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Close-up of a person’s bare feet in motion with event details:

Community Care: Politics and Practices of Rest, Touch, and Identity.
Shiatsu workshop, facilitated by Zem*u Huber with Rafia Shahnaz. Followed by a Community Conversation facilitated by Nara Virgens and Makisig Akin, with Camille Sapara Barton, Rafia Shahnaz, and Zem*u Huber

Radialsystem Studio 1,2. 21 Sept 2024, 17:00-20:00
21 September, 17:00 - 20:00.

We invite you to start with the body as the entry point for the launch of Emerging Change Tanzfestival. A Shiatsu workshop is offered by Zem*u Huber with Rafia for listening and tuning into the body through touch. This will be followed by a community conversation with dance artists, somatic practitioners, activists, and writers centered on the topic of strategies for rest, resilience, and care as activist practices for Queer, Trans, Black, Indigenous, People of Color communities in times of crisis. How can we collectively imagine and action body-based practices for thriving? How can these practices connect us (artists, audiences, curators, etc) more fully as a community within the art scene?

Please attend both the workshop and community conversation as a two-part event. Free and open to all. Pre-registration required at pretix.eu/radialsystem/emcha/

Nahaufnahme der nackten Füße einer Person in Bewegung mit Veranstaltungsdetails: Community Care: Politiken und Praktiken der Ruhe, Berührung und Identität.
Shiatsu-Workshop unter der Leitung von Zem*u Huber mit Rafia Shahnaz. Gefolgt von einem Community Gespräch, moderiert von Nara Virgens und Makisig Akin, mit Camille Sapara Barton, Rafia Shahnaz und Zem*u Huber

Radialsystem Studio 1,2. 21 Sept 2024, 17:00-20:00
21 September, 17:00 - 20:00.

Bitte anmelden unter pretix.eu/radialsystem/emcha/

Tonight at Tanzfabrik Berlin BÜHNE:

XÊR by Elvan Tekin

XÊR investigates the role of the voice in language, identity and the body. Viewing the body and language as dynamic processes in the construction of identity, XÊR explores a voice in a state of flux, seeking new realms of existence. The voice is perceived as an integral part of this flux, essential for redirecting and rebalancing the body. It encompasses spoken language, silence and the wider contexts of being heard, seen, understood or misunderstood.

Elvan Tekin (she/her) (Izmir, 1994) is a dancer, choreographer and community organiser based in Berlin. In her practice, she navigates the nuances of identity and the body, reclaiming spaces and cultivating a deeper understanding of collective struggles. In 2023, her solo performance to be a fish in a raki bottle was presented at Tanztage Festival in Sophiensaele, Berlin. Moreover, Elvan is the founder and co-curator of the curatorial project emergentspaces that is centralising queer and trans* feminist perspectives in diaspora. In 2024, she completed a master in Choreography at the HZT – Berlin.


SOLD OUT

Image: A group of five Black persons of different sizes and ages stand together, facing forward with serious expressions. A text overlay promotes the event:

black future imaginings
Workshop by Virginnia Ogechi Krämer and Isabel Kwarteng-Acheampong
as femBlack Performance Collective
Uferstudio 5, Tanzfabrik Berlin BÜHNE
28 Sept 2024, 15:00-18:00

We would like to invite you to join us in imagining the future from Black perspectives and making it physically tangible. In a 3-hour workshop, accompanied by a time meditation, small writing exercises, exchanges and movement improvisations, we want to try out different methods of imagining with our bodies.

This workshop is for BIPoC folx only and will center Black queer perspectives.

Photo by Céline Rodrigues Monteiro

There are still spots left!
Register here: pretix.eu/tanzfabrikberlin/blackfuture/4196732/

Image: A black-and-white image shows an abstract pose of a Black dancer in mid-air. A vibrant pink and blue banner overlays the bottom, promoting the event:

INTERMISSION
Choreography and Performance by vAL
Uferstudio 5, Tanzfabrik Berlin BÜHNE
28 Sept 2024, 20:30-21:30


Reality has become so absurd that it’s hard to distinguish fact from fiction and we, simultaneously the viewers and the subjects, are left numb. Seeking some sort of interlude from this horror show, I went into the studio one year ago in the hope of making a solo work based on my archive of dreams. I soon realized that I had unknowingly omitted the space I once held for retaining and tending to my dreams, bringing me face to face with a void and a question: If my authentic self is being clouded by the ravages of social ills, what do I have that can break through this psychic interference and be shared? I theorized that the answer to this question could fill the void where my dreams ought to be and started to ask other people about their dreams. I quickly understood most of the conscious minds around me are over-saturated and altogether overwhelmed; I heard a familiar experience described again and again. They, too, are staring into the same dreamless abyss.

INTERMISSION is a solo in which I attempt to restore my dream archive by puzzling together fragmented thoughts, sounds and movements to take the audience on an elusive and uncharted journey. Inspired by interpersonal dialogues around lost dreams within my community, and ushered along by the uncertainty of static sound, I seek to replenish missing dream files. Stories, confessions and memories are communicated through a scanning of spoken words and a mash-up of embodied images. Voices and texts heard in the work make it clear that this new dream archive is imposed and does not belong exclusively to me, yet is brought to life by my own performative doubt, variability and curated interruption. Gathered in a round, the audience experiences my transformations as I mine for clarity in a dense fog of disrupted dreams. The room shifts into a cathartic space of collective tuning, reliant on my will to stay present with my own bemusement and unpredictability.
What may eventually erupt when we sit together in our puzzlement? INTERMISSION does not pretend to know or give any answer. This project is not meant to be a solution, but an instigation to a moment of breathing together in perplexity, an offering of a space for the nebulous to gather. This moment of static is ours, just as the dreams that came before it.

vAL (he/him) is an adopted identity of artist Corey Scott-Gilbert. vAL’s agenda is to further understand the mental state from which creation springs; concerned with sketches of possibility unconfined by genre, gender, demographic or any other limitation placed on the individual by society. The artist’s personal history of movement serves as a vehicle for interrogating their own breath, often collaging word-play and physical utterance which often serve as the foundation for their multidisciplinary playgrounds. vAL uses each creative process as an opportunity to analyze and rediscover truths that forge beyond current conformities to make space for alternative realities of otherness. vAL highlights the absurdities of an abysmal, limiting and globally omnipresent social condition, presenting curated realities where joys are not sought after but rather devoured as a means to restore a malnourished existence. The work is made to lay adjacent to the conundrums of our current world and reflect hopes that align with catharsis.

Credits
Concept, Choreography, Artistic direction & Text: vAL
Performer: Corey Scott-Gilbert
Sound: ILYICH
Mesh Bodysuit: SADAK
INTERMISSION

Photo Credit: Luis Alberto Rodriguez

Tickets: pretix.eu/tanzfabrikberlin/intermission/4197269/

All of our workshops are full!!

There are still tickets left for most performances, available here: https://www.emergingchange.org/program

All of our workshops are full!!

There are still tickets left for most performances, available here: https://www.emergingchange.org/program

Decomposing (decolonizing)
Somatics: decentering the human
Workshop by mayfield brooks
Uferstudio 1, Tanzfabrik Berlin BÜHNE
30 Sept 2024, 17:00-20:00

What does it mean to decompose somatics? What interspecies interactions or relations can offer up different ways of understanding the body, environment, movement, voice and dance? Many Eurocentric modalities such as Feldenkrais, Alexander Technique, Laban, and Body Mind Centering, have been trademarked by Europeans and European Americans. How can we begin to develop somatics practices that speak to our own bodies and experiences, from different cultural locations other than Europe that center the global majority? How can we continually tap into humor and play to also access our somatic selves? Inspired by my practice of Improvising While Black, I will share some of my own journey in the world of mainstream somatics and

mayfield brooks (they/them) improvises while black* and is based in Lenapehoking, the unceded land of the Lenape people, also known as New York City. brooks is a movement-based performance artist, vocalist, urban farmer, writer, and wanderer. brooks teaches and performs practices that arise from Improvising While Black (IWB), their interdisciplinary dance methodology which explores the decomposed matter of Black life and engages in dance improvisation, disorientation, dissent, and ancestral healing.
www.improvisingwhileblack.com/

*mayfield’s choreographic approach, Improvising While Black or IWB, developed after mayfield began to write about their personal experience of being racially profiled as they were Driving While Black or DWB in San Francisco, California. IWB is an interdisciplinary dance project that lives in the question of Blackness, and explores vocal and dance improvisation, (de)composition, breath choreographies, and pedagogies of embodied liberation. Like an ecology, IWB is continually evolving and moving.

Photo by: Robbie Sweeney

THIS WORKSHOP IS FULLY BOOKED!

Image: A Black person with their mouth open singing and wearing a flowy golden fabric blindfold is seated next to a pile of seaweed, flowers and greenery, and a large object that looks like a huge stone but is the flesh of a whale. They are on a beach with waves in the background and there is movement and leaves floating over the performer's head. Blurred figures of people stand behind, observing. The text on the image promotes a workshop:

The Body is a Shoreline Workshop
with mayfield brooks
Uferstudio 5, Tanzfabrik Berlin BÜHNE
4 Oct 2024, 17:00-20:00

Everyone Welcome

This workshop is also an invitation to decompose like the whale fall--a whale's decomposition after it dies and falls to the ocean floor. How can practices of decomposing, falling, and surrendering to currents & tides fuel more opportunities to ride the waves of spontaneous movement creation? What is my body’s shoreline like? How can different ecologies of cellular integration emerge through voice, sound and movement? What does surrendering to a moment, an impulse, an interspecies relation, a resistance practice, or transgression look like? Other questions that may arise are; How can I create dance offerings of solidarity to other shorelines and dance for and with liberation struggles throughout the world? In this process an interspecies, relational ancestral connection may emerge. May we find rest and play at the shoreline.

Photo by: Nir Arieli

THIS WORKSHOP IS FULLY BOOKED!

Image: two topless dancers in an embrace on a dark stage. The text on the image promotes the workshop:

Post-Failure Potentials Workshop
with Makisig Akin & Anya Cloud/The
Love Makers Company
Uferstudio 5, Tanzfabrik Berlin BÜHNE
5 Oct 2024, 17:00-20:00

Everyone Welcome

Through our ongoing dance research of queer love centered survival practices this workshop asks: What if embodied queerness can be an ally and a visionary strategy for racial justice work? What can we do together that we cannot do alone? What if inviting otherness/queerness can give us the space necessary to find, decide, construct, destroy, reinvent, and take-on expanding ways of being and inhabiting the multiplicity of you, me, and we? What is possible when love is stronger than fear? We will practice taking care as we traverse the complex realities of being racialized and gendered bodies in relationship with one another. This will be a queer, trans, and BIPoC centered space. Through our intersectional identities, we will draw on practices of the basic fundamentals of Traditional Northern Style Kung Fu Chinese Martial Arts, contact improvisation, improvisation, Brazilian Jiu Jitsu, Feldenkrais®, dance making, activism and how these ideologies can be implemented in our dancing bodies. This research material also includes building skills and practices of agency, consent, touch, positionality, generosity, endurance, risk-taking, decision-making, and collaboration. We will develop our individual and collective capacity through dancing and verbal discussion. Let’s deeply sensitize and activate our dancing capacities as humans from many different orientations. Let’s keep finding strategies to be softly hardcore. We will DANCE.

Photo: Amanda Tipton

There have been several cancellations for today's workshop, so you're very welcome to join spontaneously!

Image:
Three Black performers in dynamic poses are partially obscured by a large orange fabric in a dimly lit, atmospheric setting. The text overlays promotes the workshop: