ARCHIVE SUBMERGE Festival V.4 2020:
YASMEEN GODDER was born in Jerusalem and raised in New York City. She moved back to Israel in 1999, and has been based there since. Internationally her work is been presented extensively at venues such as Lincoln Center Festival, Tokyo International Festival, HAU in Berlin, the Place Theater in London, Montpellier Dance Festival in France, Kunstenfestdesarts in Brussels, the Sydney Opera House and many more.
Yasmeen is the recipient of numerous awards, including a Bessie Award, NY in 2001, The Israeli Ministry of Cultural Affairs prizes for choreographer and company, the Rabinovich Foundation Award, the Tel-Aviv Municipality’s Rosen- blum Prize, the Lottery’s »Landau Prize« among others. In 2007, the Yasmeen Godder Studio has been opened in Jaffa, a home for all of her activity and projects.
PRACTICING EMPATHY #1-2
Since 2015, the Yasmeen Godder Company has been researching the notion of emotional connectivity between strangers as well as within communities. Each of these themes was approached as societal phenomena via the art of performance, using the dance medium’s codes and pre-conceptions as starting points for exploration.
»Practicing Empathy #1« focuses on the relationship and connectivity of the performers as they delve into a score of repetitive physical and vocal rituals, which exposes their inner emotional landscapes. They play with creating an environment where empathy can be ex- plored as a way to support, encourage, and react to the depth and complexity of their own and other’s needs and expressions.
»Practicing Empathy #2« will shift the focus from the performers to the audience and look at what arises when the experience on stage is shared with others. The quest in this journey will be a collaborative search for collective and infectious practices that disarms fears and invites the public to join the performers.
Creation, Choreography: Yasmeen Godder | Dramaturgy: Itzik Giuli, Monica Gillette | Dancers: Ortal Atsbaha, Or Ashkenazi, Carmel Ben-Asher, Ari Teperberg, Tamar Kisch, Nir Vidan | Sound Design: Tomer Damsky and Lior Pinsky | Scenography and Lighting: Omer Sheizaf | Costumes design #1: Hila Shapira | Costumes design #2: Tamar Ben Canaan | Photography: Tamar Lamm | Production: Omer Alsheich | Administration: Zohar Eshel-Acco | Co-production: Tanzhaus nrw and in collaboration with CSC - Centro per la Scena Contemporanea
AUGUST 8, 18H (Part I - duets), 20:30H (Part II) -Performances belong together Canceled due to travel restrictions: live stream on 6th August 14h, please inquire
PRACTICING EMPATHY – SHARED PRACTICES
The workshop will be based on Godder’s last research project »Practicing Empathy«, from which she will share different approaches and practices and seek to discover new ones as well. Each class will begin with a release-based warmup and will continue into a shared research, involving improvisation, and using a variety of tools which have evolved over the years in Godder’s processes.
Due to COVID 19 interantional travel regulations Yasmeen will not be able to fly to Berlin. The workshop will be taught via live stream by Yasmeen from Tel Aviv. Dancers Nir Vidan and Ari Teperberg will be assisting Yasmeen. Matan Zamir a former dancer of Yasmeen's company will be hosting the space and facilitating the workshop. More information about Matan here:
AUGUST 3 - 6, 10 - 16H
DENNIS DETER lives and works in Berlin as a performer, choreographer and dramaturg. His interest lies in the presence of fictional and real bodies, as well as in adaptations of basic animation methods, movie techniques and concerts for the stage. Next to working in theatre Dennis is part of the international performance-band John The Houseband and plays Bass in the acclaimed Rock-Trio Kala Brisella. | www.determueller.com
LEA MARTINI works internationally in the field of dance making / transmitting / performing. Berlin is her home- base. Attracted by intense physicalities she started out by learning gymnastics and later found her way into the world of contemporary dance. Pieces she‘s part of – often created in collective structures- are physical approaches and realization of socio-political issues. In her work, she looks for new perspectives through moments of contem- plating and experiencing together.
EINE GESCHICHTE DER WELT
– SUITABLE FOR CHILDREN 6 YEARS +
The history of the beginning of everything oscillates between chaos and order- from the tiniest molecules to the biggest planets, from jumping dinosaurs to dancing suns.
But what is it all made of- a nutshell, a rib, sparks of stardust? And what did it all start with- with a word, a crash, a moment of perfect silence?
In a megalomanic approach, three performers attempt to embody events of a galactical and highly speculative nature. Using their bodies, DIY objects and the trash behind the scenes, they indulge in the pleasure of feeding their imagination. Stories and perspectives are diversified, friable, unfolded into multitudes. What could be the Big Bang happens in engross- ing deceleration, what could be told as one story, becomes many more. The performance invites you to make yourself comfortable in the poetry of inconsistent images, to dive into reflection on worlds that surround us and that we are at the same time innermost part of.
*PARTS OF THIS WORK ARE PERFORMED IN GERMAN
Concept: Lea Martini, Dennis Deter | Performance and Choreography: Johanna Ackva, Dennis Deter, Lea Martini | Stage and Costumes: Filomena Krause | Music: Theresa Stroetges | Light: Benjamin Schälicke | Technical direction: Jonas Ehler | Mentoring: Amelie Mallmann
AUGUST 15, 18H
CREATURES, PLANETS AND A RUNNING NOSE
The workshop reviews games, exercises, and conversations used within the development of the piece Eine Geschichte der Welt. We look for intersections between fiction and physicality, between creating text and imagination and movement research that asks for creatures we don‘t know of yet. During the creation process, we met several times with children from elementary school who contributed to the piece. We wish to transmit their spirit of curiosity, joy, and unpredictability within this workshop and are looking forward to all get bathed into magic cream as a start for our own performative journey.
* Workshop taught by Lea Martini and Johanna Ackva
AUGUST 10 - 13, 10 - 16H
SUBMERGE CHOREOGRAPHERS’ LAB
Three choreographers will lead a workshop lab in relation to their work. They will also present these works in a shared performance evening on August 29th.
August 20 & 21- Workshop SONYA LEVIN: 'Gesture: Meaning & Context'
August 25 & 26 - Workshop SASHA AMAYA: 'Sarabande'
August 27 & 28 - Workshop IRINA DEMINA: 'RETRADITIONING'
SONYA LEVIN: In this workshop I will introduce participants to the sources of my inspiration for the piece THE DAY BEFORE. I will propose various ways of working with gestures: examining their meanings, energy, range of abstractness, as well as creating different contexts for them. We will learn vocabulary from the «terms of contemporary art» of the Russian gesture language and have some fun with it. I will also share material about working with context, structure and conceptual tasks. We will think about exactly what and how we express with gestures, how they are contextualized and how we formulate the gap between the abstractness and concreteness of the motions.
SASHA AMAYA: In this workshop, Sasha Amaya shares two processes she has used in reworking historical dance material in the process of creating Sarabande. First are structural processes of de- and re-construction, including remixing and zooming, as well as « quoting » material, practices of translation, and working with scale. Second are reflection and documentation tools which can be used in conjunction with a highly physically-based creative practice to reflect on, edit, and reframe material for a final work. The aim of this workshop is to share both conceptual and practical approaches that are particularly relevant when dealing with historical dance, but can be applied by the participant to their own field of interest.
IRINA DEMINA: "RETRADITIONING" - This workshop will be an experimental playground for re-thinking and re-contextualising traditions. We will be using poetic imagery to facilitate a deeper and more nuanced kinaesthetic experience of movement or body image, exploring the relationships between body configurations and imagination, searching for tools to form the multi-layered, kaleidoscopic, poetic dance body, that balances on the edges between fiction and reality, thresholds of darkness and light, pain and elegance, seduction and repulsion, (unknown) past and (uncertain) future.
August 20-27, 10-16H
The 3 choreographers from the Choreographers Lab will present their works in a shared performance evening.
SASHA AMAYA - Sarabande
SONYA LEVIN - The Day Before
IRINA DEMINA - ACT II
SARABANDE is a poetic study into the darkness, frivolity, humour, and
beauty of French baroque dance history retraced in our present moment.
Proceeding through four recreated Baroque dances - the Allemande,
Sarabande, Passacaille, and Menuet - we explore the relationships
between music and movement, composition and transmission, and ask
questions about history, power, lineage, and structure: To whom does
“classical” dance belong? What is my relation to this tradition which I
have been taught? What kind of symbols and hierarchies are entrenched in
dance? How can we repurpose historical traditions, and to what extent?
The processes we worked through in the creation of Sarabande have been
both formal and cultural, and through them we have arrived at movement
which is alight with juxtapositions: precision and ambiguity, the formal
and informal, the familiar and the foreign.
THE DAY BEFORE is a choreographic piece where gestures create the main content. This work is about nostalgia, where choreography and dry structure meet high emotion to explore how context changes the meaning.
This year THE DAY BEFORE created in 2010 celebrates its 10th anniversary.
Over past 10 years it has been toured in England, Belgium, Germany, Russia, Bosnia and Herzegovina, France, Switzerland, and Spain - winning «Best Performer in Dance» at the «ACT» Festival in Bilbao (2012). It has been presented at Open Air Special with Berlin Artists by RadioEins Berlin (2014), «Züricher Theater Spectacl», «BE Festival» in Birmingham (2013), «Month of Performance-Art Berlin» at KULE Theater (2012), «Lucky Trimmer» Berlin festival (2012) in «Maxim Gorky» Theater, in «HAU1», «Sophiensaele» and many other locations and theaters around the world.
ACT II (excerpt)
…Classical ballet meets Berghain, meets David Lynch, meets folk dance, meets “Self-unfinished”… The solo “AcT II” is inspired by the ghost-like figure of Vila in the Slavic folklore. According to the pagan legend Vilas are the spirits of brides who died as virgins before getting married, at the night time they come back from the underworld and lure young men to dance, dancing them to death. In the Western world, Vilas are indelibly connected with the Romantic ballet “Giselle” with its interpretation of spectral Vilas appearing in the second act.
How traditional are traditions?
And who am I (are we) in this world of poetic embodied folklore?
A hologram image?
A crack of reality?
An awkward grace?
A skinless body?
An uncomfortable truth?
Photo credits, top to bottom: Sarabande - Dieter Hartwig, The Day Before - Sonya Levin, ACT II - Cho Hun Woo
AUGUST 29, 20:30H
Disruption, Excess, Hyper Vulnerability, Critical Care - Jeremy Wade is an extreme performer and performance maker with an extensive practice of curating and teaching to boot. After graduating from the School for New Dance Development in Amsterdam in 2000 and receiving a Bessie Award for his first evening length performance »Glory,« at Dance Theater Workshop in New York City in 2006, he moved to Berlin and since then works in close collaboration with the Hebbel Theater as well as Gessnerallee, Zurich. His alter ego, The Battlefield Nurse, is the founder and a co-host of a disability allied project called The Future Clinic for Critical Care.
THE CARETAKER AND OTHER TECHNOLOGIES OF IMPOSSIBLE REPAIR
As a performer, performance maker, teacher and someone committed to social practices I have given birth to a lot of threshold keeping/caretaking characters in the last years. Most of them are situated in a dystopic scape I like to call »now on crack« where »No one will help you no matter how loud you scream.« These Battlefield Nurses work to dream otherwise about less violent futures. This workshop will focus on »The Caretaker,« from »The Clearing« 2019, a future nomadic precarious gig economy worker who uses a series of hallucinatory procedures to dismantle reality, evoke solidarity and address the forces / structures that are making us sick. The Caretaker’s work is to write new myths, new conceptions of space and new narratives so that future clearings might occur. Please join me in a joyous recon- textualization of practices, characters, fictions and emergent strategies of queer repair.
AUGUST 31 - SEPTEMBER 3, 10 - 16H
LOVE IS NOT ROMANCE, HONEY! LECTURE PERFORMANCE BY THE BATTLEFIELD NURSE
The honeymoon is over! Can we rewrite all the shit stories around love? Where is love? At the moment it seems mired in sticky romance and cheap lockets that bind its potential in the incestuous circle of normative relations and the machine of social reproduction. We need love to serve as a force of interdependence with intimate strangers and all earthly creatures. Sing it!! Jeremy Wade’s 5000 year old Battlefield Nurse alter ego will lead a participatory intervention, a fake political ritual repositioning love as a hyper relational ethic. Side effects may include quitting your job, becoming a social worker and wielding love as a force that can bring all of us strangers together better on the battlefield.
Creation and Performance: Jeremy Wade | Costume: Claudia Hill | Performance supported in part by Beurschouwburg, Brussels and HKW, Berlin
SEPTEMBER 5, 20:30H
JONATHAN BURROWS is a choreographer whose main focus is an ongoing body of pieces with the composer Matteo Fargion, with whom he continues to perform around the world. The two men are co-produced by PACT Zoll- verein Essen, Sadler’s Wells Theatre London and BIT Teatergarasjen Bergen. His ‘A Choreographer’s Handbook’ has sold over 15,000 copies since its publication in 2010, and is available from Routledge Publishing. Burrows is cur- rently a Senior Research Fellow at the Centre for Dance Research, Coventry University.
Of what does the practice of choreographing consist? In Rewriting, Jonathan Burrows at- tempts – by turns hesitantly and exuberantly – to map out the unknown territory known as choreography. On the one hand, he starts from a performance that took him two years to make but which he has never presented to an audience before, and on the other, he uses passages from his book A Choreographers’ Handbook (2010). In contrast to the dominant model, which assumes that a successful production is the result of a fixed, predetermined idea, Burrows proposes a practice of a slow, coincidental accumulation of meanings that emerges during the work itself. He likes to quote Mette Edvardsen, who describes her own work as ‘the dust that accumulates through the working’.
Made and performed by Jonathan Burrows | Jonathan Burrows is supported by PACT Zollverein Essen, Sadler‘s Wells Theatre London and BIT Teatergarasjen Bergen.
SEPTEMBER 11 & 12, 20:30H
Jonathan Burrows leads a workshop looking at questions of how to balance the many and overlapping elements at play in the making of a performance, including concept, context, image, form, dramaturgy, materials and daily practice. The workshop will be a mixture of practical work and discussion, with the aim of allowing each person to re-examine how they approach their own work and practice.
SEPTEMBER 7 - 10, 11 - 17H