Welche Plattformen für junge künstlerische Positionen gibt es im deutschsprachigen und europäischen Raum? Wie lässt sich die Förderung von Berufseinsteiger*innen im Feld der Performing Arts ausbauen? Ein Gespräch mit Anne-Cathrin Lessel (Künstlerische Leitung und Geschäftsführung LOFFT Leipzig), Nina Repirich ( freie Projektentwicklerin, Netzwerkerin, Dramaturgin, Produzentin und Moderatorin mit den Schwerpunkten postmigrantische, rassismuskritische und diversitätsorientierte Perspektiven), Meera Theunert (freie Regisseurin), Moderation: Leyla Ercan (Agentin für Diversität am Staatstheater Hannover).

In the frame of their production, Hanni&Anni shed light on the non-cis-male technicians in the theater. Together with Awa Winkel, Fynn Schroer and Nina Koempel, they humorously show alternatives to the prevailing male gesture of making and explaining in this professional field.

»4ever waiting 4u« deals with the question of how fictionality appears in reality. How is it instrumentalized? How is credibility performed? A teleshopping show that scratches at the rhetoric of conspiracy theory.

In this workshop, the dancer and choreographer Hannah Krebs shares her improvisation archive, which she compiled over several years, with the participants. Ranging from karaoke fantasies to »world building« all the way to approaches of the choreographer Deborah Hay who starts with one solo per day, the notebooks are full of ideas and instructions that Hannah Krebs would like to pass on. The result is an exercise during which everyone can draw up a rough sketch for a solo—in less than two hours!

Three performers form a circle of collective remembrance of the uninvited guest, the trickster, who lived for two years in our homes, alleys, streets and cities: the pandemic. This multi-sensory dance piece is a push against the impulse to forget and an invitation for a collective commemoration. The piece was developed specifically for a visually impaired audience.

It offers audience members coupons to various services- cooking, cleaning, and babysitting, should the performer, Katrina Elizabeth, fail to fulfil her promise to collect half a-liter of sweat within 30-minutes.

»Juli Monsun: Back from Bollywood« intertwines queer identity, perspectives of growing up with different cultural influences and the global adolescent traumas of the German affluent society.

»i like the longer version more than love and anarchy« is the articulation of the present in an ephemeral encounter between performer and spectator.

A rip in the silence. A mute cry. Too many lost needles. Endless lengths of fabric. »Experiments in Rest« combines the means of handicraft work with a sound installation and an autobiographic documentation. While concentrating on simple yet tedious tasks, the four female performers reveal their innermost thoughts, conflicts and relationships, piece by piece—like a weave of threads.

Let’s go down the rabbit hole! What can you only write? What can you only dance? What would you never google for or in front of someone else? Why not? Will it be different tomorrow? This is a cordial invitation to all who feel like undertaking wild internet research for and with each other! In a second step: A cordial invitation to enter your body into the picture of your research.   Dialogs in teams, a showing of a talk on vulnerability and an exchange on whether vulnerability is cheesy.

In her so-called master class »How to Write an Everlasting Hit,« Juli Monsum provides insights into her own songwriting process and the opportunity to invent a thoughtful hit of one’s own. To this end, the participants are asked to bring a favorite song along in an instrumental version (preferably as MP3) as a source of inspiration.

David Attenberger and Anna Kirstine Linke follow their fear and joy of falling and failing. They fight their way through stunt training in Real Life on the internet to the edges of Google Maps. They fall in love with people who have disappeared without a trace.

Kilam is a special kind of Kurdish folk song telling of the soul without interruption. From the 1970s to the 1990s, numerous kilams traveled on tape back and forth between Germany and other countries. Listening to the cassettes time and again helped families and lovers, especially in the era of guest workers, through the difficult years of lonesomeness and longing.   Loops imply infinity—like the Kurdish circle dance.

In this workshop, we will deal with orality and living archives—making recourse to Saki Aslans piece »Retour-Kilams an Kofferkinder.« Orally passing on knowledge in the form of poems, songs, fables, or also gossip is a practice that has always existed across regions, yet is still socially spurned. Oral history or history from below, as it can be found with contemporary witnesses of various diasporic groups or in the history of workers, for example, is still being marginalized in the social treatment of history.  

A meeting point, a friendship, a secret space where stories of fear, joy and agency are recalled. »Cyber ghosts« plays with the notions of surveillance and control in an ironic, intimate and poetic setting. Kiana and Roham meet online in an environment that feels uncertain, unstable and, at times, threatening. They explore strategies of survival through dances, songs and feelings that have been repressed and stigmatized.