dramaturgy in Chile. In 2019 she was the first Chilean theater maker to be invited to the Venice Biennale 2019 with her plays “Estado Vegetal” and “Realismo”. That same year she won the Stukemarkt First Prize at 2019 Theatertreffen Festival in Berlin. As a musician she has composed, written and produced two albums with her band "Bahía Inútil". "Stand Scared" (2011) and "Bahía Inútil" (2015). She has also been in charge of the sound design of many of her works. As a scriptwriter she has worked with renowned Chilean film directors such as Francisca Alegria, Marialy Rivas and Sebastian Lelio.
Manuela Infante
Foto: Max Zerrahn
Manuela Infante Güell (Santiago, Chile, 1980) is a Chilean theater director, playwright, scriptwriter and musician. MA in Cultural Analysis at University of Amsterdam. She is well known for offering scenic articulations of contemporary theoretical issues, creating work that stands somewhere between music, theater and literature. Her plays have been published and translated into English, German, Italian and Portuguese. Her work has toured important theaters and festivals in North America, South America, Europe and Asia. She has produced work with KVS (Belgium), Kai Theater (Belgium), TheaterWorks (Singapore), Schauspielhaus Bochum (Germany), Theater Basel (Switzerland), Kyoto Experiment (Japan), Volkstheater Vienna (Austria), Schauspielhaus Hannover (Germany), FIBA (Buenos Aires), Teatre Nacional de Cataluña (Spain), Nord Nederland Toneel (Holland) amongst others. In 2015 she was the first woman to be appointed director of The National Festival for Dramaturgy in Chile. In 2019 she was the first Chilean theater maker to be invited to the Venice Biennale 2019 with her plays “Estado Vegetal” and “Realismo”. That same year she won the Stukemarkt First Prize at 2019 Theatertreffen Festival in Berlin. As a musician she has composed, written and produced two albums with her band "Bahía Inútil". "Stand Scared" (2011) and "Bahía Inútil" (2015). She has also been in charge of the sound design of many of her works. As a scriptwriter she has worked with renowned Chilean film directors such as Francisca Alegria, Marialy Rivas and Sebastian Lelio.
Manuela Infante
Foto: Max Zerrahn
Joseph Havlat is a pianist and composer from Hobart, Australia, based in London. Working as a soloist and chamber musician for music very new, very old and some things in between, he has performed in major concert venues around the UK, Europe, America, Japan and Australia. Joseph is a leading interpreter of new music, having collaborated with such composers as Hans Abrahamsen, John Adams, Thomas Adès, Gerald Barry, Brett Dean, Sir Harrison Birtwistle, Michael Finnissy and Thomas Larcher. As a chamber musician he has performed with William Bennett, James Ehnes, Steven Isserlis, Katalin Károlyi and Jack Liebeck, alongside regular duo partners Lotte Betts-Dean and Charlotte Saluste-Bridoux. He is also a member of the LSO percussion ensemble with whom he has released a CD on the LSO Live label, featuring the premiere recording of John Adams’ two-piano work ‘Roll Over Beethoven’. As a composer his music often explores the sounds of the natural world, imbued with the harsher shapes of human modernity. He has written music spanning from solo voice to large ensemble, including for Ensemble x.y, of which he was a founding member. Current work includes music for viola and piano commissioned by Sally Beamish, and a mixed ensemble piece for the Australian Festival of Chamber Music. Joseph studied at the Royal Academy of Music in London under Prof. Joanna MacGregor from 2012 -18, where he received his BMus and MMus with distinction, including awards for exceptional merit in studentship and the highest recital mark for a postgraduate pianist. He has been a Young Artist of St. John’s Smith Square, the Oxford Lieder Festival and Kirckman Concert Society, and was a first prize winner of the Royal Overseas League Music Competition.
Recent highlights include playing Adès’ In Seven Days with the LSO under the baton of the composer, as well as the premiere of his Növények at Wigmore Hall. In late 2021 he appeared with the BBC Philharmonic giving the premiere of Robert Laidlow’s piano concerto Warp, broadcast on BBC Radio 3, and in 2023 he made his solo recital debuts at King’s Place and Wigmore Hall in London, where he is appearing five times in the 2023-24 season. Joseph has been featured on several recent CD releases in the past few years: Finnissy vocal works on Divine Art Metier (with Lotte Betts-Dean and Marsyas Trio), Lisa Ilean’s Weather a Rare Blue and Rebecca Saunders’ murmurs for NMC (with Explore Ensemble), and two solo CDs, one featuring Czech and Hungarian folk music, and the other the premiere recording of Isabella Gellis’ The Dissolute Society Comprised of All Sorts. He has begun a fruitful collaboration with Delphian Records, with whom two chamber CDs are currently in post-production and two further planned during 2024, one with Lotte Betts-Dean and one with violist and composer Sally Beamish. Joseph teaches piano at the Royal Academy of Music. He likes ferns.
Joseph Havlat
Foto: Ella Pavlides
Joseph Havlat is a pianist and composer from Hobart, Australia, based in London. Working as a soloist and chamber musician for music very new, very old and some things in between, he has performed in major concert venues around the UK, Europe, America, Japan and Australia. Joseph is a leading interpreter of new music, having collaborated with such composers as Hans Abrahamsen, John Adams, Thomas Adès, Gerald Barry, Brett Dean, Sir Harrison Birtwistle, Michael Finnissy and Thomas Larcher. As a chamber musician he has performed with William Bennett, James Ehnes, Steven Isserlis, Katalin Károlyi and Jack Liebeck, alongside regular duo partners Lotte Betts-Dean and Charlotte Saluste-Bridoux. He is also a member of the LSO percussion ensemble with whom he has released a CD on the LSO Live label, featuring the premiere recording of John Adams’ two-piano work ‘Roll Over Beethoven’. As a composer his music often explores the sounds of the natural world, imbued with the harsher shapes of human modernity. He has written music spanning from solo voice to large ensemble, including for Ensemble x.y, of which he was a founding member. Current work includes music for viola and piano commissioned by Sally Beamish, and a mixed ensemble piece for the Australian Festival of Chamber Music. Joseph studied at the Royal Academy of Music in London under Prof. Joanna MacGregor from 2012 -18, where he received his BMus and MMus with distinction, including awards for exceptional merit in studentship and the highest recital mark for a postgraduate pianist. He has been a Young Artist of St. John’s Smith Square, the Oxford Lieder Festival and Kirckman Concert Society, and was a first prize winner of the Royal Overseas League Music Competition.
Recent highlights include playing Adès’ In Seven Days with the LSO under the baton of the composer, as well as the premiere of his Növények at Wigmore Hall. In late 2021 he appeared with the BBC Philharmonic giving the premiere of Robert Laidlow’s piano concerto Warp, broadcast on BBC Radio 3, and in 2023 he made his solo recital debuts at King’s Place and Wigmore Hall in London, where he is appearing five times in the 2023-24 season. Joseph has been featured on several recent CD releases in the past few years: Finnissy vocal works on Divine Art Metier (with Lotte Betts-Dean and Marsyas Trio), Lisa Ilean’s Weather a Rare Blue and Rebecca Saunders’ murmurs for NMC (with Explore Ensemble), and two solo CDs, one featuring Czech and Hungarian folk music, and the other the premiere recording of Isabella Gellis’ The Dissolute Society Comprised of All Sorts. He has begun a fruitful collaboration with Delphian Records, with whom two chamber CDs are currently in post-production and two further planned during 2024, one with Lotte Betts-Dean and one with violist and composer Sally Beamish. Joseph teaches piano at the Royal Academy of Music. He likes ferns.
Joseph Havlat
Foto: Ella Pavlides
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus. Phasellus viverra nulla ut metus varius laoreet. Quisque rutrum. Aenean imperdiet. Etiam ultricies nisi vel augue. Curabitur ullamcorper ultricies nisi. Nam eget dui. Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum.
Bildunterschrift
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus. Phasellus viverra nulla ut metus varius laoreet. Quisque rutrum. Aenean imperdiet. Etiam ultricies nisi vel augue. Curabitur ullamcorper ultricies nisi. Nam eget dui. Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum.
Bildunterschrift
Memory Biwa is a historian and artist. Her work addresses the histories of anti-colonial resistance and genocide in Namibia, with a focus on transnational memorial and reparative processes. Biwa’s research on oral narratives and commemorative practices, as archive, informs notions of subjectivity and the centering of alternative epistemologies and imaginaries. Her postdoctoral research on a linguistic-sonic collection staged in 1950s Namibia, expanded into a practice on auralities: voice, instrumentation and forms of technology.
Biwa co-curated, 'Die Vibration der Dinge', Triennale Kleinplastik Fellbach, in 2022. 'Prossession Pedagogies', a Namibia artist residency program at Akademie Schloss Solitude in 2023, in Namibia and Germany. 'A Sacred Story at the Tree of Life', at Ifa Gallery, Berlin, 2023. And Chapter III, “We grow between rocks, with our leaves and flowers turned towards home’ in the framework of the transnational project, ‘When the Jackal Leaves the Sun’: Decentering Restitution/Pedagogies of Repossession, 2021-24 in Cape Town, South Africa.
Biwa is also part of the collective, ‘Pungwe Listening’, with Robert Machiri. The collective works with both historical and contemporary sound collections and archives. “Listening at Pungwe”, has presented lecture performances, exhibitions and installations in Namibia, South Africa, Ghana, Senegal, Germany, Switzerland, and Australia.
Memory Biwa
Foto: Noncedo Gxekwa
Memory Biwa is a historian and artist. Her work addresses the histories of anti-colonial resistance and genocide in Namibia, with a focus on transnational memorial and reparative processes. Biwa’s research on oral narratives and commemorative practices, as archive, informs notions of subjectivity and the centering of alternative epistemologies and imaginaries. Her postdoctoral research on a linguistic-sonic collection staged in 1950s Namibia, expanded into a practice on auralities: voice, instrumentation and forms of technology.
Biwa co-curated, 'Die Vibration der Dinge', Triennale Kleinplastik Fellbach, in 2022. 'Prossession Pedagogies', a Namibia artist residency program at Akademie Schloss Solitude in 2023, in Namibia and Germany. 'A Sacred Story at the Tree of Life', at Ifa Gallery, Berlin, 2023. And Chapter III, “We grow between rocks, with our leaves and flowers turned towards home’ in the framework of the transnational project, ‘When the Jackal Leaves the Sun’: Decentering Restitution/Pedagogies of Repossession, 2021-24 in Cape Town, South Africa.
Biwa is also part of the collective, ‘Pungwe Listening’, with Robert Machiri. The collective works with both historical and contemporary sound collections and archives. “Listening at Pungwe”, has presented lecture performances, exhibitions and installations in Namibia, South Africa, Ghana, Senegal, Germany, Switzerland, and Australia.
Memory Biwa
Foto: Noncedo Gxekwa
Donna Miranda is a choreographer living and working in the Philippines. Miranda relocates choreography from the site of the individual body to that of collective political actions. She makes a living as a development worker in public health. She also does volunteer work for the Federation of Agricultural Workers in the Philippines (UMA).
Donna Miranda
Donna Miranda is a choreographer living and working in the Philippines. Miranda relocates choreography from the site of the individual body to that of collective political actions. She makes a living as a development worker in public health. She also does volunteer work for the Federation of Agricultural Workers in the Philippines (UMA).
Donna Miranda
Paul Brody is a California-born sound artist, composer and trumpeter. He studied at the New England Conservatory of Music in Boston and works regularly with renowned theatres such as the Théâtre de Vidy in Lausanne, the Münchner Kammerspiele, the Berliner Schaubühne, the MC93 Paris, the New York Harlem Opera and the Vienna Burgtheater. He works closely with music producer John Zorn and directors David Marton, Hans-Werner Kroesinger and Kevin Barz.
His album Hinter allen Worten with artists such as Clueso, Meret Becker and Jelena Kuljić was included in the best list of the German Record Critics' Award. Brody was nominated for the Europe Broadcasting Festival Award and the International Feature Festival Vienna for his sound art. His works have been heard on WDR, Deutschlandradio, the Jewish Museum Berlin, the Canadian Language Museum and at Transmediale Berlin, among others.
Brody recently composed the opera Nox#1 Êtes-vous amoureux for the Opéra National de Lorraine in Nancy. He was Artist in Residence at the MuseumsQuartier Vienna and at the opera department of the Münchner Kammerspiele. He has also worked as a guest artist and composer at the University of Chicago, the University of Virginia, the University of Rhode Island and as a trumpet and improvisation lecturer at the Hanns Eisler School of Music in Berlin.
Two permanent sound installations by Brody will open in 2025: The city of Berlin commissioned him with
Paul Brody
Foto: Dirk Hasskarl
Paul Brody is a California-born sound artist, composer and trumpeter. He studied at the New England Conservatory of Music in Boston and works regularly with renowned theatres such as the Théâtre de Vidy in Lausanne, the Münchner Kammerspiele, the Berliner Schaubühne, the MC93 Paris, the New York Harlem Opera and the Vienna Burgtheater. He works closely with music producer John Zorn and directors David Marton, Hans-Werner Kroesinger and Kevin Barz.
His album Hinter allen Worten with artists such as Clueso, Meret Becker and Jelena Kuljić was included in the best list of the German Record Critics' Award. Brody was nominated for the Europe Broadcasting Festival Award and the International Feature Festival Vienna for his sound art. His works have been heard on WDR, Deutschlandradio, the Jewish Museum Berlin, the Canadian Language Museum and at Transmediale Berlin, among others.
Brody recently composed the opera Nox#1 Êtes-vous amoureux for the Opéra National de Lorraine in Nancy. He was Artist in Residence at the MuseumsQuartier Vienna and at the opera department of the Münchner Kammerspiele. He has also worked as a guest artist and composer at the University of Chicago, the University of Virginia, the University of Rhode Island and as a trumpet and improvisation lecturer at the Hanns Eisler School of Music in Berlin.
Two permanent sound installations by Brody will open in 2025: The city of Berlin commissioned him with
Paul Brody
Foto: Dirk Hasskarl
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus. Phasellus viverra nulla ut metus varius laoreet. Quisque rutrum. Aenean imperdiet. Etiam ultricies nisi vel augue. Curabitur ullamcorper ultricies nisi. Nam eget dui. Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum.
Bildunterschrift
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus. Phasellus viverra nulla ut metus varius laoreet. Quisque rutrum. Aenean imperdiet. Etiam ultricies nisi vel augue. Curabitur ullamcorper ultricies nisi. Nam eget dui. Etiam rhoncus. Maecenas tempus, tellus eget condimentum rhoncus, sem quam semper libero, sit amet adipiscing sem neque sed ipsum.
Bildunterschrift
nora chipaumire was born in 1965 in what was then known as Umtali, Rhodesia (now Mutare, Zimbabwe). She is a product of colonial education for black native Africans — known as group B schooling — and is invested in knowledge acquisition and sharing outside of prescribed parameters.
nora chipaumire was born in 1965 in what was then known as Umtali, Rhodesia (now Mutare, Zimbabwe). She is a product of colonial education for black native Africans — known as group B schooling — and is invested in knowledge acquisition and sharing outside of prescribed parameters.
Four bodies defy the violence that has shaped them over the years. Alongside a guitarist and two performers, Soa Ratsifandrihana embarks on a journey between Madagascar and the other continents in her life. They remember through music and dance. Including the violence. They search for the history of movements and their traces. “Fampitaha, fampita, fampitàna” translates into ‘comparison, passing on, competition’. The performance tells us that we don’t just pass on stories with words. Bodies and sounds can also keep stories alive and reshape them.
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
SA 20.09. 7:30 PM
SU 21.09. 4:00 PM, followed by an Artist Talk
Idea & Concept: Soa Ratsifandrihana
Performance: Audrey Merilus, Stanley Ollivier, Joël Rabesolo, Soa Ratsifandrihana
Original Music: Joël Rabesolo
Dramaturgy: Lily Brieu Nguyen
Artistic Collaboration: Jérémie Polin Razanaparany aka Raza, Amelia Ewu, Thi Mai Nguyen
Lighting Design: Marie-Christine Soma
Sounddesign: Chloé Despax, Guilhem Angot
Costume: Harilay Rabenjamina
Support with questions of tradition & Identity: Prisca Ratovonasy
Text: Sékou Semega
Footwork-Choreography: Raza
Video: Valérianne Poidevin
Technician: Thomas Roulleau-Gallais
Lighting: Diane Guérin, Julien Rauche (im Wechsel)
Sound: Guilhem Angot, Paul Boulier, Jean-Louis Waflart (im Wechsel)
Distribution: ama brussels – France Morin, Babacar Ba, Clara Schmitt, Emi Parot
Outside Eye: Marie Dogahe
Production ama brussels, Théâtre Varia in Zusammenarbeit mit Météores
Coproduction Tanz im August / HAU Hebbel am Ufer, Kaaitheater, Kunstenfestivaldesarts, Théâtre Varia, Charleroi danse, MC93 — Maison de la Culture de Seine-Saint-Denis, ICI – centre chorégraphique national Montpellier Occitanie / Direction Christian Rizzo, centre chorégraphique national d’Orléans – direction Maud Le Pladec, Le Gymnase-CDCN Roubaix, La Place de la Danse-CDCN Toulouse / Occitanie, Fonds Yavarhoussen, Dance Reflections by Van Cleef & Arpels, Tanz im August, La Coop asbl, Shelter Prod, A- CDCN (Les Hivernales – CDCN d’Avignon, La Manufacture – CDCN Nouvelle-Aquitaine Bordeaux · La Rochelle, L’échangeur – CDCN Hauts-de-France, Le Dancing CDCN Dijon Bourgogne-Franche-Comté, Chorège CDCN Falaise Normandie, Le Pacifique – CDCN Grenoble – Auvergne – Rhône-Alpes, Touka Danses – CDCN Guyane, Atelier de Paris / CDCN, Le Gymnase CDCN Roubaix – Hauts-de-France, POLE-SUD CDCN / Strasbourg, La Place de la Danse – CDCN Toulouse / Occitanie, La Maison Danse CDCN Uzès Gard Occitanie, La Briqueterie CDCN du Val-de-Marne)
Residencies ICI – CCN Montpellier Occitanie, La Bellone – Maison du spectacle, Gemeenschapscentrum De Kriekelaar, Université d’Antananarivo, KAAP, Le Gymnase-CDCN Roubaix, Théâtre Varia, CCN d’Orléans, Radio Grenouille
Supported by Fédération Wallonie-Bruxelles – Service de la danse, Wallonie-Bruxelles International, ING und Tax Shelter der belgischen Bundesregierung
Four bodies defy the violence that has shaped them over the years. Alongside a guitarist and two performers, Soa Ratsifandrihana embarks on a journey between Madagascar and the other continents in her life. They remember through music and dance. Including the violence. They search for the history of movements and their traces. “Fampitaha, fampita, fampitàna” translates into ‘comparison, passing on, competition’. The performance tells us that we don’t just pass on stories with words. Bodies and sounds can also keep stories alive and reshape them.
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
Foto: Harilay Rabenjamina
SA 20.09. 7:30 PM
SU 21.09. 4:00 PM, followed by an Artist Talk
Idea & Concept: Soa Ratsifandrihana
Performance: Audrey Merilus, Stanley Ollivier, Joël Rabesolo, Soa Ratsifandrihana
Original Music: Joël Rabesolo
Dramaturgy: Lily Brieu Nguyen
Artistic Collaboration: Jérémie Polin Razanaparany aka Raza, Amelia Ewu, Thi Mai Nguyen
Lighting Design: Marie-Christine Soma
Sounddesign: Chloé Despax, Guilhem Angot
Costume: Harilay Rabenjamina
Support with questions of tradition & Identity: Prisca Ratovonasy
Text: Sékou Semega
Footwork-Choreography: Raza
Video: Valérianne Poidevin
Technician: Thomas Roulleau-Gallais
Lighting: Diane Guérin, Julien Rauche (im Wechsel)
Sound: Guilhem Angot, Paul Boulier, Jean-Louis Waflart (im Wechsel)
Distribution: ama brussels – France Morin, Babacar Ba, Clara Schmitt, Emi Parot
Outside Eye: Marie Dogahe
Production ama brussels, Théâtre Varia in Zusammenarbeit mit Météores
Coproduction Tanz im August / HAU Hebbel am Ufer, Kaaitheater, Kunstenfestivaldesarts, Théâtre Varia, Charleroi danse, MC93 — Maison de la Culture de Seine-Saint-Denis, ICI – centre chorégraphique national Montpellier Occitanie / Direction Christian Rizzo, centre chorégraphique national d’Orléans – direction Maud Le Pladec, Le Gymnase-CDCN Roubaix, La Place de la Danse-CDCN Toulouse / Occitanie, Fonds Yavarhoussen, Dance Reflections by Van Cleef & Arpels, Tanz im August, La Coop asbl, Shelter Prod, A- CDCN (Les Hivernales – CDCN d’Avignon, La Manufacture – CDCN Nouvelle-Aquitaine Bordeaux · La Rochelle, L’échangeur – CDCN Hauts-de-France, Le Dancing CDCN Dijon Bourgogne-Franche-Comté, Chorège CDCN Falaise Normandie, Le Pacifique – CDCN Grenoble – Auvergne – Rhône-Alpes, Touka Danses – CDCN Guyane, Atelier de Paris / CDCN, Le Gymnase CDCN Roubaix – Hauts-de-France, POLE-SUD CDCN / Strasbourg, La Place de la Danse – CDCN Toulouse / Occitanie, La Maison Danse CDCN Uzès Gard Occitanie, La Briqueterie CDCN du Val-de-Marne)
Residencies ICI – CCN Montpellier Occitanie, La Bellone – Maison du spectacle, Gemeenschapscentrum De Kriekelaar, Université d’Antananarivo, KAAP, Le Gymnase-CDCN Roubaix, Théâtre Varia, CCN d’Orléans, Radio Grenouille
Supported by Fédération Wallonie-Bruxelles – Service de la danse, Wallonie-Bruxelles International, ING und Tax Shelter der belgischen Bundesregierung
VAMPYR is a mockumentary play about creatures who are half-dead, half-alive, half-animal and half-human. They wander disoriented, sometimes as bats, sometimes as night workers, in the wind turbine parks in Chile. Vampyr looks at exhaustion and energy, work and rest. A work of delirious black humor, about the relationship with the non-human animals that inhabit our territories and how we relate to them when thinking about the future of energy.
Foto: Nicolas Calderon
Foto: Nicolas Calderon
SA 13.09. 11:00 AM Workshop Discussion: STAGING REVOLUTION mit nora chipaumire & Manuela Infante in the Foyer
SU 14.09. 7:30 PM
MO 15.09. 7:30 PM, followed by an Artist Talk
Staging & Dramaturgy: Manuela Infante
Production: Carmina Infante Güell
With: Marcela Salinas & David Gaete
Integral Design: Rocío Hernández
Staging Assistence & Technical Staging: Pablo Mois
Coaching & Choreography: Dian C. Guevara
Sound Universe: Manuela Infante
Sound Designer: Víctor Muñoz
Technical Research & Staging: Camila Valladares
Costume: Elizabeth Pérez
Coproduction: Centro Cultural Matucana 100, Espacio Checoeslovaquia, Centro Cultural de España (Chile), NAVE, Kundura Sahne
Supported by: Universidad Academia Humanismo Cristiano, Oxiluz Iluminaciones, Cultura Violeta
VAMPYR is a mockumentary play about creatures who are half-dead, half-alive, half-animal and half-human. They wander disoriented, sometimes as bats, sometimes as night workers, in the wind turbine parks in Chile. Vampyr looks at exhaustion and energy, work and rest. A work of delirious black humor, about the relationship with the non-human animals that inhabit our territories and how we relate to them when thinking about the future of energy.
Foto: Nicolas Calderon
Foto: Nicolas Calderon
SA 13.09. 11:00 AM Workshop Discussion: STAGING REVOLUTION mit nora chipaumire & Manuela Infante in the Foyer
SU 14.09. 7:30 PM
MO 15.09. 7:30 PM, followed by an Artist Talk
Staging & Dramaturgy: Manuela Infante
Production: Carmina Infante Güell
With: Marcela Salinas & David Gaete
Integral Design: Rocío Hernández
Staging Assistence & Technical Staging: Pablo Mois
Coaching & Choreography: Dian C. Guevara
Sound Universe: Manuela Infante
Sound Designer: Víctor Muñoz
Technical Research & Staging: Camila Valladares
Costume: Elizabeth Pérez
Coproduction: Centro Cultural Matucana 100, Espacio Checoeslovaquia, Centro Cultural de España (Chile), NAVE, Kundura Sahne
Supported by: Universidad Academia Humanismo Cristiano, Oxiluz Iluminaciones, Cultura Violeta
Join London based disabled artists and activists Touretteshero for an intergenerational, multi-sensory celebration under the State Theatre. When travelling through the Kaiserfahrt, audiences will experience the space reimagined as a route for ritual, protest and play. Sound, projections and performance will create an accessible, immersive sensory journey that celebrates the power of disability culture and social justice.
Opening SU 14.09. at 2:00 PM
MO 15.09. – SU 21.09.
Visits of the installation bookable everyday,
more information & exact time slots to follow.
Concept & Idea: Jess Thom, Matthew Pourtney
Performance: Theater Anders
Production: Nisha Oza
Stage Design & Design: Guerilla Architects
Artistic Production Management: Anja Schneidereit
Join London based disabled artists and activists Touretteshero for an intergenerational, multi-sensory celebration under the State Theatre. When travelling through the Kaiserfahrt, audiences will experience the space reimagined as a route for ritual, protest and play. Sound, projections and performance will create an accessible, immersive sensory journey that celebrates the power of disability culture and social justice.
Opening SU 14.09. at 2:00 PM
MO 15.09. – SU 21.09.
Visits of the installation bookable everyday,
more information & exact time slots to follow.
Concept & Idea: Jess Thom, Matthew Pourtney
Performance: Theater Anders
Production: Nisha Oza
Stage Design & Design: Guerilla Architects
Artistic Production Management: Anja Schneidereit
In the open-air concerts WATER SONGS I & II, Elischa Kaminer, together with Mayah Kadish (I), Joseph Havlat (I), and Alex Paxton (II), gathers songs about memory, fluidity, and new beginnings. On the lawn of the Kaiser-Wilhelm-Therme and the destroyed old synagogue, a contemporary queer, Jewish song tradition is created — blending improvisations, new compositions, and old songs about queer desire, identity, and the first memory of the sea.
WATERSONGS I & II
WATERSONGS I & II
Water Songs I: SA 13.09. 7:00 PM, (Elischa Kaminer, Mayah Kadish & Joseph Havlat)
Water Songs II: SU 14.09. 6:00 PM, (Elischa Kaminer & Alex Paxton)
Artistic Management, Composition & Text: Elischa Kaminer
Violin & Improvisation: Mayah Kadish
Trombone & Improvisation: Alex Paxton
Piano & Improvisation: Joseph Havlat
Artistic Production Management: Mel Brinkmann
In the open-air concerts WATER SONGS I & II, Elischa Kaminer, together with Mayah Kadish (I), Joseph Havlat (I), and Alex Paxton (II), gathers songs about memory, fluidity, and new beginnings. On the lawn of the Kaiser-Wilhelm-Therme and the destroyed old synagogue, a contemporary queer, Jewish song tradition is created — blending improvisations, new compositions, and old songs about queer desire, identity, and the first memory of the sea.
WATERSONGS I & II
WATERSONGS I & II
Water Songs I: SA 13.09. 7:00 PM, (Elischa Kaminer, Mayah Kadish & Joseph Havlat)
Water Songs II: SU 14.09. 6:00 PM, (Elischa Kaminer & Alex Paxton)
Artistic Management, Composition & Text: Elischa Kaminer
Violin & Improvisation: Mayah Kadish
Trombone & Improvisation: Alex Paxton
Piano & Improvisation: Joseph Havlat
Artistic Production Management: Mel Brinkmann
The exhibition portrays people who have lost loved ones because of racist or right-wing violence. Photographer Jasper Kettner worked with İbrahim Arslan, who survived the arson attack in Mölln as a child. Together, they asked many families and bereaved friends which places were important to the victims. The portraits were created there. Part of the exhibition is a book that gives more insight into the individual fates, the loss, but also the relatives’ courage.
Gisela und Heribert von Goldammer, Paten von Nguyễn Ngọc Châu
(Foto Jasper Kettner)
Opening on SA 13.09.
at 4:00 PM, Artist Talk with İbrahim Arslan and Martina Priessner following the screening of DIE MÖLLNER BRIEFE
SO 14. bis SO 21.09.
on the weekend from NOON to 6:00 PM & MO-FR from 3:00 to 7:00 PM
Infos zu den Credits
The exhibition portrays people who have lost loved ones because of racist or right-wing violence. Photographer Jasper Kettner worked with İbrahim Arslan, who survived the arson attack in Mölln as a child. Together, they asked many families and bereaved friends which places were important to the victims. The portraits were created there. Part of the exhibition is a book that gives more insight into the individual fates, the loss, but also the relatives’ courage.
Gisela und Heribert von Goldammer, Paten von Nguyễn Ngọc Châu
(Foto Jasper Kettner)
Opening on SA 13.09.
at 4:00 PM, Artist Talk with İbrahim Arslan and Martina Priessner following the screening of DIE MÖLLNER BRIEFE
SO 14. bis SO 21.09.
on the weekend from NOON to 6:00 PM & MO-FR from 3:00 to 7:00 PM
Infos zu den Credits
A magical audio walk through a version of Wiesbaden which you don’t see every day is guided by stories of two real boys, Quassi and Folivi, who were abduct- ed from Togo to Germany during colonial times. The imagined stories bring past and present together, to reveal the colonial legacies present in the city’s streets. Inspired by the idea of Sankofa, which means “go back and get it” in the Akan language of Ghana, this journey shows how memory can return in sur- prising ways.
Foto: Robert Machiri
FR 12.09. 16:00 Uhr
Premiere with a guided tour.
After that bookable during the Festival:
SA + SU between NOON and 6:00 PM
and
MO - FR between 4:00 and 9:00 PM
SO 14.09. 11:00 AM
Workshop Discussion: PERSPECTIVES ON WIESBADEN with Barby Asante, Memory Biwa and Sasapin Siriwanij
Concept & Idea: Barby Asante in Zusammenarbeit mit Memory Biwa
Room Strategy & Production: Tonderai Koschke
Production: Anja Schneidereit
Sound: Robert Machiri
Szenography: Silvia Gioberti, Shahrzad Rahmani (Guerilla Architects)
A magical audio walk through a version of Wiesbaden which you don’t see every day is guided by stories of two real boys, Quassi and Folivi, who were abduct- ed from Togo to Germany during colonial times. The imagined stories bring past and present together, to reveal the colonial legacies present in the city’s streets. Inspired by the idea of Sankofa, which means “go back and get it” in the Akan language of Ghana, this journey shows how memory can return in sur- prising ways.
Foto: Robert Machiri
FR 12.09. 16:00 Uhr
Premiere with a guided tour.
After that bookable during the Festival:
SA + SU between NOON and 6:00 PM
and
MO - FR between 4:00 and 9:00 PM
SO 14.09. 11:00 AM
Workshop Discussion: PERSPECTIVES ON WIESBADEN with Barby Asante, Memory Biwa and Sasapin Siriwanij
Concept & Idea: Barby Asante in Zusammenarbeit mit Memory Biwa
Room Strategy & Production: Tonderai Koschke
Production: Anja Schneidereit
Sound: Robert Machiri
Szenography: Silvia Gioberti, Shahrzad Rahmani (Guerilla Architects)
What do Filipino care workers have to do with Wies- baden? A lot! NURSING THE EMPIRE shows their paths to Germany – with powerful stories and images. It revolves around stories of hard work, big dreams, and the question: who actually nurses whom and why? The project tracks the history and experiences of Filipino migrant health workers in Germany. It also identifies conditions that drive and sustain health worker migration in Germany. There will be workshops, films, and room for discussion. Come by and participate in building new perspec- tives on care, migration, community, and solidarities.
Arrival in Wiesbaden Clinic
Exiting the plane
FR 12.09. 9:00 PM Cook and Hang Out I
DO 18.09. 7:00 PM Cook and Hang Out II
FR 19.09. 6:00 PM Panel discussion in the Foyer
SA 13.09. – SU 21.09.
Choreography open for visitors on the weekends from NOON until 6:00 PM and MO – FR from 3:00 to 7:00 PM
Concept & Idea: Donna Miranda
Dramaturgy: Angelo V. Suárez
Research Collaboration: Lizza May David und ALPAS Pilipinas
Artistic production management: Mel Brinkmann
Szenography: Silvia Gioberti, Shahrzad Rahmani (Guerilla Architects)
Supported by: Buchmann Immobilien Verwaltung GmbH
What do Filipino care workers have to do with Wies- baden? A lot! NURSING THE EMPIRE shows their paths to Germany – with powerful stories and images. It revolves around stories of hard work, big dreams, and the question: who actually nurses whom and why? The project tracks the history and experiences of Filipino migrant health workers in Germany. It also identifies conditions that drive and sustain health worker migration in Germany. There will be workshops, films, and room for discussion. Come by and participate in building new perspec- tives on care, migration, community, and solidarities.
Arrival in Wiesbaden Clinic
Exiting the plane
FR 12.09. 9:00 PM Cook and Hang Out I
DO 18.09. 7:00 PM Cook and Hang Out II
FR 19.09. 6:00 PM Panel discussion in the Foyer
SA 13.09. – SU 21.09.
Choreography open for visitors on the weekends from NOON until 6:00 PM and MO – FR from 3:00 to 7:00 PM
Concept & Idea: Donna Miranda
Dramaturgy: Angelo V. Suárez
Research Collaboration: Lizza May David und ALPAS Pilipinas
Artistic production management: Mel Brinkmann
Szenography: Silvia Gioberti, Shahrzad Rahmani (Guerilla Architects)
Supported by: Buchmann Immobilien Verwaltung GmbH
What do Yiddish poems have to do with Kaiser- Friedrich-Therme? Sound Artist Paul Brody and performer Marina Frenk meet there to commemorate Jewish language and history with words by Katerina Kuznetsova. Brody spoke to people who know a lot about the thermal bath and recorded sounds associated with the bath. The two of them will combine old stories and sound art with contemporary Yiddish poetry. Everyone is cordially invited to attend this “PARADOKSN FUN TSAYT”! (You do understand this sentence without a translation, right?)
Foto: Paul Brody
FR 12.09. 7:30 PM
SA 13.09. 3:00 PM
Idea, Concept & Music: Marina Frenk & Paul Brody
Poems: Katerina Kuznetsova
Artistic Production Management: Mel Brinkmann
What do Yiddish poems have to do with Kaiser- Friedrich-Therme? Sound Artist Paul Brody and performer Marina Frenk meet there to commemorate Jewish language and history with words by Katerina Kuznetsova. Brody spoke to people who know a lot about the thermal bath and recorded sounds associated with the bath. The two of them will combine old stories and sound art with contemporary Yiddish poetry. Everyone is cordially invited to attend this “PARADOKSN FUN TSAYT”! (You do understand this sentence without a translation, right?)
Foto: Paul Brody
FR 12.09. 7:30 PM
SA 13.09. 3:00 PM
Idea, Concept & Music: Marina Frenk & Paul Brody
Poems: Katerina Kuznetsova
Artistic Production Management: Mel Brinkmann
“I freed myself from your father and thought every- thing would get better now.” After A WOMAN’S BATTLES AND TRANSFORMATIONS, Édouard Louis returns to the story of his mother. To a woman who has already freed herself once. From alcohol, vio- lence, and shame, from silence. And whose story threatens to repeat itself when she calls her son one night while her new partner rudely insults her in the background. Step by step, the son plans to break out with her; they manage to make a new start, but how does life go on if you have never learned freedom?
FR 12.09. 7:30 PM
Staging: Sara Ostertag
Stage: Nanna Neudeck
Costume: Prisca Baumann
Sound: Simon Dietersdorfer
Choreography: Myriam Lifka
With: Jonas Grundner-Culemann, Evelyn M. Faber, Sybille Weiser, Klara Wördemann
“I freed myself from your father and thought every- thing would get better now.” After A WOMAN’S BATTLES AND TRANSFORMATIONS, Édouard Louis returns to the story of his mother. To a woman who has already freed herself once. From alcohol, vio- lence, and shame, from silence. And whose story threatens to repeat itself when she calls her son one night while her new partner rudely insults her in the background. Step by step, the son plans to break out with her; they manage to make a new start, but how does life go on if you have never learned freedom?
FR 12.09. 7:30 PM
Staging: Sara Ostertag
Stage: Nanna Neudeck
Costume: Prisca Baumann
Sound: Simon Dietersdorfer
Choreography: Myriam Lifka
With: Jonas Grundner-Culemann, Evelyn M. Faber, Sybille Weiser, Klara Wördemann
TEXT WERKSTATTGESPRÄCH
SU 14.09. 11:00 AM
With: Barby Asante, Memory Biwa & Sasapin Siriwanij
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Hier steht ein kurzer Text.
Der auch zweizeilig sein kann.
Hier steht ein kurzer Text.
Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aenean commodo ligula eget dolor. Aenean massa. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Donec quam felis, ultricies nec, pellentesque eu, pretium quis, sem. Nulla consequat massa quis enim. Donec pede justo, fringilla vel, aliquet nec, vulputate eget, arcu. In enim justo, rhoncus ut, imperdiet a, venenatis vitae, justo. Nullam dictum felis eu pede mollis pretium. Integer tincidunt. Cras dapibus. Vivamus elementum semper nisi. Aenean vulputate eleifend tellus. Aenean leo ligula, porttitor eu, consequat vitae, eleifend ac, enim. Aliquam lorem ante, dapibus in, viverra quis, feugiat a, tellus. Phasellus viverra nulla ut metus varius laoreet. Quisque rutrum. Aenean imperdiet. Etiam ultricies nisi vel augue.
Hier steht ein kurzer Text.
Der auch zweizeilig sein kann.
Hier steht ein kurzer Text.
Sasapin Siriwanij is a Bangkok-based performing arts producer, curator, and artist with a background in English Literature (B.A. and M.A., Chulalongkorn University). A core member of B-Floor Theatre since 2009, she has worked as a performer, director, and producer in numerous acclaimed productions rooted in social critique and personal empowerment. She co-founded For What Theatre and the Producers of Thai Performing Arts Network (POTPAN), collaborating widely with local and international artists, including long-term work with Wichaya Artamat. In 2017, her solo work OH! ODE earned her the Best Performance by a Female Artist award from IATC-Thailand and was later presented at the 4th Berliner Herbstsalon by the Maxim Gorki Theater in Berlin.
Sasapin’s artistic practice is grounded in criticality, somatic exploration, and choreographic inquiry, aiming to connect body, psyche, and societal context. Since 2018, she has served as Artistic Director of the Bangkok International Performing Arts Meeting (BIPAM), a key platform for regional and international exchange, while continuing to produce and tour projects independently across Asia and beyond.
Sasapin Siriwanij is a Bangkok-based performing arts producer, curator, and artist with a background in English Literature (B.A. and M.A., Chulalongkorn University). A core member of B-Floor Theatre since 2009, she has worked as a performer, director, and producer in numerous acclaimed productions rooted in social critique and personal empowerment. She co-founded For What Theatre and the Producers of Thai Performing Arts Network (POTPAN), collaborating widely with local and international artists, including long-term work with Wichaya Artamat. In 2017, her solo work OH! ODE earned her the Best Performance by a Female Artist award from IATC-Thailand and was later presented at the 4th Berliner Herbstsalon by the Maxim Gorki Theater in Berlin.
Sasapin’s artistic practice is grounded in criticality, somatic exploration, and choreographic inquiry, aiming to connect body, psyche, and societal context. Since 2018, she has served as Artistic Director of the Bangkok International Performing Arts Meeting (BIPAM), a key platform for regional and international exchange, while continuing to produce and tour projects independently across Asia and beyond.
COLORED RESURRECT is an installation by Sasapin Siriwanij. Bright colors decorate the otherwise white columns of the State Theatre in Wiesbaden. In Thailand, columns, trees, and other objects are made sacred in this way. As part of a multi-part ritual cycle, everyone is invited to carry the colors from the colonnades into the city: Which places in Wiesbaden are sacred? And why? How far will the colors spread? Everyone is invited to take part, reclaim, and reflect together on protection, wishes, and farewells.
Installation: 12. - 21.09.2025
Performances
FR 12.09.
2:00 to 3:00 PM,
Hae-Khan-Mak Workshop
(Gesang und Tanz)
5:00 PM
Hae-Khan-Mak Procession/
Opening Celebration/ แห่
SA 13.09. – SA 20.09.
5:00 PM every day
Ritual 1-8: Initiation & Sustenance /
ตง้ั -ไหว-้ ได-้ แก้
SU 21.09.
9:00 PM
Ritual 9: Departure / ลา
Concept & Idea: Sasapin Siriwanij
Installation: Silvia Gioberti, Shahrzad Rahmani (Guerilla
Architects)
Production: Noom Sorawis
Artistic Production Management: Anja Schneidereit
Performance: Sasapin Siriwanij, Noom Sorawis, Phiao Duangjai Hiransri, Eddy Sarayut Phetsamrit