Modernism would be inconceivable without the interplay of inspiration and appropriation, any by implication the global groove of art, dance, performance, and protest. From a historical perspective, the German expressionist painter Ernst-Ludwig Kirchner (1880-1938) was from an early stage enthusiastic not only about non-European cultures, but also for dance. This very intersection was precisely where the avant-garde found its starting point: in movements from elsewhere.
Burkina Faso is one of the poorest countries in Africa and indeed the world. Despite a recent military coup, it is the venue for a dance festival that allows guests to gain deep insights into the mentalities of the African dance scene. On stage, people argue, dance, and forge new partnerships. Europe has funded this festival – so that it may approach the scene on an equal footing.
On 12 September 2018, 20 dancers of the Antwerp-based company Troubleyn published an open letter in the Flemish digital art magazine Rekto:Verso accusing the founder and artistic director, Jan Fabre, of having created a misogynistic atmosphere in which: “Humiliation is daily bread in and around the rehearsal space of Troubleyn.
Given my fascination with spirits, I kept asking myself how can we still get to know this endangered species that represent the oldest vision of humanity? At best, they are considered as revenants who cavort in virtual reality, in comics, in painting, and on stage, because they embody that yearning to make contact with the beyond.
Millions and millions of kilometers of yarn are unwound unremittingly from bobbins worldwide – in the myriad textile and sewing factories on this earth. Mechanically speaking, bobbins perform an almost endless pirouette. The human body follows exactly the same principle.
Theaters like to be the good guys in three ways: Good for the citizen. Good for culture. And good for the zeitgeist. Being good is part of the essence of theaters; they do not want to be accused of being racist or of not being really climate-neutral. But does this fit the reality within the institution itself? The case of Raphael Hillebrand casts doubt on this.
«tanz.dance» is a journalistic project, edited by Arnd Wesemann, longtime editor of the German magazine “tanz”. The project is independent of publishers which critically and with relish chronicles movement/s and change, thus the future of the arts – in well-researched reports with digital, bilingual storytelling by international authors.
«tanz.dance» derives income solely from the sale of the sequel of the story told. Different prices depend on the number of authors to be paid. Any income derived therefrom goes to the authors. We kindly ask you only share the link to the opening page.