Inhalte
Der Minor «Transdisziplinarität in den Künsten» richtet sich an Masterstudierende der ZHdK, die ihre Praxis an der Schnittstelle unterschiedlicher Kunst- und Designsparten oder in deren Verbindungen mit der Gesellschaft und der Lebenswelt verorten. Sie möchten ihre Arbeit in einem interdisziplinären Umfeld positionieren, dessen mediale, diskursive, institutionelle oder soziale Konfiguration nicht bereits vorgegeben ist. Sie erproben mögliche Kontextualisierungen ihrer Projekte und erfahren die damit verbundenen unterschiedlichen Wahrnehmungen, Lesarten, Kriterien und Wirkungsweisen.
Der Minor «Transdisziplinarität in den Künsten» vermittelt den Studierenden die Fähigkeit, Kompetenzen aus ihren Schwerpunktfächern (Majors) in Auseinandersetzung und in Zusammenarbeit mit anderen Kunst- und Designsparten sowie weiteren Berufs- und gesellschaftlichen Feldern für Themen und Fragen einzusetzen, die nicht von disziplinären Ordnungen und Spezialisierungen geleitet sind. Die Teilnehmenden setzen sich mit transdisziplinären Arbeitsweisen und Diskursformen auseinander. In eigenen Projekten und angeleiteten Praxisformaten erkunden sie das Potenzial ästhetischer und künstlerischer Verfahren für Problemstellungen der Lebenswelt und erproben Formen der Kooperation zwischen unterschiedlichen künstlerischen Fächern in exemplarischen Arbeitsvorhaben.
Kompetenzen
Die Absolvent:innen sind in der Lage,
– das transdisziplinäre Potenzial ihres Fachgebiets zu bestimmen und es in Kontexte ausserhalb ihrer eigenen Disziplin zu stellen;
– ihre eigene Position zu artikulieren und sie im Dialog mit Vertreter:innen anderer Disziplinen zu verhandeln und zur Geltung zu bringen;
– ästhetische und künstlerische Strategien in disziplinübergreifenden Projekten einzusetzen.
Voraussetzungen
Der Minor «Transdisziplinarität in den Künsten» richtet sich an alle Masterstudierenden der ZHdK, die Inhalte, Formate, Medien und Kompetenzen ihres Schwerpunktfachs mit solchen aus anderen Disziplinen und Kontexten verbinden wollen.
Besonderheiten
Der Minor kann in verschiedenen Formen durchlaufen werden: kursorisch im Rückgriff auf das Lehrangebot des Majors «Transdisziplinarität in den Künsten» oder aber mit Fokus auf eine individuelle Projektarbeit mit transdisziplinärer Ausrichtung.
Der Minor «Transdisziplinarität in den Künsten» kann konsekutiv studiert werden. Die Kombination der beiden Minors «Transdisziplinarität in den Künsten – basic» (15 Credits) und «Transdisziplinarität in den Künsten – advanced» (15 Credits) führt zu einem vertieften Verständnis transdisziplinärer Arbeitsweisen im Feld der Künste.
Zeitstruktur
Die Pflichtmodule des Minors «Transdisziplinarität in den Künsten» finden in den Minorwochen statt. Am Freitagnachmittag können die Wahlmodule besucht werden. Einführung: Freitagabend, 20.9.2024.
→ Mehr zum Minor Transdisziplinarität in den Künsten – basic (PDF-Download)
→ Mehr zum Minor Transdisziplinarität in den Künsten – advanced (PDF-Download)
Im Rahmen des DKV-Minor-Infotages am 12. März 2024 hat Basil Rogger den Minor «Transdisziplinarität in den Künsten» vorgestellt:
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Der Minor «Transformationen Künste Wissenschaften» fokussiert auf diese Verschränkungen und gegenseitigen Bezugnahmen künstlerischer und wissenschaftlicher Verfahren, Experimentalanordnungen und Wissensformen. Im Zentrum des Minors stehen inter- und transdisziplinäre Projektarbeiten, die die Studierenden individuell oder in Teams konzipieren und realisieren. Unter Bezugnahme auf wissenschaftliche Paradigmen und Methoden, in Kooperationen mit Wissenschaftler:innen oder in Residencies und Praktika in wissenschaftlichen Instituten und Labs erkunden sie mögliche Verschränkungen wissenschaftlicher und künstlerischer Vorgehensweisen. Im Dialog mit den Wissenschaften setzen sie sich mit relevanten Fragestellungen, Diskursen und Kontroversen auseinander und entwickeln eigenständige autor:innenschaftliche Positionen in deren Spannungsfeld. Kompetenzen Die Absolvent:innen des Minors «Transformationen Künste Wissenschaften» sind in der Lage, – die wissenschaftliche Durchdringung gesellschaftlicher Felder kritisch zu befragen, Kontroversen und Spannungsfelder zwischen unterschiedlichen Wissensformen zu identifizieren und sie mit künstlerischen und ästhetischen Mitteln zu reflektieren; – Verhältnisse zwischen Künsten und Wissenschaften einzuschätzen, zu bearbeiten und für eigene Arbeitsvorhaben produktiv zu machen; – ihre eigene Position zu artikulieren und sie im Dialog mit Vertreter:innen wissenschaftlicher Disziplinen zu verhandeln und zur Geltung zu bringen. Voraussetzungen Der Minor «Transformationen Künste Wissenschaften» richtet sich einerseits an Studierende im Major «Transdisziplinarität in den Künsten», die sich auf Verhältnisse zwischen Künsten und Wissenschaften spezialisieren möchten, andererseits an alle Masterstudierenden der ZHdK, die ihr Schwerpunktfach (Major) zu geistes- oder naturwissenschaftlichen Erkenntnisweisen in Bezug setzen wollen. Besonderheiten Der Minor kann in verschiedenen Formen durchlaufen werden: kursorisch über die Teilnahme an Unterrichtsformaten (Praxisprojekte und Seminare zur Theorie und Geschichte des Verhältnisses zwischen Künsten und Wissenschaften), mit Fokus auf eine individuelle Projektarbeit oder als Praktikum bzw. Residency in wissenschaftlichen Institutionen und Labs (in Kooperation mit dem artist-in-labs-programm der ZHdK). Der Minor kann konsekutiv studiert werden. Die Kombination der beiden Minors «Transformationen Künste Wissenschaften – basic» (15 Credits) und «Transformationen Künste Wissenschaften – advanced» (15 Credits) führt zu einem vertieften Verständnis unterschiedlicher Erkenntnisformen im Spannungsfeld zwischen Künsten und Wissenschaften. Zeitstruktur Die Pflichtmodule des Minors «Transformationen Künste Wissenschaften» finden in den Minorwochen statt. Am Freitagnachmittag können die Wahlmodule besucht werden. Einführung: am Freitagabend, 20.9.2024. → Mehr zum Minor Transformationen Künste Wissenschaft – basic (PDF-Download) → Mehr zum Minor Transformationen Künste Wissenschaft – advanced (PDF-Download)","Im Rahmen des DKV-Minor-Infotages am 12. März 2024 hat Irene Vögeli den Minor «Transformationen Künste Wissenschaften» vorgestellt:","",""],"title_en":["","Course","","Major-Minor Programme Model"],"text_en":["","Course content The subject of the Minor “Transformations Arts Sciences” is relationships between the arts and sciences as different ways of discovering the world. Aesthetic approaches are given considerable consideration in scientific processes; conversely, nearly all areas of society, including the arts, are permeated by scientific insights. The Minor “Transformations Arts Sciences” focuses on these interrelations and mutual references between artistic and scientific processes, experimental arrangements and forms of knowledge. The Minor centres around interdisciplinary and transdisciplinary project work that the students design and realize individually or in teams. With reference to scientific paradigms and methods, in cooperation with scientists or in residencies and internships at scientific institutions and laboratories, students investigate possible interrelations between scientific and artistic processes. In dialogue with the sciences, they examine relevant issues, discourses and controversies and develop independent positions as authors at the interface between those fields. Skills Graduates of the Minor “Transformations Arts Sciences” are capable of: – Asking critical questions about the penetration of science into social fields, identifying controversies and areas of tension between different forms of knowledge and reflecting on them with artistic and aesthetic resources; – Appraising and developing relationships between arts and sciences and rendering them productive for their own work projects; – Articulating their own position and negotiating and asserting it in dialogue with representatives of scientific disciplines. Admissions requirements The Minor “Transformations Arts Science” is aimed both at students on the Major “Transdisciplinary Studies in the Arts” who would like to specialize in relationships between arts and sciences and at all Master’s students of ZHdK who wish to combine their Major with modes of knowledge from the sciences and/or humanities. Special features of the course The Minor can be taken in various forms – on a cursory basis via participation in teaching formats (practical projects and seminars on the theory and history of the relationship between the arts and sciences), with a focus on an individual project or as an internship/residence in scientific institutions and laboratories (in cooperation in the ZHdK’s artists-in-labs programme). The Minor may be undertaken consecutively. Combining the two Minors “Transformation Arts Sciences – Basic” (15 credits) and “Transformation Arts Sciences – Advanced” (15 credits) therefore leads to an in-depth understanding of different modes of knowledge at the interface between art and science. Time structure The compulsory modules of the Minor “Transformation Arts Sciences” take place during the Minor Weeks. The elective modules can be attended on Friday afternoon. Introduction: Friday evening, September 20, 2024. → More about the Minor Transformations Arts Sciences – basic (PDF-Download) → More about the Minor Transformations Arts Sciences – advanced (PDF-Download)","",""],"assets":{"title_de":["Transformationen Künste Wissenschaften"]}}},"relationships":{"study_model_disciplines":{"data":[{"type":"study_model_discipline","id":8,"attributes":{"uid":8,"deleted":0,"sys_language_uid":0,"l10n_parent":0,"title":"Transdisziplinarität","auto_select":0,"to_be_auto_selected":0},"relationships":{"translations":{"data":[{"type":"study_model_discipline","id":9,"attributes":{"uid":9,"deleted":0,"sys_language_uid":1,"l10n_parent":8,"title":"Transdisciplinary Studies","auto_select":0,"to_be_auto_selected":0}}]}}}]},"study_model_interests":{"data":[{"type":"study_model_interest","id":29,"attributes":{"uid":29,"deleted":0,"sys_language_uid":0,"l10n_parent":0,"title":"Interdisziplinarität & 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The subject of the Minor “Transformations Arts Sciences” is relationships between the arts and sciences as different ways of discovering the world. Aesthetic approaches are given considerable consideration in scientific processes; conversely, nearly all areas of society, including the arts, are permeated by scientific insights. The Minor “Transformations Arts Sciences” focuses on these interrelations and mutual references between artistic and scientific processes, experimental arrangements and forms of knowledge.
The Minor centres around interdisciplinary and transdisciplinary project work that the students design and realize individually or in teams. With reference to scientific paradigms and methods, in cooperation with scientists or in residencies and internships at scientific institutions and laboratories, students investigate possible interrelations between scientific and artistic processes. In dialogue with the sciences, they examine relevant issues, discourses and controversies and develop independent positions as authors at the interface between those fields.
Skills
Graduates of the Minor “Transformations Arts Sciences” are capable of:
– Asking critical questions about the penetration of science into social fields, identifying controversies and areas of tension between different forms of knowledge and reflecting on them with artistic and aesthetic resources;
– Appraising and developing relationships between arts and sciences and rendering them productive for their own work projects;
– Articulating their own position and negotiating and asserting it in dialogue with representatives of scientific disciplines.
Admissions requirements
The Minor “Transformations Arts Science” is aimed both at students on the Major “Transdisciplinary Studies in the Arts” who would like to specialize in relationships between arts and sciences and at all Master’s students of ZHdK who wish to combine their Major with modes of knowledge from the sciences and/or humanities.
Special features of the course
The Minor can be taken in various forms – on a cursory basis via participation in teaching formats (practical projects and seminars on the theory and history of the relationship between the arts and sciences), with a focus on an individual project or as an internship/residence in scientific institutions and laboratories (in cooperation in the ZHdK’s artists-in-labs programme).
The Minor may be undertaken consecutively. Combining the two Minors “Transformation Arts Sciences – Basic” (15 credits) and “Transformation Arts Sciences – Advanced” (15 credits) therefore leads to an in-depth understanding of different modes of knowledge at the interface between art and science.
Time structure
The compulsory modules of the Minor “Transformation Arts Sciences” take place during the Minor Weeks. The elective modules can be attended on Friday afternoon. Introduction: Friday evening, September 20, 2024.
→ More about the Minor Transformations Arts Sciences – basic (PDF-Download)
→ More about the Minor Transformations Arts Sciences – advanced (PDF-Download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Der Minor «Transformationen Künste Wissenschaften» thematisiert Verhältnisse zwischen Künsten und Wissenschaften als unterschiedliche Weisen der Welterschliessung. Ästhetische Zugänge finden vermehrt auch in den Verfahren der Wissenschaften Beachtung, umgekehrt sind beinahe alle gesellschaftlichen Bereiche, darunter auch die Künste, von wissenschaftlichen Erkenntnissen durchdrungen. Der Minor «Transformationen Künste Wissenschaften» fokussiert auf diese Verschränkungen und gegenseitigen Bezugnahmen künstlerischer und wissenschaftlicher Verfahren, Experimentalanordnungen und Wissensformen.
Im Zentrum des Minors stehen inter- und transdisziplinäre Projektarbeiten, die die Studierenden individuell oder in Teams konzipieren und realisieren. Unter Bezugnahme auf wissenschaftliche Paradigmen und Methoden, in Kooperationen mit Wissenschaftler:innen oder in Residencies und Praktika in wissenschaftlichen Instituten und Labs erkunden sie mögliche Verschränkungen wissenschaftlicher und künstlerischer Vorgehensweisen. Im Dialog mit den Wissenschaften setzen sie sich mit relevanten Fragestellungen, Diskursen und Kontroversen auseinander und entwickeln eigenständige autor:innenschaftliche Positionen in deren Spannungsfeld.
Kompetenzen
Die Absolvent:innen des Minors «Transformationen Künste Wissenschaften» sind in der Lage,
– die wissenschaftliche Durchdringung gesellschaftlicher Felder kritisch zu befragen, Kontroversen und Spannungsfelder zwischen unterschiedlichen Wissensformen zu identifizieren und sie mit künstlerischen und ästhetischen Mitteln zu reflektieren;
– Verhältnisse zwischen Künsten und Wissenschaften einzuschätzen, zu bearbeiten und für eigene Arbeitsvorhaben produktiv zu machen;
– ihre eigene Position zu artikulieren und sie im Dialog mit Vertreter:innen wissenschaftlicher Disziplinen zu verhandeln und zur Geltung zu bringen.
Voraussetzungen
Der Minor «Transformationen Künste Wissenschaften» richtet sich einerseits an Studierende im Major «Transdisziplinarität in den Künsten», die sich auf Verhältnisse zwischen Künsten und Wissenschaften spezialisieren möchten, andererseits an alle Masterstudierenden der ZHdK, die ihr Schwerpunktfach (Major) zu geistes- oder naturwissenschaftlichen Erkenntnisweisen in Bezug setzen wollen.
Besonderheiten
Der Minor kann in verschiedenen Formen durchlaufen werden: kursorisch über die Teilnahme an Unterrichtsformaten (Praxisprojekte und Seminare zur Theorie und Geschichte des Verhältnisses zwischen Künsten und Wissenschaften), mit Fokus auf eine individuelle Projektarbeit oder als Praktikum bzw. Residency in wissenschaftlichen Institutionen und Labs (in Kooperation mit dem artist-in-labs-programm der ZHdK).
Der Minor kann konsekutiv studiert werden. Die Kombination der beiden Minors «Transformationen Künste Wissenschaften – basic» (15 Credits) und «Transformationen Künste Wissenschaften – advanced» (15 Credits) führt zu einem vertieften Verständnis unterschiedlicher Erkenntnisformen im Spannungsfeld zwischen Künsten und Wissenschaften.
Zeitstruktur
Die Pflichtmodule des Minors «Transformationen Künste Wissenschaften» finden in den Minorwochen statt. Am Freitagnachmittag können die Wahlmodule besucht werden. Einführung: am Freitagabend, 20.9.2024.
→ Mehr zum Minor Transformationen Künste Wissenschaft – basic (PDF-Download)
→ Mehr zum Minor Transformationen Künste Wissenschaft – advanced (PDF-Download)
Im Rahmen des DKV-Minor-Infotages am 12. März 2024 hat Irene Vögeli den Minor «Transformationen Künste Wissenschaften» vorgestellt:
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Diese Kompetenzen erlernst du. Du lernst: – die unternehmerischen Grundlagen deiner künstlerischen oder gestalterischen Praxis zu analysieren und eigenständig zu gestalten – eigene Ideen in einen grösseren Kontext zu stellen und adäquate Methoden zur Erreichung deiner Ziele anzuwenden – dich innovativ in einem relevanten Markt bzw. Kultursektor zu positionieren und relevante Anspruchsgruppen zu erreichen – deine Vision, deine persönlichen Werte und dein Schaffen so in Einklang zu bringen, dass du Chancen und Hindernisse in der Projekt- und selbständigen Arbeit früh erkennen und anpacken kannst – unternehmerische Strategien in transdisziplinärer Zusammenarbeit zu entwickeln. Diese Voraussetzungen bringst du mit. Der Minor «Unternehmerisches Denken und Handeln» empfiehlt sich für BA- und MA-Studierende aus allen Disziplinen der ZHdK. Von diesen Besonderheiten profitierst du. Der Minor kann in zwei oder vier Semestern absolviert werden. Ein grosser Teil des Minor-Studiums ist für die Arbeit an einem unternehmerischen Projekt mit regelmässigen Mentorings vorgesehen. Es ist möglich, an einem bereits bestehenden Projekt zu arbeiten oder im Team mit anderen Studierenden ein neues Projekt zu entwickeln. Mehr erfahren An den Online Q&A Sessions des Z-Kubators hast Du die Möglichkeit, mehr über den Minor «Unternehmerisches Denken und Handeln» zu erfahren (keine Anmeldung erforderlich). Donnerstag, 2. Mai 2024, 12:00 - 13:00 Uhr Teilnahme-Link: https://zhdk.zoom.us/j/63189711898?pwd=YWtCTUNybmRqVDh0REcxa1JKQlFXQT09 Kennwort: 910797 → Mehr zu diesem Minor (PDF-Download)","",""],"title_en":["","Programme","Video of the presentation at the Info Day","Video about the ZCCE at the Info-Day","","Major-Minor Programme Model"],"text_en":["","Course content. In the “Entrepreneurial Thinking and Action” minor, students experiment with innovative forms of work and business models in transdisciplinary collaboration. During their minor studies, they critically explore entrepreneurial topics and methods which they can apply to their independent artistic or design practice, to found their own company, or as an employee. As part of their own project idea, they develop entrepreneurial skills and solutions in prototype form in practical work with peers from other disciplines and with input and mentoring from industry experts. The minor is offered by the Z-Kubator, which is part of the Zurich Centre for Creative Economies (ZCCE). Skills acquired in the course. 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In the “Entrepreneurial Thinking and Action” minor, students experiment with innovative forms of work and business models in transdisciplinary collaboration. During their minor studies, they critically explore entrepreneurial topics and methods which they can apply to their independent artistic or design practice, to found their own company, or as an employee. As part of their own project idea, they develop entrepreneurial skills and solutions in prototype form in practical work with peers from other disciplines and with input and mentoring from industry experts. The minor is offered by the Z-Kubator, which is part of the Zurich Centre for Creative Economies (ZCCE).
Skills acquired in the course.
Students learn:
– to analyse and shape the entrepreneurial foundations of their artistic or design practice autonomously.
– to position their own ideas in a larger context and apply suitable methods to achieve their goals
– to position themselves innovatively in a relevant market or cultural sector and reach relevant target groups
– to harmonize their vision, personal values and work so that they are able to recognize and tackle opportunities and obstacles in the project and independent work in a timely manner
– to design entrepreneurial strategies in transdisciplinary collaboration.
Admissions requirements.
The “Entrepreneurial Thinking and Action” minor is suitable for BA and MA students from all disciplines at ZHdK.
Benefits of studying this minor.
Students can complete the minor over two or four semesters. A considerable portion of the minor course is allocated to work on an entrepreneurial project with regular mentoring sessions. Students may work on an existing project or develop a new project in a team with their classmates.
Want to learn more?
At the Z-Kubator's Online Q&A sessions you have the opportunity to learn more about the Minor \"Entrepreneurial Thinking and Action\" (no registration required).
Thursday, 2 May 2024, 12:00 - 13:00
Zoom-Link: https://zhdk.zoom.us/j/63189711898?pwd=YWtCTUNybmRqVDh0REcxa1JKQlFXQT09
Password: 910797
→ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Im Minor «Unternehmerisches Denken und Handeln» experimentierst du in transdisziplinärer Zusammenarbeit mit innovativen Arbeitsformen und Geschäftsmodellen. Eine kritische Auseinandersetzung mit unternehmerischen Themen und Methoden, die du für deine selbständige künstlerische oder gestalterische Praxis, zur Gründung eines eigenen Unternehmens oder aber auch als Angestellte:r anwenden kannst, steht im Zentrum deines Minor-Studiums. Im Rahmen einer eigenen Projektidee entwickelst du unternehmerische Fähigkeiten und Lösungsansätze praxisnah und prototypisch in Zusammenarbeit mit Studierenden aus anderen Disziplinen und mit Inputs und Mentoring von Expert:innen aus der Praxis. Der Minor wird vom Z-Kubator angeboten, der Teil des Zurich Centre for Creative Economies (ZCCE) ist.
Diese Kompetenzen erlernst du.
Du lernst:
– die unternehmerischen Grundlagen deiner künstlerischen oder gestalterischen Praxis zu analysieren und eigenständig zu gestalten
– eigene Ideen in einen grösseren Kontext zu stellen und adäquate Methoden zur Erreichung deiner Ziele anzuwenden
– dich innovativ in einem relevanten Markt bzw. Kultursektor zu positionieren und relevante Anspruchsgruppen zu erreichen
– deine Vision, deine persönlichen Werte und dein Schaffen so in Einklang zu bringen, dass du Chancen und Hindernisse in der Projekt- und selbständigen Arbeit früh erkennen und anpacken kannst
– unternehmerische Strategien in transdisziplinärer Zusammenarbeit zu entwickeln.
Diese Voraussetzungen bringst du mit.
Der Minor «Unternehmerisches Denken und Handeln» empfiehlt sich für BA- und MA-Studierende aus allen Disziplinen der ZHdK.
Von diesen Besonderheiten profitierst du.
Der Minor kann in zwei oder vier Semestern absolviert werden. Ein grosser Teil des Minor-Studiums ist für die Arbeit an einem unternehmerischen Projekt mit regelmässigen Mentorings vorgesehen. Es ist möglich, an einem bereits bestehenden Projekt zu arbeiten oder im Team mit anderen Studierenden ein neues Projekt zu entwickeln.
Mehr erfahren
An den Online Q&A Sessions des Z-Kubators hast Du die Möglichkeit, mehr über den Minor «Unternehmerisches Denken und Handeln» zu erfahren (keine Anmeldung erforderlich).
Donnerstag, 2. Mai 2024, 12:00 - 13:00 Uhr
Teilnahme-Link: https://zhdk.zoom.us/j/63189711898?pwd=YWtCTUNybmRqVDh0REcxa1JKQlFXQT09
Kennwort: 910797
→ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wählen Studierende ihren Studienschwerpunkt. Dazu können sie einen oder zwei Minors wählen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenübergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schärfung des eigenen Studienprofils ermöglicht.
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Dabei kommen inter- und transdisziplinäre Vermittlungsstrategien zum Ausdruck, die digitale Räume und hybride Formate miteinbeziehen.","hero_news":0,"tags_order":2,"_inherited_backend_layout":"pagets__default","_inherited_theme":"arteducation","_page_link":false,"_url_segment":"","url_segment_1":"teaching-projects-with-young-people-interdisciplinary-practice-between-arts-media-and-education-basic-10143","canonical":"studium/vermittlungs-und-unterrichtsprojekte-mit-jugendlichen-interdisziplinaere-praxis-zwischen-kuensten-medien-und-bildung-basic-10143","canonical_1":"en/degree-programmes/teaching-projects-with-young-people-interdisciplinary-practice-between-arts-media-and-education-basic-10143"},"search":{"title_de":"Vermittlungs- und Unterrichtsprojekte mit Jugendlichen. Interdisziplinäre Praxis zwischen Künsten, Medien und Bildung – basic","title_en":"Teaching Projects with Young People: Interdisciplinary Practice between Arts, Media and Education – basic","description_de":"Kollaborativ und praxisbezogen: Teilnehmende unterschiedlicher Disziplinen realisieren gemeinsam gruppen- und situationsgerechte Bildungsprojekte mit Jugendlichen. Dabei kommen inter- und transdisziplinäre Vermittlungsstrategien zum Ausdruck, die digitale Räume und hybride Formate miteinbeziehen.","description_en":"Collaborative and practice-oriented: Participants from different disciplines jointly realize group- and situation-oriented educational projects with young people. In the process, inter/transdisciplinary mediation strategies are expressed that incorporate digital spaces and hybrid formats.","contents":{"title_de":["","Studium","","","","Studienmodell: Major-Minor"],"text_de":["","Inhalte Der Minor bietet einen projektbasierten Einstieg in die ästhetisch-kulturelle Bildungspraxis mit Jugendlichen: Bachelor- wie auch Masterstudierende aller Studiengänge lernen das gemeinsame Agieren an den Schnittstellen und Übergängen zwischen verschiedenen Disziplinen und Medien als wirksames didaktisches Prinzip kennen. Gemeinsame künstlerische Praxiserfahrungen, kollaborative sowie inter-/transdisziplinäre Arbeitsweisen führen in die Konzeption ästhetisch-kultureller Bildungsprojekte mit Jugendlichen. Diese Projekte sind im ausserschulischen, schulergänzenden oder Freizeitbereich angesiedelt oder beziehen sich auf den schulischen Unterricht in Kunst oder Musik auf Sekundarstufe I und II. Sie werden von der Studierendengruppe gemeinsam und in Zusammenarbeit mit externen Kooperationspartner:innen vorbereitet und umgesetzt. Digitalen, kooperativen Vermittlungs- bzw. Unterrichtsformaten kommt dabei eine besondere Bedeutung zu. Kompetenzen Die gesammelten Erfahrungen dienen dem Aufbau berufspraktischer Kompetenzen. Disziplinäre Vermittlungs- und Unterrichtsstrategien werden dabei durch fächerverbindende Perspektiven ergänzt. Die Studierenden werden zudem zur Vermittlung in digitalen Räumen befähigt. Die Absolvent:innen des Minors sind in der Lage: – disziplinenspezifische und fächerverbindende Vermittlungsstrategien im Hinblick auf ihre Bildungspotentiale zu analysieren und zu entwickeln; – in interdisziplinären Teams ein ästhetisch-kulturelles Bildungsprojekt mit Jugendlichen situationsgerecht realisieren; – digitale Räume, Strategien und Tools für die Planung, Umsetzung und Dokumentation von Vermittlungs-/Unterrichtsprojekten kollaborativ zu nutzen; – ihre individuelle Haltung und ihr Selbstverständnis als Vermittler:in oder Lehrperson in ästhetisch-kulturellen Feldern differenziert zu beschreiben und zu begründen; – für ihre weitere Tätigkeit als Vermittler:innen oder Lehrpersonen auf ein Repertoire an fächerübergreifenden, ins Digitale erweiterten und kollaborativen Vermittlungsstrategien zurückgreifen. Voraussetzungen Der Minor richtet sich an alle Bachelor- und Masterstudierenden der ZHdK. Vorausgesetzt wird ein ausgeprägtes Interesse an der Arbeit mit Jugendlichen in einem bildungsinstitutionellen Kontext. Erforderlich ist darüber hinaus die Bereitschaft, gemeinsam mit Studierenden mit unterschiedlichen Vorerfahrungen, Verständnisse und Wege für die Vermittlung zwischen Künsten, Medien und Bildung im Austausch mit Jugendlichen zu verhandeln und praktisch zu erproben. Besonderheiten Der Minor eignet sich besonders für Studierende, die Kompetenzen für Vermittlungs- oder Lehrtätigkeiten erwerben wollen – ergänzend zu einem Majorstudium auf Bachelorstufe – vorbereitend auf ein Majorstudium im Bereich Art Education auf Masterstufe – begleitend zu einem Majorstudium im Bereich Art Education oder Musikpädagogik auf Masterstufe. Durch die Kombination mit dem Advanced-Minor können die erworbenen Kompetenzen individualisiert vertieft werden. Der Grossteil des gemeinsamen Studienprogramms findet verpflichtend in den Minorwochen KW 2–4 und 8–10 statt. Das Praxisprojekt findet in KW 9 statt. Wahlpflichtmodule können im Verlauf des Frühlingssemesters individualisiert studiert werden. Zeitstruktur Der Minor «Vermittlungs- und Unterrichtsprojekte mit Jugendlichen. Interdisziplinäre Praxis zwischen Künsten, Medien und Bildung – basic» findet in den Minorwochen statt. → Mehr zum Minor basic (PDF-Download)","Im Rahmen des DKV-Minor-Infotages am 12. März 2024 hat Miriam Schmidt-Wetzel die Minors «Vermittlungs- und Unterrichtsprojekte mit Jugendlichen. Interdisziplinäre Praxis zwischen Künsten, Medien und Bildung» basic und advanced vorgestellt:","",""],"title_en":["","Course",""],"text_en":["","Course content The Minor provides a project-based introduction to aesthetic-cultural educational practice with young people. Bachelor’s and Master’s students undertaking any of ZHdK’s degree programmes learn about collaborative action at the interfaces and transition points between different disciplines and media as an effective didactic principle. Joint artistic practice experiences, collaborative and inter/transdisciplinary working processes culminate in the design of aesthetic-cultural educational projects with young people. These projects are located in the extracurricular, supplementary school or leisure sector or relate to school lessons in art or music at secondary level I and II. They are prepared and implemented by the student group together and in cooperation with external partners. Digital, cooperative teaching formats are of particular importance. Skills acquired in the course The experience that students gain will provide them with practical skills that are relevant to their profession. Disciplinary mediation and teaching strategies are extended with interdisciplinary perspectives. Students also learn how to teach in digital spaces. After completing the minor, students will be able to: – analyse the educational potential of discipline-specific and interdisciplinary teaching strategies, and develop them accordingly; – implement an aesthetic-cultural educational project with young people in interdisciplinary teams that is tailored to the learning group and situation at hand; – use digital spaces, strategies and tools collaboratively to plan, implement and document teaching projects; – describe and explain the rationale for their individual stance and personal, practical and theoretical understanding as educators in aesthetic-cultural fields, thereby differentiating themselves from others in the process; – draw on a repertoire of interdisciplinary teaching strategies extending into the digital realm for their further teaching-related work. Admissions requirements The Minor is aimed at all Bachelor’s and Master’s students of ZHdK. Applicants must have a keen interest in working with young people in an educational-institutional context. They must also be willing to work with peers on a practical basis who have different experience, understandings and styles of teaching young people in the crossover between the arts, media and education. Benefits of studying at ZHdK The Minor is particularly suitable for students who want to acquire the requisite skills for teaching work – to supplement their Major Studies at Bachelor’s level, – prepare themselves for Major Studies in the Art Education area at Master’s level, or – while undertaking major studies in the Art Education or Music Education area at Master’s level. By combining the programme with the advanced minor, students can consolidate the skills that they learn in a way that meets their own individual needs. Time structure The majority of the joint study programme takes place in the Minor Weeks in CW 2–4 and 8–10. The practical project takes place in CW 9. 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The Minor provides a project-based introduction to aesthetic-cultural educational practice with young people. Bachelor’s and Master’s students undertaking any of ZHdK’s degree programmes learn about collaborative action at the interfaces and transition points between different disciplines and media as an effective didactic principle. Joint artistic practice experiences, collaborative and inter/transdisciplinary working processes culminate in the design of aesthetic-cultural educational projects with young people. These projects are located in the extracurricular, supplementary school or leisure sector or relate to school lessons in art or music at secondary level I and II. They are prepared and implemented by the student group together and in cooperation with external partners. Digital, cooperative teaching formats are of particular importance.
Skills acquired in the course
The experience that students gain will provide them with practical skills that are relevant to their profession. Disciplinary mediation and teaching strategies are extended with interdisciplinary perspectives. Students also learn how to teach in digital spaces. After completing the minor, students will be able to:
– analyse the educational potential of discipline-specific and interdisciplinary teaching strategies, and develop them accordingly;
– implement an aesthetic-cultural educational project with young people in interdisciplinary teams that is tailored to the learning group and situation at hand;
– use digital spaces, strategies and tools collaboratively to plan, implement and document teaching projects;
– describe and explain the rationale for their individual stance and personal, practical and theoretical understanding as educators in aesthetic-cultural fields, thereby differentiating themselves from others in the process;
– draw on a repertoire of interdisciplinary teaching strategies extending into the digital realm for their further teaching-related work.
Admissions requirements
The Minor is aimed at all Bachelor’s and Master’s students of ZHdK. Applicants must have a keen interest in working with young people in an educational-institutional context. They must also be willing to work with peers on a practical basis who have different experience, understandings and styles of teaching young people in the crossover between the arts, media and education.
Benefits of studying at ZHdK
The Minor is particularly suitable for students who want to acquire the requisite skills for teaching work
– to supplement their Major Studies at Bachelor’s level,
– prepare themselves for Major Studies in the Art Education area at Master’s level, or
– while undertaking major studies in the Art Education or Music Education area at Master’s level.
By combining the programme with the advanced minor, students can consolidate the skills that they learn in a way that meets their own individual needs.
Time structure
The majority of the joint study programme takes place in the Minor Weeks in CW 2–4 and 8–10. The practical project takes place in CW 9. Students may undertake compulsory elective modules at a time of their choosing over the course of the spring semester.
→ More information about this minor basic (PDF download)
Inhalte
Der Minor bietet einen projektbasierten Einstieg in die ästhetisch-kulturelle Bildungspraxis mit Jugendlichen: Bachelor- wie auch Masterstudierende aller Studiengänge lernen das gemeinsame Agieren an den Schnittstellen und Übergängen zwischen verschiedenen Disziplinen und Medien als wirksames didaktisches Prinzip kennen. Gemeinsame künstlerische Praxiserfahrungen, kollaborative sowie inter-/transdisziplinäre Arbeitsweisen führen in die Konzeption ästhetisch-kultureller Bildungsprojekte mit Jugendlichen. Diese Projekte sind im ausserschulischen, schulergänzenden oder Freizeitbereich angesiedelt oder beziehen sich auf den schulischen Unterricht in Kunst oder Musik auf Sekundarstufe I und II. Sie werden von der Studierendengruppe gemeinsam und in Zusammenarbeit mit externen Kooperationspartner:innen vorbereitet und umgesetzt. Digitalen, kooperativen Vermittlungs- bzw. Unterrichtsformaten kommt dabei eine besondere Bedeutung zu.
Kompetenzen
Die gesammelten Erfahrungen dienen dem Aufbau berufspraktischer Kompetenzen. Disziplinäre Vermittlungs- und Unterrichtsstrategien werden dabei durch fächerverbindende Perspektiven ergänzt. Die Studierenden werden zudem zur Vermittlung in digitalen Räumen befähigt. Die Absolvent:innen des Minors sind in der Lage:
– disziplinenspezifische und fächerverbindende Vermittlungsstrategien im Hinblick auf ihre Bildungspotentiale zu analysieren und zu entwickeln;
– in interdisziplinären Teams ein ästhetisch-kulturelles Bildungsprojekt mit Jugendlichen situationsgerecht realisieren;
– digitale Räume, Strategien und Tools für die Planung, Umsetzung und Dokumentation von Vermittlungs-/Unterrichtsprojekten kollaborativ zu nutzen;
– ihre individuelle Haltung und ihr Selbstverständnis als Vermittler:in oder Lehrperson in ästhetisch-kulturellen Feldern differenziert zu beschreiben und zu begründen;
– für ihre weitere Tätigkeit als Vermittler:innen oder Lehrpersonen auf ein Repertoire an fächerübergreifenden, ins Digitale erweiterten und kollaborativen Vermittlungsstrategien zurückgreifen.
Voraussetzungen
Der Minor richtet sich an alle Bachelor- und Masterstudierenden der ZHdK. Vorausgesetzt wird ein ausgeprägtes Interesse an der Arbeit mit Jugendlichen in einem bildungsinstitutionellen Kontext. Erforderlich ist darüber hinaus die Bereitschaft, gemeinsam mit Studierenden mit unterschiedlichen Vorerfahrungen, Verständnisse und Wege für die Vermittlung zwischen Künsten, Medien und Bildung im Austausch mit Jugendlichen zu verhandeln und praktisch zu erproben.
Besonderheiten
Der Minor eignet sich besonders für Studierende, die Kompetenzen für Vermittlungs- oder Lehrtätigkeiten erwerben wollen
– ergänzend zu einem Majorstudium auf Bachelorstufe
– vorbereitend auf ein Majorstudium im Bereich Art Education auf Masterstufe
– begleitend zu einem Majorstudium im Bereich Art Education oder Musikpädagogik auf Masterstufe.
Durch die Kombination mit dem Advanced-Minor können die erworbenen Kompetenzen individualisiert vertieft werden.
Der Grossteil des gemeinsamen Studienprogramms findet verpflichtend in den Minorwochen KW 2–4 und 8–10 statt. Das Praxisprojekt findet in KW 9 statt. Wahlpflichtmodule können im Verlauf des Frühlingssemesters individualisiert studiert werden.
Zeitstruktur
Der Minor «Vermittlungs- und Unterrichtsprojekte mit Jugendlichen. Interdisziplinäre Praxis zwischen Künsten, Medien und Bildung – basic» findet in den Minorwochen statt.
→ Mehr zum Minor basic (PDF-Download)
Im Rahmen des DKV-Minor-Infotages am 12. März 2024 hat Miriam Schmidt-Wetzel die Minors «Vermittlungs- und Unterrichtsprojekte mit Jugendlichen. Interdisziplinäre Praxis zwischen Künsten, Medien und Bildung» basic und advanced vorgestellt:
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In the “Virtual Production” minor, students improve their knowledge of mixed worlds, learn how to apply it more effectively, and connect virtual and real elements in film and animation. They create film project sketches in small transdisciplinary groups which integrate real objects and people into a photorealistic, virtual environment. During the work project, students learn the basics of game engine software (Unreal Engine) and how to use necessary and relevant hardware (camera, camera tracking, LED wall, lighting).
The minor is taught in German and offered by the discipline Film. It is open to students from the Bachelor Production Design, Bachelor and Master Film, Bachelor Game Design, Bachelor Cast / Audiovisual Media, Bachelor Interaction Design, Bachelor Scenography as well as to all interested students with previous knowledge. The minor is offered annually.
Skills acquired in the course.
– Design and present previsualization from a content and technical perspective.
– Design photorealistic spaces and landscapes using Unreal Engine.
– Integration of set construction in virtual sets (colours, materials, light).
– Group work and filming of a cinematic sketch in a mixed world (real/virtual) environment.
Admissions requirements.
The “Virtual Production” minor is meant for students with sufficient prior knowledge in the areas of film, production design, 3D content creation, game design, interaction design, and general design. The subject-specific admission requirements are verified by student-acknowledgement that the necessary prerequisites coursework and experience has been met.
Benefits of studying at ZHdK.
– Introductory courses in technical software and hardware.
– Develop and realize a film project plan as a team exercise.
→ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Vertiefe im Minor «Virtual Production» die Anwendung und dein Wissen im Bereich mixed worlds, der Verbindung von virtuellen und realen Elementen im Bereich Film und Animation. Erstelle in kleinen transdisziplinären Gruppen filmische Projektskizzen, welche reale Gegenstände und Personen in eine fotorealistische, virtuelle Umgebung integrieren. Während der Projektarbeit erlernst du Software-Kenntnisse in einer Game Engine (Unreal Engine), sowie der notwendigen Hardware (Kamera, Kamera Tracking, LED-Wall, Licht).
Der Minor wird auf Deutsch unterrichtet und von der Disziplin Film angeboten. Er ist für Studierende aus dem Bachelor Production Design, Bachelor und Master Film, Bachelor Game Design, Bachelor Cast/ Audiovisual Media, Bachelor Interaction Design, Bachelor Szenischer Raum sowie hochschulweit allen interessierten Studierenden mit Vorkenntnissen geöffnet und wird jährlich angeboten.
Diese Kompetenzen erlernst du.
– Konzeption und Präsentation von Prävisualierung aus inhaltlicher und technischer Sicht.
– Gestaltung von fotorealistischen Räumen und Landschaften in der Unreal Engine.
– Gruppenweises Erarbeiten und Drehen einer filmischen Szene in einer mixed world (real / virtuell) Umgebung.
Diese Voraussetzungen bringst du mit.
Der Minor «Virtual Production» richtet sich an Studierende mit genügend Vorkenntnissen im Bereich Film, Production Design, 3D Content Creation, Game Design, Interaction Design, Design allgemein. Fachliche Eingangskompetenzen werden per Selbstdeklaration geprüft.
Von diesen Besonderheiten profitierst du.
– Einführungskurse in technische Soft- und Hardware.
– Entwicklung und Realisation eines filmischen Projektvorhabens in Teamarbeit.
→ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wählen Studierende ihren Studienschwerpunkt. Dazu können sie einen oder zwei Minors wählen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenübergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schärfung des eigenen Studienprofils ermöglicht.
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Discover how images work, how you can identify, discuss and reflect on their social significance, and how to use them artistically and creatively in practical terms. The minor offers students an in-depth theoretical and practical way of exploring the design and impact of image communication. Throughout the course of the minor, you will also realize a practical, theoretical or research-based project for your portfolio. Insights from image perception theory and the psychology of perception form the basis for assessing images and their impact when they are disseminated by the media. Together with art directors, image editors, illustrators and photographers, you will discuss practical examples and gain insights into relevant professional fields. You will learn to offer informed opinions on images and make objective, well-founded arguments. The course combines theoretical approaches with practical work in creative workshops and individual mentoring. You will also have the option to link your work in the minor to your projects in the major, and to discuss them with the lecturers teaching the minor.
The “Visual Literacy” minor is offered by the subject area in Knowledge Visualization and is aimed at Bachelor’s and Master’s students.
Skills acquired in the course.
The “Visual Literacy” minor focuses on societal and social responsibility, language, images and discourse as well as the analysis and publication of images.
Admissions requirements.
The “Visual Literacy” minor is open to all students at ZHdK. It is perfect for everyone who is interested in images, particularly if their work involves creating and using images.
→ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Finde heraus, wie Bilder wirken und wie du ihre gesellschaftliche Bedeutung erkennen, diskutieren und in deiner künstlerisch-gestalterischen Praxis einsetzen kannst. Der Minor bietet eine vertiefte theoretische und praktische Auseinandersetzung mit der Gestaltung und Wirkung von Bildkommunikation. Im Verlauf des Minor-Studiums wirst du zudem ein eigenes – praktisches, theoretisches oder auch forschungsorientiertes – Projekt für dein Portfolio realisieren.
Modelle zur Bildwahrnehmung und Erkenntnisse aus der Wahrnehmungspsychologie legen die Basis für eine differenzierte Einschätzung von medial verbreiteten Bildern und deren Wirkungsweise. Du reflektierst Beispiele aus der Praxis mit Art Directors, Bildredaktor:innen, Illustrator:innen und Fotograf:innen und erhältst Einblicke in die relevanten Berufsfelder. Du lernst, differenziert über Bilder zu sprechen und dabei sachlich und fundiert zu argumentieren. Dazu verknüpft der Unterricht theoretische Ansätze mit der praktischen Arbeit in gestalterischen Workshops und individuellen Mentorings. Du hast zudem die Möglichkeit, den Minor mit deinen Projekten im Major zu verknüpfen und diese mit den Minor-Dozierenden zu besprechen.
Der Minor «Visual Literacy» wird von der Fachrichtung Knowledge Visualization angeboten. Er richtet sich an die Studienstufen Bachelor und Master aller Departemente.
Diese Kompetenzen erlernst du.
Der Minor fokussiert auf gesellschaftliche und soziale Verantwortung, Sprache, Bild und Diskurs sowie auf die Auseinandersetzung mit und die Veröffentlichung von Bildern.
Diese Voraussetzungen bringst du mit.
«Visual Literacy» steht allen Studierenden der ZHdK offen. Der Minor empfiehlt sich für alle visuell interessierten Gestalter:innen, besonders wenn Bilderzeugung und Bildeinsatz zum Berufsbild gehören.
→ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wählen Studierende ihren Studienschwerpunkt. Dazu können sie einen oder zwei Minors wählen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenübergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schärfung des eigenen Studienprofils ermöglicht.
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Actors on stage are not always human; materials, things and objects also have an immense performative quality. In this minor, you will conquer the world of things as a catalyst for innovative narratives. Contrary to the conventional process of first developing a design idea for a performance, you will work with alternative practices. Students will engage in experiments and set off on an open-ended search for narrative dimensions. You will also get a chance to demonstrate your performance or staging skills while exploring materials, things and objects in a theatrical environment. Finally, the performative sketches will be collectively presented and reflected on within the scope of practical workshops. The aim is to productively incorporate what you learn into your own artistic practice.
The minor, offered by the Theatre discipline, is taught in German and English and is aimed at Bachelor’s and Masters’s students. It is open to all students of the Departments of Art Education, Design, Fine Arts and Performing Arts and Film, and offered once a year.
Skills acquired in the course.
– Interact intuitively with all manner of materials and modify the properties of substances in an innovative way
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– Develop and implement design ideas with confidence using experimental approaches
– Use artistic design practices to incorporate and design new experiential and imaginative spaces
Admissions requirements.
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This minor is open to students of the Departments of Art Education, Design, Fine Arts and Performing Arts and Film.
Benefits of studying at ZHdK.
– Experiments: investigate the intrinsic value of different materials as well as their potential for use in performance processes
– Reflection: reflect on and contextualise theatrical experiments in groups using a variety of feedback methods
– Theory and practice: selected readings accompanied by direct interaction with artists from theatre and fine arts whose work revolves around objects
– Workshop: extended interaction with objects in terms of space, body and presentation
→ More information about this minor (PDF download)
At ZHdK, students choose a Major. In addition to this core subject, they can choose one or two Minors to deepen or expand their major skills and knowledge across various disciplines. This wide choice of courses is unique in Europe and enables students to develop and sharpen their individual profile.
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Auf der Bühne sind nicht nur Menschen die Akteur:innen, auch Materialien, Dinge und Objekte haben eine grosse performative Qualität. In diesem Minor eroberst du dir die Welt der Dinge als Katalysator für neuartige Erzählungen. Entgegen dem konventionellen Prozess, als Erstes eine konzeptionelle Idee für eine Inszenierung zu entwerfen, arbeitest du mit alternativen Verfahrensweisen. Du betreibst Experimente mit Materialien, Dingen und Objekten und begibst dich auf die ergebnisoffene Suche nach deren narrativen Dimensionen. Auch deine darstellerischen oder szenischen Kompetenzen kommen in der Auseinandersetzung damit im theatralen Raum zum Zug. Im Rahmen von praktischen Workshops werden die performativen Skizzen schliesslich gemeinsam präsentiert und reflektiert. Ziel ist es, das Erlebte für die eigene künstlerische Praxis fruchtbar zu machen.
Der Minor wird auf Deutsch und Englisch unterrichtet, von der Disziplin Theater angeboten und richtet sich an die Studienstufen Bachelor und Master. Er ist für alle Studierenden aus den Departementen Art Education, Design, Fine Arts sowie Darstellende Künste und Film offen und wird einmal pro Jahr angeboten.
Diese Kompetenzen erlernst du.
– Intuitiv mit Materialien aller Art interagieren und innovativ die Beschaffenheit von Substanzen modifizieren und ihre narrative Bedeutung und Wirkungsweise im theatralen Kontext verändern
– Installationen, Impressionen und Konstellationen im performativen Raum analysieren und die Erkenntnisse in die eigene künstlerische Arbeit integrieren
– Anhand von experimentellen Ansätzen souverän konzeptionelle Ideen entwerfen und realisieren
– Künstlerisch gestalterische Praktiken einsetzen, um neue Erfahrungs- und Vorstellungsräume zu erschliessen und zu gestalten
Diese Voraussetzungen bringst du mit.
Dieser Minor richtet sich an Bachelorstudierende, die sich mit performativen Praktiken auseinandersetzen, ihren Umgang mit Materialien experimentell erweitern möchten sowie praktisch und installativ arbeiten.
Der Minor ist für die Departemente Art Education, Design, Fine Arts und Darstellende Künste und Film geöffnet.
Von diesen Besonderheiten profitierst du.
– Experimente: Unterschiedliche Materialien in ihrem Eigenwert untersuchen und ihr Potenzial für Spielvorgänge erkunden
– Reflexion: Die szenischen Experimente werden in der Gruppe anhand von verschiedenen Feedbackmethoden reflektiert und eingeordnet
– Theorie und Praxis: Ausgewählte Lektüren begleiten den direkten Austausch mit Künstler:innen aus dem Theater und Fine Arts, deren Praxis das Arbeiten mit Dingen ist
– Workshop: Der szenische Umgang mit Objekten wird erweitert in Bezug auf Raum, Körper und Darstellung
→ Mehr zu diesem Minor (PDF-Download)
Mit dem Major wählen Studierende ihren Studienschwerpunkt. Dazu können sie einen oder zwei Minors wählen, mit denen die Kompetenzen aus dem Major vertieft oder disziplinenübergreifend erweitert werden. Die ZHdK bietet mit dieser Wahlvielfalt ein europaweit einzigartiges Angebot, welches eine ganz individuelle Entwicklung und Schärfung des eigenen Studienprofils ermöglicht.
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\r\nThe previous study model of ZHdK offers a choice of eight Bachelor’s and eleven Master’s degree programmes containing numerous specializations. The option of enrolling in cross-disciplinary courses is possible through our Z-modules or open courses from other subject areas. 2022 was the last year to enroll in a Bachelor’s programme structured this way, all Bachelor students enrolling in 2022 and starting their studies in autumn 2022 will study under the previous study model. The Master’s programme under the previous study model started for the last time in autumn 2023. All students enrolled there will complete their studies in the previous study model.
→ Bachelor’s degree programmes
→ Master’s degree programmes
2020 gemeinsam mit Margrit Bischof: Sinn und Sinne im Tanz. Perspektiven aus Kunst und Wissenschaft, Bielefeld: transcript
2014 \tgemeinsam mit Jiri Kylian und Desiree Staverman: One of A Kind. The Jiri Kylian Research Project, Codarts Rotterdam \t
2011\t gemeinsam mit Ingo Diehl: Tanztechniken 2010 – Tanzplan Deutschland, Berlin: Henschel Verlag
2010\tChoreographieren reflektieren. Eine Choreographie-Tagung an der Hochschule für Musik und Tanz Köln, Münster: LIT-Verlag
2007\tTanzimprovisation. Geschichte, Theorie, Verfahren, Vermittlung, Bielefeld: transcript (Dissertation)","subtype":"tutor","canonicalPath":"prof-dr-phil-friederike-lampert-215150","photo":[{"type":"file","id":"7871f1ee73a0bf83c46e4655188c6ad36204b1f3","attributes":{"id":"7871f1ee73a0bf83c46e4655188c6ad36204b1f3","filename":"215150.jpg","mime_type":"image/jpeg","path":"live/78/7871f1ee73a0bf83c46e4655188c6ad36204b1f3","path_file":"live/78/7871f1ee73a0bf83c46e4655188c6ad36204b1f3/215150.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=215150","height":4256,"width":2832,"title":"Friederike Lampert","alternativeText":"Friederike Lampert","description":"Friederike Lampert","link":null,"filename_original":"","mime_type_original":"","date_create":null,"date_update":null,"column_width":"100","copyright":null}}],"directory":[{"type":"zapi-person-directory","id":null,"attributes":{"phone":"+41 43 446 35 15","work":"Dozentin > Professorenstelle Choreographie > Bachelor Contemporary Dance > Departement Darstellende Künste & Film","area":"Departement Darstellende Künste & Film","sub_areas":["Bachelor Contemporary Dance"],"position_supplement":"Professorenstelle Choreographie","position":"Dozentin"}}],"studies":[]},{"id":224865,"last_name":"Roller","first_name":"Jochen","title":null,"affiliation":["tutor"],"teaching_summary":["Lehrt im BA Contemporary Dance und im MA Dance"],"music_subject":[],"sex":"M","email":"wbpura.ebyyre@muqx.pu","website":"http://www.jochenroller.de","biography":"Jochen Roller studierte Angewandte Theaterwissenschaften in Giessen und mit einem Stipendium des DAAD Choreografie am Laban Centre in London. Er choreografierte bislang über 70 Arbeiten für Bühnen, Galerien, Mode und Film.
Die dreistündige Solo-Trilogie \"perform performing\" (2002-2004) wurde 147 Mal aufgeführt und 2009 vom Auktionshaus Christie’s in Hamburg versteigert. Seine umfangreiche online-Rekonstruktion des letzten Tanzdramas von Gertrud Bodenwieser \"Errand into the Maze\" ist seit 2014 für die Öffentlichkeit zugänglich (www.thesourcecode.de) Von 2013 bis 2017 erarbeitete Jochen eine Trilogie mit dem Titel \"finding Germany elsewhere\". Der erste Teil \"Trachtenbummler\", eine Re-Interpretation deutscher Volkstänze, hatte 2013 beim Festival „Tanz im August“ Premiere. Der zweite Teil \"Them and Us\", eine Kollaboration mit der Tanzkompanie TATAU und der neuseeländisch-samoanischen Biennale-Künstlerin Yuki Kihara, erschien 2015 in den Sophiensaelen, gefolgt 2017 vom dritten Teil \"Blutsbrüder\", einer Arbeit über die deutsche Obsession für ethnisches Cross-dressing.
2015 choreografierte Jochen am Seoul Opera House das Stück \"(picture writing)\" für die Korean National Contemporary Dance Company, 2018 folgte ein Engagement gemeinsam mit Friederike Lampert beim Nationalballett des Kosovo für das Ballett \"SYN-\". In 2019 erarbeitete er anläßlich des Bauhaus-Jubiläums gemeinsam mit vier Berliner Künstlern den Stadtparcours „Das Masz aller Dinge“ in Weißwasser / Oberlausitz (www.modellfall-weisswasser.de).
Als Lehrbeauftragter arbeitete Jochen am HZT Berlin, den Performance Studies Hamburg, der HfMDK Frankfurt und am LaSalle College in Singapur, bevor er 2020 zum MA Dance an der ZHdK wechselte.","publication":"Werkverzeichnis (Auswahl)
2019 Das Masz aller Dinge (Weisswasser / Oberlausitz)
2018 SYN- (Nationaltheater Pristina / Sophiensaele Berlin)
2017 The Church of Performance Art (Museum für neue Kunst Freiburg)
2017 Blutsbrüder (Sophiensaele Berlin)
2016 Carla del Ponte trinkt in Pristina einen Vanilla Chai Latte (Oda Theatre Pristina / FFT Düsseldorf)
2015 Them and Us (Sophiensaele Berlin)
2015 1897 - Ich bin die Oberfläche meiner eigenen Erscheinung (Literarisches Kolloquium Berlin)
2015 (picture writing) Seoul Opera House
2015 HOTZENPLOTZ – forsicht gollt! (Kampnagel Hamburg)
2014 THE SOUCE CODE (Critical Path Sydney / Tanznacht Berlin)
2013 Trachtenbummler (Festival Tanz im August)
2013 Der Carpenter-Effekt (Kampnagel Hamburg / Tanznacht Berlin)
2012 ABER ABER? ARM. SEXY SEXY. a darkroom resort experience (WUK Wien)
2012 THE DANCE TOURIST (Campbelltown Art Centre Sydney)
2011 KEY PERFORMANCE INDICATORS (Campbelltown Art Centre Sydney)
2010 – VOID – (Sophiensaele Berlin)
2009 Basically I don’t but actually I do (Tmuna Theater Tel Aviv / Sophiensaele Berlin)
2008 JANCLOD! – être aware and beyond (Sophiensaele Berlin)
2006 Kojote – Eine Moralanalyse (Kampnagel Hamburg / Schwankhalle Bremen)
2006 THINGS I SAY FOR MONEY (Mousonturm Frankfurt / HAU Berlin)
2006 TAXI! TAXI! (neues theater Halle)
2005 MNEMONIC NONSTOP (Steirischer Herbst Graz / Sophiensaele Berlin)
2004 MINDGARDEN (Kampnagel Hamburg / HAU Berlin)
2004 READYMADE RODEO (Volkspalast Berlin)
2002-2004 perform performing - Solotrilogie über den Sinn und Unsinn, Tanz als Arbeit anzusehen (Kampnagel Hamburg / PODEWIL Berlin / Industriekultur Saar)
2002 Around the World (Kampnagel Hamburg / PODEWIL Berlin)
2001 abgepaust (TRY ME ON – I’M VERY YOU) PODEWIL Berlin / Kampnagel Hamburg
2000 ROLLERS MOBILE VÖLKERSCHAU (Volksbühne Berlin / Rollende Road Show / EXPO 2000 Hannover)
1999 ALCOHOL (Kampnagel Hamburg / Tanzhaus NRW Düsseldorf / Staatsschauspiel Dresden)
1999 ES IST NICHT WIE DU DENKST (Neumarkt Theater Zürich / PODEWIL Berlin)","subtype":"tutor","canonicalPath":"jochen-roller-224865","photo":[{"type":"file","id":"6fbcadb1b0638501ede3f76e34785eecf376e95d","attributes":{"id":"6fbcadb1b0638501ede3f76e34785eecf376e95d","filename":"224865.jpg","mime_type":"image/jpeg","path":"live/6f/6fbcadb1b0638501ede3f76e34785eecf376e95d","path_file":"live/6f/6fbcadb1b0638501ede3f76e34785eecf376e95d/224865.jpg","path_source":"https://intern.zhdk.ch/?person/foto&id=224865","height":1459,"width":1946,"title":"Jochen Roller","alternativeText":"Jochen Roller","description":"Jochen Roller","link":null,"filename_original":"","mime_type_original":"","date_create":null,"date_update":null,"column_width":"100","copyright":null}}],"directory":[{"type":"zapi-person-directory","id":null,"attributes":{"phone":null,"work":"Dozent > Bachelor Contemporary Dance > Departement Darstellende Künste & Film","area":"Departement Darstellende Künste & 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Barthel","bodytext":"
Gitta Barthel (Dr. phil.) ist in der Kunst-, Vermittlungs- und Forschungspraxis tätig. Sie lehrt Zeitgenössischen Tanz und Choreografie an Universitäten und Ausbildungszentren und war wissenschaftliche Mitarbeiterin am Institut für Bewegungswissenschaft/Performance Studies der Universität Hamburg, wo sie zum Thema «Choreografische Praxis. Vermittlung in Tanzkunst und Kultureller Bildung» promovierte (transcript 2017). Sie ist Mitautorin des «Choreografischen Baukastens» (hg. v. Gabriele Klein, transcript 2011).
\r\n\r\n","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Gitta Barthel (Dr. phil.) ist in der Kunst-, Vermittlungs- und Forschungspraxis tätig. Sie lehrt Zeitgenössischen Tanz und Choreografie an Universitäten und Ausbildungszentren und war wissenschaftliche Mitarbeiterin am Institut für Bewegungswissenschaft/Performance Studies der Universität Hamburg, wo sie zum Thema «Choreografische Praxis. Vermittlung in Tanzkunst und Kultureller Bildung» promovierte (transcript 2017). Sie ist Mitautorin des «Choreografischen Baukastens» (hg. v. Gabriele Klein, transcript 2011).\r\n\r\n"},"relationships":{"assets":{"data":[{"type":"file","id":"033e746d5ff1a16e1a62238b30cdf5f0e949ff1d","attributes":{"id":"033e746d5ff1a16e1a62238b30cdf5f0e949ff1d","filename":"mda_gastdozierende_barthel.jpg","mime_type":"image/jpeg","path":"live/03/033e746d5ff1a16e1a62238b30cdf5f0e949ff1d","path_file":"live/03/033e746d5ff1a16e1a62238b30cdf5f0e949ff1d/mda_gastdozierende_barthel.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/MDA_Gastdozierende_Barthel.jpg","height":1457,"width":1987,"title":"Gitta Barthel","alternativeText":"Porträt von Gitta Barthel","description":"Gitta Barthel. Foto: Sören Bachmann","link":"","filename_original":"","mime_type_original":"","date_create":"22.05.2019 08:51","date_update":"22.05.2019 08:51","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":53740,"attributes":{"uid":53740,"pid":6678,"tstamp":125,"hidden":0,"sorting":576,"CType":"standard_content","header":"Christine Baumann Leuthold","bodytext":"Als Tänzerin:
\r\nPrix de Lausanne, Ballet Royal de Wallonie, Deutsche Oper Berlin
\r\nIn Choreografien von:
\r\nGeorge Balanchine, Maurice Béjart, Christopher Bruce, Kurt Jooss, Kenneth MacMillan, Hans van Manen, John Neumeier, Marius Petipa, Roland Petit usw.
\r\nAls Therapeutin:
\r\n– Physiotherapie, Osteopathie, Spiraldynamik®
– Eigene Praxis seit 2012 (Praxis Physiotherapie & Tanz)
Als Dozentin:
\r\n– Tanzmedizin (tamed, Tanzmedizin Deutschland)
– Anatomie für Tänzer und Tanzpädagogen
– Faszientechniken
– Applied Dance Anatomy/Nutrition (BA Contemporary Dance, ZHdK)
Body Awareness
Somatic practices can serve as a means to access information through sensation, that otherwise might remain hidden within the deeper layers of our bodies and our subconscious being. In this workshop we will explore principles and approaches to movement, touch, space and time that are inspired by Body Mind Centering (BMC), Laban Bartenieff Movement Studies, Feldenkrais and others. Our explorations can enrich our artistic practice, differentiate and widen our body consciousness and trigger new perspectives of reflection.
Jan Burkhardt has been dancing, directing, teaching and coaching in the field of contemporary dance for many years. HIs most passionate curiosity is to approach artistic settings through the use of and the trust in the intelligence of the body. Jan works as an independent artist, as guest lecturer in numerous institutions worldwide, and holds a position as professor for dance in artistic context at the Center of Contemporary Dance (CDG/ZZT) Cologne.
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Body Awareness Somatic practices can serve as a means to access information through sensation, that otherwise might remain hidden within the deeper layers of our bodies and our subconscious being. In this workshop we will explore principles and approaches to movement, touch, space and time that are inspired by Body Mind Centering (BMC), Laban Bartenieff Movement Studies, Feldenkrais and others. Our explorations can enrich our artistic practice, differentiate and widen our body consciousness and trigger new perspectives of reflection.\r\nJan Burkhardt has been dancing, directing, teaching and coaching in the field of contemporary dance for many years. HIs most passionate curiosity is to approach artistic settings through the use of and the trust in the intelligence of the body. Jan works as an independent artist, as guest lecturer in numerous institutions worldwide, and holds a position as professor for dance in artistic context at the Center of Contemporary Dance (CDG/ZZT) Cologne."},"relationships":{"assets":{"data":[{"type":"file","id":"7c5640084a2da6be8ac74ac69c1583c9c2574de0","attributes":{"id":"7c5640084a2da6be8ac74ac69c1583c9c2574de0","filename":"jan-burkhardt_web.jpg","mime_type":"image/jpeg","path":"live/7c/7c5640084a2da6be8ac74ac69c1583c9c2574de0","path_file":"live/7c/7c5640084a2da6be8ac74ac69c1583c9c2574de0/jan-burkhardt_web.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/Jan-Burkhardt_web.jpg","height":867,"width":1300,"title":"jan-burkhardt_web.jpg","alternativeText":"Porträt von Jan Burkhardt","description":null,"link":"","filename_original":"","mime_type_original":"","date_create":"14.10.2021 23:44","date_update":"14.10.2021 23:48","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":53744,"attributes":{"uid":53744,"pid":6678,"tstamp":125,"hidden":0,"sorting":608,"CType":"standard_content","header":"Dimitri Chamblas","bodytext":"Schon in jungen Jahren vom Tanz fasziniert, besuchte Dimitri Chamblas die berühmte Ballettschule der Pariser Oper ab dem Alter von zehn Jahren. Im Lauf seiner Karriere arbeitete er mit Modeschöpfern wie Jean-Paul Gaultier und Karl Lagerfeld, dem Komponisten Heiner Goebbels, den Künstlern Christian Boltanski, Andy Goldsworthy, Dan Colen und Xavier Veilhan sowie den Choreografinnen und Choreografen William Forsythe, Boris Charmatz, Lil Buck, Mathilde Monnier und Benjamin Millepied. Seine Produktionen wurden an verschiedensten Veranstaltungsorten aufgeführt, so an der Tate Modern in London, am Centre Pompidou in Paris, im Geffen Contemporary des MOCA (Los Angeles), an der Oper von Paris und in der St. Marks’ Church in New York.
\r\n1992 war Chamblas zusammen mit dem Choreografen Boris Charmatz Mitbegründer der Association EDNA. Gemeinsam konzipierten sie Performances, organisierten Veranstaltungen und Ausstellungen und veröffentlichten Bücher. Ihr Duett «A bras le corps» wurde auf jedem Kontinent an weltbekannten Theatern und Festivals aufgeführt. Seit 2017 gehört es ausserdem zum Repertoire des Pariser Opernballetts.
\r\n1996 erschuf er mit Mathilde Monnier (damals Leiterin des Centre Choréographique National im französischen Montpellier) die «Research and Writing Residence» – einen Ort für Künstlerinnen und Künstler, an dem sie ausserhalb des traditionellen Produktionsprozesses ihren eigenen kreativen Raum erarbeiten können.
\r\nAls digitaler Kurator erfand Chamblas 2013 «Mutant Stage», zusammen mit der Kuratorin und Produzentin Amélie Couillaud. Dabei handelte es sich um eine Serie von zehn Kunstfilmen für die französische Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette. Alle Filme wurden im vom OMA / Rem Koolhaas gestalteten Gebäude gedreht.
\r\n2014 wurde Dimitri Chamblas zum künstlerischen Leiter der «3e scène» der Pariser Oper ernannt. Er gründete seine kreative digitale Plattform in Zusammenarbeit mit Benjamin Millepied und lud Künstlerinnen und Künstler wie Glen Keane, Xavier Veilhan, Bret Easton Ellis, Julien Prévieux, William Forsythe, Rubber Legz, United Visual Artists, Lil Buck, Barbara Hanigan und Jonas Kaufmann ein, von der Pariser Oper inspirierte Originalvorlagen zu produzieren.
\r\nSein immerwährendes Interesse am technologischen Fortschritt und an dessen möglichen Anwendungen liess ihn 2015 mit dem Google Cultural Institute eine Kooperation eingehen und den ersten immersiven Tanzfilm drehen. Das 360-Grad-Video basierte auf einem von Benjamin Millepied choreografierten Original-Tanzstück.
\r\n2017 lancierte er in Paris und Los Angeles das Studio Dimitri Chamblas, eine Struktur, die alle seine Projekte und Kooperationen umfasst, einschliesslich seines Duetts mit der «Etoile»-Tänzerin Marie-Agnès Gillot, seiner Teilnahme an Boris Charmatz’ «10 000 Gestures», einer Kreation mit Architekt François Perrin für die Performa Biennale New York und eines Duetts mit der Künstlerin und Musikerin Kim Gordon.
\r\nIm gleichen Jahr wurde er Dekan des Bereichs Tanz am California Institute of the Arts (CalArts) in Los Angeles und erschuf «HHUMANN», ein Stück für 75 Tänzerinnen und Tänzern, das in den Strassen der Innenstadt von Los Angeles und in der Galerie Hauser & Wirth performt wurde.
\r\n2018/2019 erschuf Dimitri Chamblas «Slow Show», eine Choreografie für 50 Tanzende, sowie «Los Angeles», eine Eigenkooperation mit der Malerin Claire Tabouret und dem Tänzer Spenser Theberge. Beide gelangten im Museum of Contemporary Art (MOCA), am REDCAT, am Mak Center und im Schindler House (alle in Los Angeles) zur Aufführung, ebenso wie in der Luma Foundation in Arles.
\r\nIm Juni 2019 dirigierte Chamblas in der Walt Disney Concert Hall in Los Angeles im Rahmen des Programms des LA Philharmonic «Crowd Out», eine Oper von David Lang mit 1’000 Sängerinnen und Sängern.
\r\nEbenfalls 2019 wurde er vom französischen Kulturministerium zum «Chevalier de l’ordre des Arts et Lettres» ernannt.
Andrew Champlin is an American dance artist based in Berlin, Germany. He has performed in repertoire by George Balanchine, Marius Petipa, Michel Fokine, José Limón, Paul Taylor, Laura Dean, Merce Cunningham, and Xavier le Roy, as well as originating roles in new works by David Gordon, Miguel Gutierrez, Pam Tanowitz, Ryan McNamara, Heather Kravas, Madeline Hollander and Jillian Peña, among others.
\r\nAfter an early apprenticeship with Oregon Ballet Theatre and pre-professional training at The School of American Ballet, Champlin found new perspectives on movement and performance in Manhattan’s experimental dance scene. Champlin has been nominated for a New York dance and performance Bessie Award for Outstanding Performer and has toured extensively across North America, Europe, and Asia.
\r\nWhile pursuing a Bachelor of Arts degree from The New School University, Champlin encountered the concept of liberal arts education and conducted a scientific research questioning how dance pedagogy comes into universities in a US context. Overseen by Danielle Goldman, this study advanced his critical perspective on how the university, the “free scene”, and the “ballet world” interact and planted the seed for his scholarship on embodied technique.
\r\nChamplin's interests in pairing artistic practice and academic research led him on the path of further interdisciplinary study. In 2019, Champlin earned a Masters of Arts degree in Choreography with a specialization in Performative Practices from DOCH School of Dance and Circus in Stockholm, where he studied under the direction of Chrysa Parkinson.
\r\nChamplin has created performance works and films about seeing embodiment as an image and a process simultaneously. His work asks viewers to consider how embodied knowledge structures physicalities and worldviews.
\r\nSince 2018, he has been a guest lecturer at Hochschulübergreifendes Zentrum Tanz Berlin (UdK/HZT) where he has implemented seminars, technique classes, and workshops that invite students to process how their contemporary dance practices relate to specific histories of embodiment and geopolitics.
\r\nA growing interest in anti-racist and feminist scholarship has led Champlin toward a doctorate in Artistic Research. Champlin is currently taking part in the new PEERS program at ZHdK, where he is developing an artistic PhD research: a manual of critical dance pedagogy that calls upon his teacher-assistant relationship with ballet instructor Janet Panetta and other occasions of embodied knowledge transmission.
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Andrew Champlin is an American dance artist based in Berlin, Germany. He has performed in repertoire by George Balanchine, Marius Petipa, Michel Fokine, José Limón, Paul Taylor, Laura Dean, Merce Cunningham, and Xavier le Roy, as well as originating roles in new works by David Gordon, Miguel Gutierrez, Pam Tanowitz, Ryan McNamara, Heather Kravas, Madeline Hollander and Jillian Peña, among others. \r\nAfter an early apprenticeship with Oregon Ballet Theatre and pre-professional training at The School of American Ballet, Champlin found new perspectives on movement and performance in Manhattan’s experimental dance scene. Champlin has been nominated for a New York dance and performance Bessie Award for Outstanding Performer and has toured extensively across North America, Europe, and Asia. \r\nWhile pursuing a Bachelor of Arts degree from The New School University, Champlin encountered the concept of liberal arts education and conducted a scientific research questioning how dance pedagogy comes into universities in a US context. Overseen by Danielle Goldman, this study advanced his critical perspective on how the university, the “free scene”, and the “ballet world” interact and planted the seed for his scholarship on embodied technique. \r\nChamplin's interests in pairing artistic practice and academic research led him on the path of further interdisciplinary study. In 2019, Champlin earned a Masters of Arts degree in Choreography with a specialization in Performative Practices from DOCH School of Dance and Circus in Stockholm, where he studied under the direction of Chrysa Parkinson. \r\nChamplin has created performance works and films about seeing embodiment as an image and a process simultaneously. His work asks viewers to consider how embodied knowledge structures physicalities and worldviews. \r\nSince 2018, he has been a guest lecturer at Hochschulübergreifendes Zentrum Tanz Berlin (UdK/HZT) where he has implemented seminars, technique classes, and workshops that invite students to process how their contemporary dance practices relate to specific histories of embodiment and geopolitics. \r\nA growing interest in anti-racist and feminist scholarship has led Champlin toward a doctorate in Artistic Research. Champlin is currently taking part in the new PEERS program at ZHdK, where he is developing an artistic PhD research: a manual of critical dance pedagogy that calls upon his teacher-assistant relationship with ballet instructor Janet Panetta and other occasions of embodied knowledge transmission. "},"relationships":{"assets":{"data":[{"type":"file","id":"231c298f4699916b7e8cd6826546731faef76fb6","attributes":{"id":"231c298f4699916b7e8cd6826546731faef76fb6","filename":"andrew_champlin.jpg","mime_type":"image/jpeg","path":"live/23/231c298f4699916b7e8cd6826546731faef76fb6","path_file":"live/23/231c298f4699916b7e8cd6826546731faef76fb6/andrew_champlin.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/Andrew_Champlin.jpg","height":640,"width":640,"title":"andrew_champlin.jpg","alternativeText":"Porträt von Andrew Champlin","description":null,"link":"","filename_original":"","mime_type_original":"","date_create":"14.10.2021 23:45","date_update":"14.10.2021 23:50","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":91660,"attributes":{"uid":91660,"pid":6678,"tstamp":125,"hidden":0,"sorting":632,"CType":"standard_content","header":"Anne Collod","bodytext":"Initially graduated in biology and environmental science, Anne Collod is a French contemporary dancer and choreographer. She performs with different French choreographers then co-founds the Quatuor Albrecht Knust (1993–2001), a collective of dancers dedicated to the re-enactment of 20th-century choreographic works.
At the beginning of the 2000s, while participating in various dance projects and continuing to work with scores on reenactments, Anne Collod axes her work on “Utopias of the collective”. This leads her to meet the American choreographer, pioneer of post-modern dance Anna Halprin in San Francisco and to develop a long-term artistic collaboration with her until her disappearance. In 2008, she namely presents a first reinterpretation of Halprin’s master piece, “Parades & Changes” (1965): “Parades & changes, replays”, followed by an expanded version in 2011, wins a Bessie Award in New York 2009 and is performed worldwide since its premiere.
In 2014, after being the recipient of Villa Medicis Hors les Murs, Anne Collod creates “The Parliament of the invisibles”, a dance piece about the links between the departed and the living, haunted by a German “Danse Macabre” from the 30s. In 2019, exploring the esthetical and political issues of today’s reinterpretation of soli and group pieces of American choreographers Ruth Saint-Denis and Ted Shawn, she creates “Moving alternatives”.
Anne Collod is also interested in site specific creation and proposes in collaboration with the French graphic designer Mathias Poisson (faire) cabane, a project for a choir of amateurs and wooden elements that creates moving and ephemeral huts. In 2017, “Exposure”, an immersive choreographic, sound and light project allows her to explore energy transfers between a performer and an industrial environment.
Following “Moving alternatives”, Anne Collod is currently working on a web-series documentary, “Alternative bodies”, which documents and extends the fabrication of ‘Otherness’ in dance.
She is also regularly invited to teach in different schools and dance programmes, and is trained in the Feldenkraïs method.
Sebastian Ellrich, born in 1984, started his artistic career as assistant costume designer at miscellaneous theatres and operas, for which he soon realized his own designs. Since 2004 he has been working nationwide as costume and stage designer for opera, film, dance and theatre; i.a. at Schauspiel Köln, Oper und Schauspiel Leipzig, Deutsche Oper am Rhein Düsseldorf/Duisburg, Staatstheater Nürnberg, Staatstheater Mainz, Kampnagel Hamburg, Sophiensäle Berlin, Prinzregententheater München, Schauspiel Frankfurt, Cuviellés-Theater München, Markgräfliches Opernhaus Bayreuth, Nationaltheater Pristina, Oper Oviedo , Budapest Spring Festival, Theater Bielefeld, Theater Chemnitz, Theater Freiburg.
\r\nSince 2011 he also devotes himself to his own prêt-à-porter label and showed his collections regularly at the berlin fashion week
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Sebastian Ellrich, born in 1984, started his artistic career as assistant costume designer at miscellaneous theatres and operas, for which he soon realized his own designs. Since 2004 he has been working nationwide as costume and stage designer for opera, film, dance and theatre; i.a. at Schauspiel Köln, Oper und Schauspiel Leipzig, Deutsche Oper am Rhein Düsseldorf/Duisburg, Staatstheater Nürnberg, Staatstheater Mainz, Kampnagel Hamburg, Sophiensäle Berlin, Prinzregententheater München, Schauspiel Frankfurt, Cuviellés-Theater München, Markgräfliches Opernhaus Bayreuth, Nationaltheater Pristina, Oper Oviedo , Budapest Spring Festival, Theater Bielefeld, Theater Chemnitz, Theater Freiburg.\r\nSince 2011 he also devotes himself to his own prêt-à-porter label and showed his collections regularly at the berlin fashion week"},"relationships":{"assets":{"data":[{"type":"file","id":"8328d9e88d46c2414a264cdb88a80eb157b5d40a","attributes":{"id":"8328d9e88d46c2414a264cdb88a80eb157b5d40a","filename":"sebastian_ellrich.jpeg","mime_type":"image/jpeg","path":"live/83/8328d9e88d46c2414a264cdb88a80eb157b5d40a","path_file":"live/83/8328d9e88d46c2414a264cdb88a80eb157b5d40a/sebastian_ellrich.jpeg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/sebastian_ellrich.jpeg","height":640,"width":434,"title":"Sebastian Ellrich","alternativeText":"Foto: Porträt von Sebastian Ellrich","description":"Sebastian Ellrich","link":"","filename_original":"","mime_type_original":"","date_create":"30.08.2022 22:50","date_update":"30.08.2022 22:50","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":53736,"attributes":{"uid":53736,"pid":6678,"tstamp":125,"hidden":0,"sorting":640,"CType":"standard_content","header":"Kerstin Evert","bodytext":"Kerstin Evert studierte Angewandte Theaterwissenschaft in Giessen, war von 1997 bis 2000 Doktorandin im Graduiertenkolleg «Körper-Inszenierungen» an der Freien Universität Berlin und promovierte zum Thema «DanceLab – Zeitgenössischer Tanz und Neue Technologien» (Promotion ausgezeichnet mit dem Tanzwissenschaftspreis NRW 2001). Von 2002 bis 2006 war sie Dramaturgin auf Kampnagel und gründete dort im August 2006 das choreografische Zentrum K3 | Tanzplan Hamburg, das sie seither leitet. Als Dozentin unterrichtete sie unter anderem in Berlin, Bern, Giessen, Hamburg, Frankfurt am Main und Salzburg. Sie ist Mitglied verschiedener Jurys und Beratungsgremien und seit 2017 im Vorstand des European Dancehouse Network.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Kerstin Evert studierte Angewandte Theaterwissenschaft in Giessen, war von 1997 bis 2000 Doktorandin im Graduiertenkolleg «Körper-Inszenierungen» an der Freien Universität Berlin und promovierte zum Thema «DanceLab – Zeitgenössischer Tanz und Neue Technologien» (Promotion ausgezeichnet mit dem Tanzwissenschaftspreis NRW 2001). Von 2002 bis 2006 war sie Dramaturgin auf Kampnagel und gründete dort im August 2006 das choreografische Zentrum K3 | Tanzplan Hamburg, das sie seither leitet. Als Dozentin unterrichtete sie unter anderem in Berlin, Bern, Giessen, Hamburg, Frankfurt am Main und Salzburg. Sie ist Mitglied verschiedener Jurys und Beratungsgremien und seit 2017 im Vorstand des European Dancehouse Network."},"relationships":{"assets":{"data":[{"type":"file","id":"394e34dde97096668c3992655106a3fe6d739925","attributes":{"id":"394e34dde97096668c3992655106a3fe6d739925","filename":"2019_mda_evert-kerstin_foto_thies_ra__tzke.png","mime_type":"image/png","path":"live/39/394e34dde97096668c3992655106a3fe6d739925","path_file":"live/39/394e34dde97096668c3992655106a3fe6d739925/2019_mda_evert-kerstin_foto_thies_ra__tzke.png","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/2019_MDA_Evert-Kerstin_Foto_Thies_Ra__tzke.png","height":1416,"width":943,"title":"Kerstin Evert","alternativeText":"Kerstin Evert. Foto: Thies Rätzke","description":"Kerstin Evert. Foto: Thies Rätzke","link":"","filename_original":"","mime_type_original":"","date_create":"30.10.2019 14:56","date_update":"12.05.2022 10:30","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":43561,"attributes":{"uid":43561,"pid":6678,"tstamp":123,"hidden":0,"sorting":768,"CType":"standard_content","header":"Gitta Barthel","bodytext":"Gitta Barthel (Dr. phil.) is involved in artistic, teaching and research work. She teaches Contemporary Dance and Choreography at universities and training centres and was a research associate at the Institute for Movement/Performance Studies at the University of Hamburg, where she completed a doctorate on “Choreografische Praxis. Vermittlung in Tanzkunst und Kultureller Bildung” (The Practice of Choreography. Mediation in the Art of Dance and Cultural Education) (transcript 2017). She is co-author of a publication entitled “Choreografischer Baukasten” (A Choreography Kit) (published by Gabriele Klein, transcript 2011).
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":43163,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Gitta Barthel (Dr. phil.) is involved in artistic, teaching and research work. She teaches Contemporary Dance and Choreography at universities and training centres and was a research associate at the Institute for Movement/Performance Studies at the University of Hamburg, where she completed a doctorate on “Choreografische Praxis. Vermittlung in Tanzkunst und Kultureller Bildung” (The Practice of Choreography. Mediation in the Art of Dance and Cultural Education) (transcript 2017). She is co-author of a publication entitled “Choreografischer Baukasten” (A Choreography Kit) (published by Gabriele Klein, transcript 2011)."},"relationships":{"assets":[]}},{"type":"content","id":53746,"attributes":{"uid":53746,"pid":6678,"tstamp":123,"hidden":0,"sorting":1024,"CType":"standard_content","header":"Christine Baumann Leuthold","bodytext":"As a dancer:
\r\nPrix de Lausanne, Ballet Royal de Wallonie, Deutsche Oper Berlin
\r\nChoreographed by:
\r\nGeorge Balanchine, Maurice Béjart, Christopher Bruce, Kurt Jooss, Kenneth MacMillan, Hans van Manen, John Neumeier, Marius Petipa, Roland Petit, etc.
\r\nAs a therapist:
\r\n- \t
- Physiotherapy, osteopathy, spiral dynamics® \t
- Own practice since 2012 (Praxis Physiotherapie & Tanz)
As a lecturer:
\r\n- \t
- Dance medicine (tamed, Tanzmedizin Deutschland) \t
- Anatomy for dancers and dance teachers \t
- Fascia techniques \t
- Applied Dance Anatomy/Nutrition (BA Contemporary Dance, ZHdK)
Body Awareness
Somatic practices can serve as a means to access information through sensation, that otherwise might remain hidden within the deeper layers of our bodies and our subconscious being. In this workshop we will explore principles and approaches to movement, touch, space and time that are inspired by Body Mind Centering (BMC), Laban Bartenieff Movement Studies, Feldenkrais and others. Our explorations can enrich our artistic practice, differentiate and widen our body consciousness and trigger new perspectives of reflection.
Jan Burkhardt has been dancing, directing, teaching and coaching in the field of contemporary dance for many years. HIs most passionate curiosity is to approach artistic settings through the use of and the trust in the intelligence of the body. Jan works as an independent artist, as guest lecturer in numerous institutions worldwide, and holds a position as professor for dance in artistic context at the Center of Contemporary Dance (CDG/ZZT) Cologne.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":85167,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Body Awareness Somatic practices can serve as a means to access information through sensation, that otherwise might remain hidden within the deeper layers of our bodies and our subconscious being. In this workshop we will explore principles and approaches to movement, touch, space and time that are inspired by Body Mind Centering (BMC), Laban Bartenieff Movement Studies, Feldenkrais and others. Our explorations can enrich our artistic practice, differentiate and widen our body consciousness and trigger new perspectives of reflection.\r\nJan Burkhardt has been dancing, directing, teaching and coaching in the field of contemporary dance for many years. HIs most passionate curiosity is to approach artistic settings through the use of and the trust in the intelligence of the body. Jan works as an independent artist, as guest lecturer in numerous institutions worldwide, and holds a position as professor for dance in artistic context at the Center of Contemporary Dance (CDG/ZZT) Cologne."},"relationships":{"assets":{"data":[{"type":"file","id":"ca285084785ca560f057809d0872b8266e093b69","attributes":{"id":"ca285084785ca560f057809d0872b8266e093b69","filename":"jan-burkhardt_web.jpg","mime_type":"image/jpeg","path":"live/ca/ca285084785ca560f057809d0872b8266e093b69","path_file":"live/ca/ca285084785ca560f057809d0872b8266e093b69/jan-burkhardt_web.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/Jan-Burkhardt_web.jpg","height":867,"width":1300,"title":"jan-burkhardt_web.jpg","alternativeText":"Portrait of Jan Burkhardt","description":null,"link":"","filename_original":"","mime_type_original":"","date_create":"14.10.2021 23:46","date_update":"14.10.2021 23:48","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":53747,"attributes":{"uid":53747,"pid":6678,"tstamp":123,"hidden":0,"sorting":1152,"CType":"standard_content","header":"Dimitri Chamblas","bodytext":"Captivated by dance, Dimitri Chamblas joined the Paris Opera’s celebrated dance school at the age of ten. During his career, he notably collaborated with creators such as Jean-Paul Gaultier and Karl Lagerfeld, composer Heiner Goebbels, artists Christian Boltanski, Andy Goldsworthy, Dan Colen, Xavier Veilhan, choreographers William Forsythe, Boris Charmatz, Lil Buck, Mathilde Monnier, Benjamin Millepied. His work has been performed in venues such as the Tate Modern (London), Centre Pompidou (Paris), Geffen Contemporary at MOCA (Los Angeles), the Paris Opera, St Mark’s Church (New York), among others.
\r\nIn 1992, Chamblas was co-founder of EDNA with choreographer Boris Charmatz. Together they conceived performances, organized events and exhibitions, and published books. Their duet “A bras le Corps” has been performed on every continent in world-renowned theatres and festivals. This duet has been part of the Paris Opera ballet repertory since 2017.
\r\nIn 1996, he created the “research and writing residence” with Mathilde Monnier (at that time Director of the Centre Chorégraphique National in Montpellier, France), an opportunity for artists to create personal creative space outside of the traditional production process.
\r\nIn 2013, as digital curator, he invented “Mutant Stage” together with curator and producer Amélie Couillaud: a series of ten art films for the French Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette, all shot in the building designed by OMA / Rem Koolhaas.
\r\nIn 2014, Dimitri Chamblas was appointed artistic director of the Paris Opera’s 3rd Stage. He founded this creative digital platform in collaboration with Benjamin Millepied, and invited artists such as Glen Keane, Xavier Veilhan, Bret Easton Ellis, Julien Prévieux, William Forsythe, Rubber Legz, United Visual Artists, Lil Buck, Barbara Hanigan and Jonas Kaufmann to create original artworks inspired by the Paris Opera.
\r\nAlways curious about technological advances and their possible applications, he joined forces with the Google cultural institute in 2015 to create the first immersive dance film captured in 360-degree vision, based on an original dance piece choreographed by Benjamin Millepied.
\r\nIn 2017, he launched Studio Dimitri Chamblas in Paris and Los Angeles, a structure that hosts all of his projects and collaborations, including a duet with the étoile dancer Marie-Agnès Gillot, his participation in the creation of Boris Charmatz’s “10 000 Gestures”, a creation with architect François Perrin for the Performa Biennale in New York, and a duet with artist and musician Kim Gordon.
\r\nThat same year, he became the new Dean of Dance at the California Institute of the Arts (CalArts) in Los Angeles and created “HHUMANN”, a work performed by 75 dancers in the streets of Downtown Los Angeles and at the Hauser & Wirth Gallery.
\r\nIn 2018/2019, Dimitri Chamblas created “Slow Show” a 50-performer choreography and “Los Angeles” a solo done in collaboration with painter Claire Tabouret and dancer Spenser Therberge. They have been performed at the Museum of Contemporary Art (MOCA), REDCAT and Mak Center, Schindler house (all Los Angeles), as well as at the LUMA Foundation in Arles.
\r\nIn June 2019, as part of the LA Philharmonics programme, Chamblas directed “Crowd out”, an opera by David Lang performed by 1,000 singers at the Walt Disney Concert Hall in Los Angeles.
\r\nIn 2019, he was made a Chevalier of the Order of Arts and Letters by the French Ministry of Culture.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":53744,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Captivated by dance, Dimitri Chamblas joined the Paris Opera’s celebrated dance school at the age of ten. During his career, he notably collaborated with creators such as Jean-Paul Gaultier and Karl Lagerfeld, composer Heiner Goebbels, artists Christian Boltanski, Andy Goldsworthy, Dan Colen, Xavier Veilhan, choreographers William Forsythe, Boris Charmatz, Lil Buck, Mathilde Monnier, Benjamin Millepied. His work has been performed in venues such as the Tate Modern (London), Centre Pompidou (Paris), Geffen Contemporary at MOCA (Los Angeles), the Paris Opera, St Mark’s Church (New York), among others.\r\nIn 1992, Chamblas was co-founder of EDNA with choreographer Boris Charmatz. Together they conceived performances, organized events and exhibitions, and published books. Their duet “A bras le Corps” has been performed on every continent in world-renowned theatres and festivals. This duet has been part of the Paris Opera ballet repertory since 2017.\r\nIn 1996, he created the “research and writing residence” with Mathilde Monnier (at that time Director of the Centre Chorégraphique National in Montpellier, France), an opportunity for artists to create personal creative space outside of the traditional production process.\r\nIn 2013, as digital curator, he invented “Mutant Stage” together with curator and producer Amélie Couillaud: a series of ten art films for the French Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette, all shot in the building designed by OMA / Rem Koolhaas.\r\nIn 2014, Dimitri Chamblas was appointed artistic director of the Paris Opera’s 3rd Stage. He founded this creative digital platform in collaboration with Benjamin Millepied, and invited artists such as Glen Keane, Xavier Veilhan, Bret Easton Ellis, Julien Prévieux, William Forsythe, Rubber Legz, United Visual Artists, Lil Buck, Barbara Hanigan and Jonas Kaufmann to create original artworks inspired by the Paris Opera. \r\nAlways curious about technological advances and their possible applications, he joined forces with the Google cultural institute in 2015 to create the first immersive dance film captured in 360-degree vision, based on an original dance piece choreographed by Benjamin Millepied.\r\nIn 2017, he launched Studio Dimitri Chamblas in Paris and Los Angeles, a structure that hosts all of his projects and collaborations, including a duet with the étoile dancer Marie-Agnès Gillot, his participation in the creation of Boris Charmatz’s “10 000 Gestures”, a creation with architect François Perrin for the Performa Biennale in New York, and a duet with artist and musician Kim Gordon.\r\nThat same year, he became the new Dean of Dance at the California Institute of the Arts (CalArts) in Los Angeles and created “HHUMANN”, a work performed by 75 dancers in the streets of Downtown Los Angeles and at the Hauser & Wirth Gallery.\r\nIn 2018/2019, Dimitri Chamblas created “Slow Show” a 50-performer choreography and “Los Angeles” a solo done in collaboration with painter Claire Tabouret and dancer Spenser Therberge. They have been performed at the Museum of Contemporary Art (MOCA), REDCAT and Mak Center, Schindler house (all Los Angeles), as well as at the LUMA Foundation in Arles.\r\nIn June 2019, as part of the LA Philharmonics programme, Chamblas directed “Crowd out”, an opera by David Lang performed by 1,000 singers at the Walt Disney Concert Hall in Los Angeles.\r\nIn 2019, he was made a Chevalier of the Order of Arts and Letters by the French Ministry of Culture."},"relationships":{"assets":{"data":[{"type":"file","id":"cab4752bbbf61df231213e0f90bd28ddc3b0e4a5","attributes":{"id":"cab4752bbbf61df231213e0f90bd28ddc3b0e4a5","filename":"2019_mda_dimitri-chamblas_foto_joshua-rose.png","mime_type":"image/png","path":"live/ca/cab4752bbbf61df231213e0f90bd28ddc3b0e4a5","path_file":"live/ca/cab4752bbbf61df231213e0f90bd28ddc3b0e4a5/2019_mda_dimitri-chamblas_foto_joshua-rose.png","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/2019_MDA_Dimitri-Chamblas_Foto_Joshua-Rose.png","height":1416,"width":943,"title":"[Translate to English:] Dimitri Chamblas","alternativeText":"[Translate to English:] Dimitri Chamblas. 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\r\nAfter an early apprenticeship with Oregon Ballet Theatre and pre-professional training at The School of American Ballet, Champlin found new perspectives on movement and performance in Manhattan’s experimental dance scene. Champlin has been nominated for a New York dance and performance Bessie Award for Outstanding Performer and has toured extensively across North America, Europe, and Asia.
\r\nWhile pursuing a Bachelor of Arts degree from The New School University, Champlin encountered the concept of liberal arts education and conducted a scientific research questioning how dance pedagogy comes into universities in a US context. Overseen by Danielle Goldman, this study advanced his critical perspective on how the university, the “free scene”, and the “ballet world” interact and planted the seed for his scholarship on embodied technique.
\r\nChamplin's interests in pairing artistic practice and academic research led him on the path of further interdisciplinary study. In 2019, Champlin earned a Masters of Arts degree in Choreography with a specialization in Performative Practices from DOCH School of Dance and Circus in Stockholm, where he studied under the direction of Chrysa Parkinson.
\r\nChamplin has created performance works and films about seeing embodiment as an image and a process simultaneously. His work asks viewers to consider how embodied knowledge structures physicalities and worldviews.
\r\nSince 2018, he has been a guest lecturer at Hochschulübergreifendes Zentrum Tanz Berlin (UdK/HZT) where he has implemented seminars, technique classes, and workshops that invite students to process how their contemporary dance practices relate to specific histories of embodiment and geopolitics.
\r\nA growing interest in anti-racist and feminist scholarship has led Champlin toward a doctorate in Artistic Research. Champlin is currently taking part in the new PEERS program at ZHdK, where he is developing an artistic PhD research: a manual of critical dance pedagogy that calls upon his teacher-assistant relationship with ballet instructor Janet Panetta and other occasions of embodied knowledge transmission.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":85168,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Andrew Champlin is an American dance artist based in Berlin, Germany. He has performed in repertoire by George Balanchine, Marius Petipa, Michel Fokine, José Limón, Paul Taylor, Laura Dean, Merce Cunningham, and Xavier le Roy, as well as originating roles in new works by David Gordon, Miguel Gutierrez, Pam Tanowitz, Ryan McNamara, Heather Kravas, Madeline Hollander and Jillian Peña, among others. \r\nAfter an early apprenticeship with Oregon Ballet Theatre and pre-professional training at The School of American Ballet, Champlin found new perspectives on movement and performance in Manhattan’s experimental dance scene. Champlin has been nominated for a New York dance and performance Bessie Award for Outstanding Performer and has toured extensively across North America, Europe, and Asia. \r\nWhile pursuing a Bachelor of Arts degree from The New School University, Champlin encountered the concept of liberal arts education and conducted a scientific research questioning how dance pedagogy comes into universities in a US context. Overseen by Danielle Goldman, this study advanced his critical perspective on how the university, the “free scene”, and the “ballet world” interact and planted the seed for his scholarship on embodied technique. \r\nChamplin's interests in pairing artistic practice and academic research led him on the path of further interdisciplinary study. In 2019, Champlin earned a Masters of Arts degree in Choreography with a specialization in Performative Practices from DOCH School of Dance and Circus in Stockholm, where he studied under the direction of Chrysa Parkinson. \r\nChamplin has created performance works and films about seeing embodiment as an image and a process simultaneously. His work asks viewers to consider how embodied knowledge structures physicalities and worldviews. \r\nSince 2018, he has been a guest lecturer at Hochschulübergreifendes Zentrum Tanz Berlin (UdK/HZT) where he has implemented seminars, technique classes, and workshops that invite students to process how their contemporary dance practices relate to specific histories of embodiment and geopolitics. \r\nA growing interest in anti-racist and feminist scholarship has led Champlin toward a doctorate in Artistic Research. Champlin is currently taking part in the new PEERS program at ZHdK, where he is developing an artistic PhD research: a manual of critical dance pedagogy that calls upon his teacher-assistant relationship with ballet instructor Janet Panetta and other occasions of embodied knowledge transmission. "},"relationships":{"assets":{"data":[{"type":"file","id":"c3756e4e24c67e5770969488fc13b496ea6d6ae5","attributes":{"id":"c3756e4e24c67e5770969488fc13b496ea6d6ae5","filename":"andrew_champlin.jpg","mime_type":"image/jpeg","path":"live/c3/c3756e4e24c67e5770969488fc13b496ea6d6ae5","path_file":"live/c3/c3756e4e24c67e5770969488fc13b496ea6d6ae5/andrew_champlin.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/Andrew_Champlin.jpg","height":640,"width":640,"title":"andrew_champlin.jpg","alternativeText":"Portrait of Andrew Champlin","description":null,"link":"","filename_original":"","mime_type_original":"","date_create":"14.10.2021 23:46","date_update":"14.10.2021 23:50","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":91661,"attributes":{"uid":91661,"pid":6678,"tstamp":123,"hidden":0,"sorting":1200,"CType":"standard_content","header":"Anne Collod","bodytext":"Initially graduated in biology and environmental science, Anne Collod is a French contemporary dancer and choreographer. She performs with different French choreographers then co-founds the Quatuor Albrecht Knust (1993–2001), a collective of dancers dedicated to the re-enactment of 20th-century choreographic works.
At the beginning of the 2000s, while participating in various dance projects and continuing to work with scores on reenactments, Anne Collod axes her work on “Utopias of the collective”. This leads her to meet the American choreographer, pioneer of post-modern dance Anna Halprin in San Francisco and to develop a long-term artistic collaboration with her until her disappearance. In 2008, she namely presents a first reinterpretation of Halprin’s master piece, “Parades & Changes” (1965): “Parades & changes, replays”, followed by an expanded version in 2011, wins a Bessie Award in New York 2009 and is performed worldwide since its premiere.
In 2014, after being the recipient of Villa Medicis Hors les Murs, Anne Collod creates “The Parliament of the invisibles”, a dance piece about the links between the departed and the living, haunted by a German “Danse Macabre” from the 30s. In 2019, exploring the esthetical and political issues of today’s reinterpretation of soli and group pieces of American choreographers Ruth Saint-Denis and Ted Shawn, she creates “Moving alternatives”.
Anne Collod is also interested in site specific creation and proposes in collaboration with the French graphic designer Mathias Poisson (faire) cabane, a project for a choir of amateurs and wooden elements that creates moving and ephemeral huts. In 2017, “Exposure”, an immersive choreographic, sound and light project allows her to explore energy transfers between a performer and an industrial environment.
Following “Moving alternatives”, Anne Collod is currently working on a web-series documentary, “Alternative bodies”, which documents and extends the fabrication of ‘Otherness’ in dance.
She is also regularly invited to teach in different schools and dance programmes, and is trained in the Feldenkraïs method.
Sebastian Ellrich, born in 1984, started his artistic career as assistant costume designer at miscellaneous theatres and operas, for which he soon realized his own designs. Since 2004 he has been working nationwide as costume and stage designer for opera, film, dance and theatre; i.a. at Schauspiel Köln, Oper und Schauspiel Leipzig, Deutsche Oper am Rhein Düsseldorf/Duisburg, Staatstheater Nürnberg, Staatstheater Mainz, Kampnagel Hamburg, Sophiensäle Berlin, Prinzregententheater München, Schauspiel Frankfurt, Cuviellés-Theater München, Markgräfliches Opernhaus Bayreuth, Nationaltheater Pristina, Oper Oviedo, Budapest Spring Festival, Theater Bielefeld, Theater Chemnitz, Theater Freiburg.
\r\nSince 2011 he also devotes himself to his own prêt-à-porter label and showed his collections regularly at the berlin fashion week.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":104087,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Sebastian Ellrich, born in 1984, started his artistic career as assistant costume designer at miscellaneous theatres and operas, for which he soon realized his own designs. Since 2004 he has been working nationwide as costume and stage designer for opera, film, dance and theatre; i.a. at Schauspiel Köln, Oper und Schauspiel Leipzig, Deutsche Oper am Rhein Düsseldorf/Duisburg, Staatstheater Nürnberg, Staatstheater Mainz, Kampnagel Hamburg, Sophiensäle Berlin, Prinzregententheater München, Schauspiel Frankfurt, Cuviellés-Theater München, Markgräfliches Opernhaus Bayreuth, Nationaltheater Pristina, Oper Oviedo, Budapest Spring Festival, Theater Bielefeld, Theater Chemnitz, Theater Freiburg.\r\nSince 2011 he also devotes himself to his own prêt-à-porter label and showed his collections regularly at the berlin fashion week."},"relationships":{"assets":{"data":[{"type":"file","id":"0f5a094f763e67f0a219f7d659cbd752b266adc8","attributes":{"id":"0f5a094f763e67f0a219f7d659cbd752b266adc8","filename":"sebastian_ellrich.jpeg","mime_type":"image/jpeg","path":"live/0f/0f5a094f763e67f0a219f7d659cbd752b266adc8","path_file":"live/0f/0f5a094f763e67f0a219f7d659cbd752b266adc8/sebastian_ellrich.jpeg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/sebastian_ellrich.jpeg","height":640,"width":434,"title":"Sebastian Ellrich","alternativeText":"Photo: Portrait of Sebastian Ellrich","description":"Sebastian Ellrich","link":"","filename_original":"","mime_type_original":"","date_create":"30.08.2022 22:50","date_update":"06.02.2023 14:30","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":53748,"attributes":{"uid":53748,"pid":6678,"tstamp":123,"hidden":0,"sorting":1216,"CType":"standard_content","header":"Kerstin Evert","bodytext":"Kerstin Evert studied Applied Theatre Studies in Giessen, was a doctoral student in the research training group “Body Stagings” at the Free University of Berlin from 1997 to 2000 and wrote her doctoral thesis on “DanceLab – Contemporary Dance and New Technologies” (doctorate awarded the Dance Science Prize NRW 2001). From 2002 to 2006 she was dramaturge at Kampnagel and founded the choreographic centre K3 | Tanzplan Hamburg there in August 2006, which she has directed ever since. As a lecturer, she has taught in Berlin, Bern, Giessen, Hamburg, Frankfurt am Main and Salzburg, among other places. She is a member of various juries and advisory boards and has been on the board of the European Dancehouse Network since 2017.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":53736,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Kerstin Evert studied Applied Theatre Studies in Giessen, was a doctoral student in the research training group “Body Stagings” at the Free University of Berlin from 1997 to 2000 and wrote her doctoral thesis on “DanceLab – Contemporary Dance and New Technologies” (doctorate awarded the Dance Science Prize NRW 2001). From 2002 to 2006 she was dramaturge at Kampnagel and founded the choreographic centre K3 | Tanzplan Hamburg there in August 2006, which she has directed ever since. As a lecturer, she has taught in Berlin, Bern, Giessen, Hamburg, Frankfurt am Main and Salzburg, among other places. She is a member of various juries and advisory boards and has been on the board of the European Dancehouse Network since 2017."},"relationships":{"assets":{"data":[{"type":"file","id":"0011408b39a9eaeef7f930bb4e5104c1f28f38a0","attributes":{"id":"0011408b39a9eaeef7f930bb4e5104c1f28f38a0","filename":"2019_mda_evert-kerstin_foto_thies_ra__tzke.png","mime_type":"image/png","path":"live/00/0011408b39a9eaeef7f930bb4e5104c1f28f38a0","path_file":"live/00/0011408b39a9eaeef7f930bb4e5104c1f28f38a0/2019_mda_evert-kerstin_foto_thies_ra__tzke.png","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/2019_MDA_Evert-Kerstin_Foto_Thies_Ra__tzke.png","height":1416,"width":943,"title":"[Translate to English:] Kerstin Evert","alternativeText":"[Translate to English:] Kerstin Evert. Foto: Thies Rätzke","description":"[Translate to English:] Kerstin Evert. Foto: Thies Rätzke","link":"","filename_original":"","mime_type_original":"","date_create":"30.10.2019 16:09","date_update":"06.02.2023 14:30","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":43563,"attributes":{"uid":43563,"pid":6678,"tstamp":123,"hidden":0,"sorting":1280,"CType":"standard_content","header":"Emanuel Gat","bodytext":"Artistic Director and Choreographer
\r\nEmanuel Gat was born in Israel in 1969. His first encounter with dance was at the age of 23, during a workshop led by Israeli choreographer Nir Ben Gal. A couple of months later, he joined the Liat Dror Nir Ben Gal Company with whom he toured internationally. Emanuel started working as an independent choreographer in 1994.
For ten years, Emanuel participated as a choreographer in multiple projects, before establishing his company in 2004. With Emanuel Gat Dance, he created several pieces that achieved international success. Winter Voyage and the Rite of Spring created in 2004 at Festival d’Uzès were represented more than 350 times all over the world. K626, created in 2006, premiered at Festival de Marseille and was followed by 3for2007 in 2007. That same year, Emanuel chose to settle in France, basing the company at the Maison Intercommunale de la Danse in Istres. Silent Ballet was the first piece created in France and presented in Festival Montpellier Danse in 2008, before Winter Variations in 2009. In 2011 Emanuel created Brilliant Corners for ten dancers, for which he also created the soundtrack.
Emanuel Gat was associated artist of the 33rd edition of Festival Montpellier Danse in 2013. With his company, he developed the Up Close Up project, proposing two creations: The Goldlandbergs and Corner Etudes; a photographic installation It’s people, how abstract can it get?; and a choreographic event, Danses de Cour. In the following year, Emanuel reinvested the Agora with Plage Romantique, a piece for nine dancers. In 2016, after three editions in association with Festival Montpellier Danse, Emanuel created SUNNY, a piece for ten interpreters and the musician Awir Léon live on stage. In 2017 Emanuel presented his second project as part of his residency at Montpellier Danse, which included two productions: a unique collaboration with the Ballet de l’Opera de Lyon, TENWORKS (for Jean-Paul), a programme of ten short pieces mixing dancers from both companies; and DUOS, a series of duets presented at different public locations around the city of Montpellier. In 2016 Emanuel was associated with the Scène Nationale d’Albi as well. In 2017 Emanuel was present at Festival d’Avignon for the first time with Story Water, a project by Emanuel Gat Dance and Ensemble Modern for 11 dancers and 13 musicians at the Cour d’Honneur du Palais des Papes. Starting from the season 2018–2019, Emanuel Gat has been associated artist at the Théâtre National de Chaillot for three years.
Emanuel Gat is regularly invited by prestigious French and international companies for which he creates or transmits pieces, such as Ballet de l’Opéra de Paris, Ballet du Rhin, Ballet National de Marseille, Ballet de Lorraine, Opéra de Lyon, Sydney Dance Company, Tanztheater Bremen and Candoco Dance Company, Ballet du Grand Théâtre de Genève, Los Angeles Dance Project, Ballet Royal de Suède, Cedar Lake (New York) and Ballet British Columbia.
Emanuel has been awarded numerous prizes, such as a grant from Fondation du Ballet Master Albert Gaubiers in 1995, the Rosenblum Price in 2003 and the Landau Price in 2004. In 2006 he was named member of IcExcellence, the Israeli Culture Excellence Foundation. Emanuel also received a Bessie Award for the presentation of Voyage d’Hiver and The Rite of Spring at Lincoln Center Festival in NY in 2006. In 2012 he was nominated once again for the Bessie Awards with Préludes et Fugues for Ballet du Grand Théâtre de Genève at Joyce Theater in NY. Emanuel creates and transmits pieces in the framework of pedagogical training as well.
Site | Facebook | Instagram | YouTube | Vimeo | Twitter
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":43186,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Artistic Director and Choreographer\r\nEmanuel Gat was born in Israel in 1969. His first encounter with dance was at the age of 23, during a workshop led by Israeli choreographer Nir Ben Gal. A couple of months later, he joined the Liat Dror Nir Ben Gal Company with whom he toured internationally. Emanuel started working as an independent choreographer in 1994. For ten years, Emanuel participated as a choreographer in multiple projects, before establishing his company in 2004. With Emanuel Gat Dance, he created several pieces that achieved international success. Winter Voyage and the Rite of Spring created in 2004 at Festival d’Uzès were represented more than 350 times all over the world. K626, created in 2006, premiered at Festival de Marseille and was followed by 3for2007 in 2007. That same year, Emanuel chose to settle in France, basing the company at the Maison Intercommunale de la Danse in Istres. Silent Ballet was the first piece created in France and presented in Festival Montpellier Danse in 2008, before Winter Variations in 2009. In 2011 Emanuel created Brilliant Corners for ten dancers, for which he also created the soundtrack. Emanuel Gat was associated artist of the 33rd edition of Festival Montpellier Danse in 2013. With his company, he developed the Up Close Up project, proposing two creations: The Goldlandbergs and Corner Etudes; a photographic installation It’s people, how abstract can it get?; and a choreographic event, Danses de Cour. In the following year, Emanuel reinvested the Agora with Plage Romantique, a piece for nine dancers. In 2016, after three editions in association with Festival Montpellier Danse, Emanuel created SUNNY, a piece for ten interpreters and the musician Awir Léon live on stage. In 2017 Emanuel presented his second project as part of his residency at Montpellier Danse, which included two productions: a unique collaboration with the Ballet de l’Opera de Lyon, TENWORKS (for Jean-Paul), a programme of ten short pieces mixing dancers from both companies; and DUOS, a series of duets presented at different public locations around the city of Montpellier. In 2016 Emanuel was associated with the Scène Nationale d’Albi as well. In 2017 Emanuel was present at Festival d’Avignon for the first time with Story Water, a project by Emanuel Gat Dance and Ensemble Modern for 11 dancers and 13 musicians at the Cour d’Honneur du Palais des Papes. Starting from the season 2018–2019, Emanuel Gat has been associated artist at the Théâtre National de Chaillot for three years. Emanuel Gat is regularly invited by prestigious French and international companies for which he creates or transmits pieces, such as Ballet de l’Opéra de Paris, Ballet du Rhin, Ballet National de Marseille, Ballet de Lorraine, Opéra de Lyon, Sydney Dance Company, Tanztheater Bremen and Candoco Dance Company, Ballet du Grand Théâtre de Genève, Los Angeles Dance Project, Ballet Royal de Suède, Cedar Lake (New York) and Ballet British Columbia. Emanuel has been awarded numerous prizes, such as a grant from Fondation du Ballet Master Albert Gaubiers in 1995, the Rosenblum Price in 2003 and the Landau Price in 2004. In 2006 he was named member of IcExcellence, the Israeli Culture Excellence Foundation. Emanuel also received a Bessie Award for the presentation of Voyage d’Hiver and The Rite of Spring at Lincoln Center Festival in NY in 2006. In 2012 he was nominated once again for the Bessie Awards with Préludes et Fugues for Ballet du Grand Théâtre de Genève at Joyce Theater in NY. Emanuel creates and transmits pieces in the framework of pedagogical training as well.\r\nSite | Facebook | Instagram | YouTube | Vimeo | Twitter"},"relationships":{"assets":{"data":[{"type":"file","id":"c97851492188626131b1ae063acd2e68baf83431","attributes":{"id":"c97851492188626131b1ae063acd2e68baf83431","filename":"mda_gastdozierende_gat_web.jpg","mime_type":"image/jpeg","path":"live/c9/c97851492188626131b1ae063acd2e68baf83431","path_file":"live/c9/c97851492188626131b1ae063acd2e68baf83431/mda_gastdozierende_gat_web.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/MDA_Gastdozierende_Gat_web.jpg","height":867,"width":1300,"title":"Emanuel Gat","alternativeText":"Emanuel Gat. Foto: Julia Gat","description":"Emanuel Gat. Foto: Julia Gat","link":"","filename_original":"","mime_type_original":"","date_create":"24.09.2018 22:15","date_update":"05.03.2019 11:03","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":85173,"attributes":{"uid":85173,"pid":6678,"tstamp":123,"hidden":0,"sorting":1472,"CType":"standard_content","header":"Michael Getman","bodytext":"Michael (Misha) Getman was born in Israel to parents Dora and Zechariah, who immigrated to Is-rael from Soviet Leningrad after a failed-plane hijacking by young Jewish dissidents to escape the USSR in 1970 – ”Operation Wedding”.
His professional education was at the Bat Dor School of dance, directed by Jennette Ordman. As an interpreter, he gained experience at the Batsheva junior ensemble directed by Naomi Perlov. He later joined the Batsheva dance company, where he worked for three years with the choreographer and artistic director Ohad Naharin. In 1999 he joined the Ballet Freiburg Pretty Ugly, where he worked till 2004 with the choreographer Amanda Miller. He also worked at the Sadt Theatre Saarbrucken, directed by the choreographer Marguerite Donlon. As a performer, he had the privilege of learning and interpreting works by master choreographers, including Ohad Naharin, Amanda K Miller, Marguerite Donlon, and William Forsythe. Since 2007 Getman has been developing his work and choreographic structure. He examines and is curious about the relationship between our bodily actions, cognitive responses, and the ability to respond to the ongoing demands of experience with a range of physical arousal and emotions. His works have been presented in various festivals and venues, including Israel Museum (Jerusalem), Suzanne Dellal Center (Tel Aviv), Open Look (St.Petersburg), Holland Dance (Den Haag), Nowy Teater (Warsaw), Théâtre National de Chaillot (Paris), Schauspielhaus (Hamburg). Michael also works in Theatre and Ethnography, researching and facilitating artistic expression with various communities and cultures.
He teaches choreography, composition, and improvisation workshops for professional and non-professional.
Since 2020 Getman has been working towards an M.A. at the University of Huddersfield, England.
Born in Hong Kong to parents of German and West African descent, raised in Berlin and educated through Hip Hop, Raphael Moussa Hillebrand uses his multifaceted cultural background to realize his vision of Hip Hop Dance theater. Since 2005 he regularly worked with the Goethe Institut. Through his extensive work internationally, he cultivated an understanding and instinct for social justice and sensitivity for the complexities of cultural identity. He regularly leads international cultural and cooperation programs and creates dance theater productions with the local dancers.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":96799,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Born in Hong Kong to parents of German and West African descent, raised in Berlin and educated through Hip Hop, Raphael Moussa Hillebrand uses his multifaceted cultural background to realize his vision of Hip Hop Dance theater. Since 2005 he regularly worked with the Goethe Institut. Through his extensive work internationally, he cultivated an understanding and instinct for social justice and sensitivity for the complexities of cultural identity. He regularly leads international cultural and cooperation programs and creates dance theater productions with the local dancers."},"relationships":{"assets":{"data":[{"type":"file","id":"3b438d0a89a57730a5b09102119cf5c94ba424c3","attributes":{"id":"3b438d0a89a57730a5b09102119cf5c94ba424c3","filename":"raphael_moussa_hillebrand.jpeg","mime_type":"image/jpeg","path":"live/3b/3b438d0a89a57730a5b09102119cf5c94ba424c3","path_file":"live/3b/3b438d0a89a57730a5b09102119cf5c94ba424c3/raphael_moussa_hillebrand.jpeg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/raphael_moussa_hillebrand.jpeg","height":1280,"width":859,"title":"Raphael Moussa Hillebrand","alternativeText":"Portrait of Raphael Moussa Hillebrand","description":"Raphael Moussa Hillebrand","link":"","filename_original":"","mime_type_original":"","date_create":"12.05.2022 10:29","date_update":"12.05.2022 10:31","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":43569,"attributes":{"uid":43569,"pid":6678,"tstamp":123,"hidden":0,"sorting":1664,"CType":"standard_content","header":"Jason Jacobs","bodytext":"Jason Jacobs is a dancer, choreographer and teacher based in Frankfurt, Germany. He has created dance routines and performed internationally with renowned choreographers and companies, including Hofesh Shechter, Johannes Wieland, Complexions Contemporary Ballet and North Carolina Dance Theater. In 2014 he received a Master in Contemporary Dance Education from HfMDK Frankfurt. He is currently developing choreographic projects as MuddyBoots together with choreographer Ekaterine Giorgadze. He teaches in dance institutions throughout Europe, is a faculty member at the Anton Bruckner University in Linz, Austria, and rehearsal director for TanzMainz.
www.muddyboots-dance.com
Dutch choreographer Nanine Linning (1977, Amsterdam) consciously leaves the beaten theatrical track. Moving beyond divisions and working across disciplines, combining dance, opera, concerts and installations. Crossing fields of design, video, visual arts and music, her productions are characterized by an explosive movement language and an equally vivid imagery. Linning designs opulent poetic work; her evening-length productions are worlds on their own in their visual and dramaturgical content. Her out of the box concepts make reference to human emotions as well as aspects of cultural history and social criticism. Her close cooperation with diverse internationally known artists and scientists is reflected in the broad spectrum of her projects, which include European co-productions and touring, exhibitions and installations.
Linning received the Philip Morris Prize (2003), a Swan for Best Dance Production for “Bacon” (2006), and was nominated twice for the German ‘Faust’ Award (2012 and 2013) for “Voice Over” and “Zero” respectively. Her “Requiem” (2015) for Konzert Theater Bern, gained the Swiss Dance Award. Die Deutsche Bühne named her top 4 Impressive Choreographers of 2017. Magazine tanz mentioned her in the Category Choreographer of the Year 2017. Her dancefilm “La Voix Humaine” won several prizes in Filmfestivals in Venice, Tokyo, London, Lisbon, Amsterdam and New York in 2021–2022.
After graduating Linning founded her own ensemble, Dance Company Nanine Linning. From 2001–2006 she was appointed resident choreographer for Scapino Ballet. From 2009–2012 she was artistic director and chief choreographer at Theater Osnabrück, from 2012–2018, she headed the newly established dance company of Theater und Orchester Heidelberg where she created seven evening length dance productions and directed two operas, “Madama Butterfly” and “Akhnaton” from Philip Glass. In Heidelberg she became a founder of both Festival Tanzbiennale and the Choreographic Centre. In 2018 and 2019 she was appointed as curator of the dance programme of Festspiele Ludwigshafen. Linning is appointed as new Artistic Director of Scapino Ballet Rotterdam as of season 2024–2025.
Linning created and produced with her own company evening lenghth productions such as “Bacon” about the painter Francis Bacon, “Cry Love” and “Endless Song of Silence”, her acclaimed dance and video production in collaboration with Iris van Herpen. In 2019 she created “Double Helix”, an installation based performance in collaboration with Dutch designer Bart Hess.
As freelancer she was commissioned to create productions for the Stuttgart Ballet, Bavarian State Ballet Munich, Gauthier Dance Stuttgart, Theater Bielefeld (DE), Netherlands Chamber Choir (NL), Konzert Theater Bern (CH), Boston Ballet (USA), Szeged Dance Company (HU) and MusicAeterna in St. Petersburg (RU).
→ Instagram: naninelinningdance
→ Nanine Linning’s website
Guido Markowitz, a native of Villach in Austria, studied classical ballet along with contemporary and modern dance at the Iwanson International School of Contemporary Dance. He then worked at the Städtische Bühnen Münster theatre before taking on the post of soloist and choreographer at the Staatstheater Darmstadt dance theatre in 1996. Guido Markowitz has been working as a freelance choreographer and stage director since 2004. In his work, he likes to involve all disciplines, mix generations and bring traditional dancers together with gymnasts and break dancers on the stage. As Director of Ballet for the Theater Pforzheim, he has twice been nominated for the Faust German theatre award. In 2014, the choreographer was amongst those invited to take part in the Berliner Festpiele’s Tanztreffen dance contest with two of his productions.
\r\nGuido Markowitz has been Director of Ballet at the Theater Pforzheim since the 2015/16 season.
He has also been an honorary member of the management board of the dance association TanzSzene Baden-Württemberg e. V. since March 2017.
Tabea Martin is a choreographer and performer based in Basel, Switzerland. She studied Modern Dance at the Hogeschool voor de Kunsten in Amsterdam (2002). She danced with Piet Rogie & Company in Holland, with Fabian Chyle in Stuttgart and Nick Bryson in Ireland. She has been guest student at SNDO in Amsterdam and finished studying choreography at Rotterdamse Dansacademie in 2006.
Her productions “A coté de l’ombre” (2004), “Sculpterre” (2005), “Promenade dans l’eau” (2005) and “Impair” (2005) have been touring in Holland and Switzerland. 2006 her production “Über freundliche und ausgeglichene Menschen” was the opener for Tanztage Basel at Roxy theatre. In 2007 she was invited to a symposium with Forced Entertainment at PACT Zollverein Essen. Also she created choreographies for Junges Theater Basel “S chunnt scho guet”.
2008 she was invited to Choreoroam Project, an initiative for young choreographers in Great Britain, Italy and Switzerland. 2009 she collaborated with filmmaker Lucy Cash at B-Motion Festival in Italy and with director Merel de Groot at Grand Theatre Groningen.
In Holland her work has been supported by Dansateliers Rotterdam and Het LAB Utrecht. 2011 Tabea has won the Wim Barry Prize for all her choreographic work in Holland and was nominated by the Dutch Dance Days for promising young choreographers.
“Duet for two dancers” (2010) was selected by Aerowaves in 2013 and was awarded by Reconnaissance, Échirolles 2013. “Field” (2014) has been selected by Aerowaves to Priority Group. Both production have been touring in Europe since.
Tabea Martin regularly collaborates with municipal and state theatres. At Schauspielhaus Zürich, Gorki Theater Berlin, Theater Basel, Konzert Theater Bern Staatstheater Oldenburg Stadt Theater Konstanz and Theater Neumarkt she worked together with Sebastian Nübling, Anna Bergmann, Elina Finkel and Sibylle Berg.
2015 she has won the special prize from Berner Tanzpreise.
Her production “Pink for Girls & Blue for Boys” premiered at Tanzhaus Zürich in January 2016 and was touring in whole Europe. Her production “Beyond Indifference” premiered in December 2016 at Kaserne Basel. In May 2017 she realized the mediation project “Home – Tanzakademie Basel” in collaboration with Kaserne Basel and Tanzfest Basel. In September 2017 she did the choreography for “Nach uns das All” (text: Sibylle Berg) with Sebastian Nübling at Maxim Gorki Theatre Berlin. On 1 February 2018 her Duet “This is my last dance” together with Italian dancer Simona Bertozzi premiered at Kaserne Basel. This was the first part of the trilogy that she made about transience. After she created “FOREVER“ and “Nothing Left”. Both had Premiere at Kaserne Basel. Nothing Left is co-produced by Dance Festival Steps – Migros culture percentage 2020.
Pink for Girls and Blue for Boys, This is my last dance as well as Forever were programmed for the Swiss Dance Days.
Her latest works are “Geh nicht in den Wald im Wald ist der Wald” 2022 and the solo for Tamara Gvozdenovic “Demain est annulé”. Both are touring in Europe.
Tabea Martin received the Culture Award 2016 from Kanton Basel-Landschaft, Switzerland.
From 2016–2018 she was “Young Associated Artist” of the mentoring-programme of Pro Helvetia-Swiss Arts Council. She was supported by PRAIRIE – the coproduction support of Migros Culture-Percentage from 2016–2019.
From 2018–2020 / 2021–2023 and from 2024-2026 Tabea Martin is supported by Fachausschuss Tanz & Theater Basel-Stadt and Basel-Landschaft in cooperation with Pro Helvetia – Swiss Arts Council.
Tabea Martin is a jury member of Tanzkommission of the city of Zurich, the SSA – Société Suisse des Auteurs and Atelier Mondial of the Christoph Merian Stiftung.
She has been teaching at ZHdK, Manufacture, Marchepied, CFP Genève.
Ballet Mistress at Ballet Nacional de España and freelance writer/researcher.
\r\nDr. Elna Matamoros holds a PhD with International Mention in Aesthetics and Art Theory (Universidad Autónoma de Madrid, 2017 – Research Internship at ZHdK), and an MA in Dance Education as a Fulbright Scholar (New York University, 2000). As a dancer she was mainly trained in Madrid by her mother Carmina Ocaña following the Bournonville School, and later in New York, at the Joffrey Ballet School and under the tutelage of Wilhelm Burmann and David Howard.
\r\nBetween 2012 and 2019 she was a member of Compañía Nacional de Danza (CND) as a Ballet Mistress with José Carlos Martínez as Artistic Director. Besides having taught ballet in several international companies, Elna Matamoros has also rehearsed ballets by Balanchine, Bournonville, Fabre, Forsythe, Galili, Martínez, Léonide Massine, Perrot or Petipa, among many others. She has staged ballets such as Marius Petipa’s Odalisques Pas de trois and August Bournonville’s Flower Festival in Genzano, Guillaume Tell Pas de Deux and La Sylphide Divertissement; in 2016, Matamoros revived for Elena Vostrotina the version that Mikhail Fokine staged of The Dying Swan for Elna Ørnberg while he was in Denmark in 1925. She is currently working on the revival of another of the most emblematic pieces of Diaghilev’s Ballets Russes and preparing two new books.
\r\nDr. Matamoros is the author of the book Augusto Bournonville, Historia y estilo (Madrid, Akal, 2008, prefaced by Frank Andersen and Tamara Rojo), and editor, by commission of the Antonio Gades Foundation, of the book Carmen/Gades 25 Años (Madrid, Fundación Autor, 2008). Her most recently published book, as part of the sub-Texte series of ZHdK (volume 24) is Dance & Costumes, A History of Dressing Movement (Berlin, Alexander Verlag, 2021, prefaced by Jane Pitchard – V&A Museum); it provides a history of dance costumes linked to the evolution of movement itself.
\r\nShe is also a regular contributor to several performing arts publications and a dance specialist in El Cultural. Dr. Matamoros was also in charge of the full collection of Cuadernos Educativos de la Compañía Nacional de Danza. Since 2019 she has been writing the first books for a new series published by Ballet Nacional de España titled #BNE nos cuenta which will be expanded throughout the next years.
\r\nShe has been teaching ballet regularly at ZHdK since 2016. In the last years she created two theory courses especially for the MA students at ZHdK: ‘Dance coaching as a link between choreographer and dancer’ and ‘Dance and Costumes’. Dr. Matamoros has participated in numerous international symposia, focusing on Romantic Ballet, Diaghilev’s Ballets Russes, Spanish Dance, Aesthetics and Dance Costumes among other subjects. As a frequent lecturer, she has given courses of Anthropology and Dance History, Repertoire Analysis and Ballet Methodology – especially the Bournonville School – in several conservatories and research centers, both to students and teachers.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":91148,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Ballet Mistress at Ballet Nacional de España and freelance writer/researcher.\r\nDr. Elna Matamoros holds a PhD with International Mention in Aesthetics and Art Theory (Universidad Autónoma de Madrid, 2017 – Research Internship at ZHdK), and an MA in Dance Education as a Fulbright Scholar (New York University, 2000). As a dancer she was mainly trained in Madrid by her mother Carmina Ocaña following the Bournonville School, and later in New York, at the Joffrey Ballet School and under the tutelage of Wilhelm Burmann and David Howard. \r\nBetween 2012 and 2019 she was a member of Compañía Nacional de Danza (CND) as a Ballet Mistress with José Carlos Martínez as Artistic Director. Besides having taught ballet in several international companies, Elna Matamoros has also rehearsed ballets by Balanchine, Bournonville, Fabre, Forsythe, Galili, Martínez, Léonide Massine, Perrot or Petipa, among many others. She has staged ballets such as Marius Petipa’s Odalisques Pas de trois and August Bournonville’s Flower Festival in Genzano, Guillaume Tell Pas de Deux and La Sylphide Divertissement; in 2016, Matamoros revived for Elena Vostrotina the version that Mikhail Fokine staged of The Dying Swan for Elna Ørnberg while he was in Denmark in 1925. She is currently working on the revival of another of the most emblematic pieces of Diaghilev’s Ballets Russes and preparing two new books.\r\nDr. Matamoros is the author of the book Augusto Bournonville, Historia y estilo (Madrid, Akal, 2008, prefaced by Frank Andersen and Tamara Rojo), and editor, by commission of the Antonio Gades Foundation, of the book Carmen/Gades 25 Años (Madrid, Fundación Autor, 2008). Her most recently published book, as part of the sub-Texte series of ZHdK (volume 24) is Dance & Costumes, A History of Dressing Movement (Berlin, Alexander Verlag, 2021, prefaced by Jane Pitchard – V&A Museum); it provides a history of dance costumes linked to the evolution of movement itself.\r\nShe is also a regular contributor to several performing arts publications and a dance specialist in El Cultural. Dr. Matamoros was also in charge of the full collection of Cuadernos Educativos de la Compañía Nacional de Danza. Since 2019 she has been writing the first books for a new series published by Ballet Nacional de España titled #BNE nos cuenta which will be expanded throughout the next years.\r\nShe has been teaching ballet regularly at ZHdK since 2016. In the last years she created two theory courses especially for the MA students at ZHdK: ‘Dance coaching as a link between choreographer and dancer’ and ‘Dance and Costumes’. Dr. Matamoros has participated in numerous international symposia, focusing on Romantic Ballet, Diaghilev’s Ballets Russes, Spanish Dance, Aesthetics and Dance Costumes among other subjects. As a frequent lecturer, she has given courses of Anthropology and Dance History, Repertoire Analysis and Ballet Methodology – especially the Bournonville School – in several conservatories and research centers, both to students and teachers."},"relationships":{"assets":{"data":[{"type":"file","id":"c9ccdb81f6dd7f5aabedd32b15e1d36667961717","attributes":{"id":"c9ccdb81f6dd7f5aabedd32b15e1d36667961717","filename":"ematamoros_sia_2334m1fb.jpg","mime_type":"image/jpeg","path":"live/c9/c9ccdb81f6dd7f5aabedd32b15e1d36667961717","path_file":"live/c9/c9ccdb81f6dd7f5aabedd32b15e1d36667961717/ematamoros_sia_2334m1fb.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/ematamoros_sia_2334m1fb.jpg","height":867,"width":1300,"title":"Dr. Elna Matomoros","alternativeText":"Portrait of Dr. Elna Matomoros","description":"Dr. Elna Matomoros","link":"","filename_original":"","mime_type_original":"","date_create":"10.01.2022 09:15","date_update":"10.01.2022 09:18","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":53749,"attributes":{"uid":53749,"pid":6678,"tstamp":123,"hidden":0,"sorting":1760,"CType":"standard_content","header":"Michael Maurissens","bodytext":"Michael Maurissens was born in Brussels, where he began his dance training. He also studied dance at the Heinz Bosl Stiftung in Munich (1991–1992) and at the Schweizerische Ballettberufsschule in Zurich (1992–1993, with the support of the Pierino Ambrosoli Foundation) and has worked at the Ballett Nürnberg / Tanzwerk Nürnberg, Ballett Freiburg Pretty Ugly, the Mannheim National Theatre and pretty ugly tanz köln. Some of the stars he has worked with include Amanda Miller, William Forsythe, Katy Duck, Hideto Heshiki, Martin Sonderkamp, Dominique Dumais and Georg Reischl. In 2009, he joined forces with his colleague Douglas Bateman to set up the MichaelDouglas collective, which is has five performers at its core who keep coming together for different productions – with both famous and as yet undiscovered dancers, choreographers, musicians, and a broad, collaborative system of institutional partners.
\r\nFor several years now, Michael Maurissens has been working with media beyond the means of dance art, in the field of graphic design, photography and film (as a filmmaker, cameraman and editor). In 2013, he completed his postdoctoral studies at the Academy of Media Arts Cologne, focusing on scenography, applied visual arts and documentary film, achieving the grade “very good”. Today, he stages and produces films, experimental videos and performance documentaries and participates in visual art projects.
\r\n→ Website CARRÉ BLANC Productions
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":53741,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Michael Maurissens was born in Brussels, where he began his dance training. He also studied dance at the Heinz Bosl Stiftung in Munich (1991–1992) and at the Schweizerische Ballettberufsschule in Zurich (1992–1993, with the support of the Pierino Ambrosoli Foundation) and has worked at the Ballett Nürnberg / Tanzwerk Nürnberg, Ballett Freiburg Pretty Ugly, the Mannheim National Theatre and pretty ugly tanz köln. Some of the stars he has worked with include Amanda Miller, William Forsythe, Katy Duck, Hideto Heshiki, Martin Sonderkamp, Dominique Dumais and Georg Reischl. In 2009, he joined forces with his colleague Douglas Bateman to set up the MichaelDouglas collective, which is has five performers at its core who keep coming together for different productions – with both famous and as yet undiscovered dancers, choreographers, musicians, and a broad, collaborative system of institutional partners.\r\nFor several years now, Michael Maurissens has been working with media beyond the means of dance art, in the field of graphic design, photography and film (as a filmmaker, cameraman and editor). In 2013, he completed his postdoctoral studies at the Academy of Media Arts Cologne, focusing on scenography, applied visual arts and documentary film, achieving the grade “very good”. Today, he stages and produces films, experimental videos and performance documentaries and participates in visual art projects.\r\n→ Website CARRÉ BLANC Productions "},"relationships":{"assets":{"data":[{"type":"file","id":"142698e2409bdccf0d86a004a25926592e42ab4a","attributes":{"id":"142698e2409bdccf0d86a004a25926592e42ab4a","filename":"2019_mda_maurissens-michael_foto_nn.png","mime_type":"image/png","path":"live/14/142698e2409bdccf0d86a004a25926592e42ab4a","path_file":"live/14/142698e2409bdccf0d86a004a25926592e42ab4a/2019_mda_maurissens-michael_foto_nn.png","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/2019_MDA_Maurissens-Michael_Foto_NN.png","height":943,"width":943,"title":"Michael Maurissens","alternativeText":"Michael Maurissens","description":"Michael Maurissens","link":"","filename_original":"","mime_type_original":"","date_create":"30.10.2019 16:09","date_update":"19.11.2019 14:53","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":110811,"attributes":{"uid":110811,"pid":6678,"tstamp":123,"hidden":0,"sorting":1764,"CType":"standard_content","header":"Thomas Meinecke","bodytext":"Thomas Meinecke was born in Hamburg in 1955 and lives near Munich and in Marseille. He is a writer (numerous novels and stories since 1986 published by Suhrkamp, currently “Selbst”, 2016), musician (with his band F.S.K., founded in 1980, whose albums have been released on Daniel Richter’s Buback label since 2008; since 1998 many joint electronic projects with Move D.), radio DJ (own broadcast on Bayerischer Rundfunk 1985–2021) and also DJ in urban night clubs (Berghain, Robert Johnson, Pudel Club, Rote Sonne, Toni Molkerei etc.). At Berlin’s Theater Hebbel am Ufer, he ran the dialogic event series “Plattenspieler” from 2007 until the first Lockdown in 2020; since fall 2022, the series has continued at Berlin’s Volksbühne. In the winter semester 2011/12 he held the poetics lectureship at Goethe University, Frankfurt am Main (“Ich als Text”, edition suhrkamp, 2012). Residencies at universities in Europe and the USA. Most recently: Writer in Residence at the University of St. Andrews, Scotland, Poetics Lectureship Gender at the TU Braunschweig. Numerous awards, in 2020 the Berliner Literaturpreis (with guest professorship at the FU in the summer semester of 2022). In 2021 a “Text + Kritik” volume on Thomas Meinecke was published, in 2022 the poetological reader “Ozeanisch Schreiben” (in Verbrecher Verlag).
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":110810,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Thomas Meinecke was born in Hamburg in 1955 and lives near Munich and in Marseille. He is a writer (numerous novels and stories since 1986 published by Suhrkamp, currently “Selbst”, 2016), musician (with his band F.S.K., founded in 1980, whose albums have been released on Daniel Richter’s Buback label since 2008; since 1998 many joint electronic projects with Move D.), radio DJ (own broadcast on Bayerischer Rundfunk 1985–2021) and also DJ in urban night clubs (Berghain, Robert Johnson, Pudel Club, Rote Sonne, Toni Molkerei etc.). At Berlin’s Theater Hebbel am Ufer, he ran the dialogic event series “Plattenspieler” from 2007 until the first Lockdown in 2020; since fall 2022, the series has continued at Berlin’s Volksbühne. In the winter semester 2011/12 he held the poetics lectureship at Goethe University, Frankfurt am Main (“Ich als Text”, edition suhrkamp, 2012). Residencies at universities in Europe and the USA. Most recently: Writer in Residence at the University of St. Andrews, Scotland, Poetics Lectureship Gender at the TU Braunschweig. Numerous awards, in 2020 the Berliner Literaturpreis (with guest professorship at the FU in the summer semester of 2022). In 2021 a “Text + Kritik” volume on Thomas Meinecke was published, in 2022 the poetological reader “Ozeanisch Schreiben” (in Verbrecher Verlag)."},"relationships":{"assets":{"data":[{"type":"file","id":"ca67193f122af7ad6e45ebb2e62d55542bb7c372","attributes":{"id":"ca67193f122af7ad6e45ebb2e62d55542bb7c372","filename":"thomas_meinecke.jpeg","mime_type":"image/jpeg","path":"live/ca/ca67193f122af7ad6e45ebb2e62d55542bb7c372","path_file":"live/ca/ca67193f122af7ad6e45ebb2e62d55542bb7c372/thomas_meinecke.jpeg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/thomas_meinecke.jpeg","height":427,"width":640,"title":"thomas_meinecke.jpeg","alternativeText":"Photo: Portrait of Thomas Meinecke","description":null,"link":"","filename_original":"","mime_type_original":"","date_create":"29.11.2022 00:49","date_update":"29.11.2022 00:49","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":85174,"attributes":{"uid":85174,"pid":6678,"tstamp":123,"hidden":0,"sorting":1768,"CType":"standard_content","header":"Björn Pätz","bodytext":"Björn Pätz completed his studies in theater studies and new German literature at Freie Universität Berlin. He has coordinated press and PR work for numerous projects and festivals within the independent performing arts community since 2004. Beginning in 2006, he also began working as a production manager for artists based in Berlin. In 2010, he co-founded björn & björn, a company for PR, production and dramaturgy. Since 2020 Björn Pätz works as a production and tour manager at the Schauspielhaus Zürich.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":85170,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Björn Pätz completed his studies in theater studies and new German literature at Freie Universität Berlin. He has coordinated press and PR work for numerous projects and festivals within the independent performing arts community since 2004. Beginning in 2006, he also began working as a production manager for artists based in Berlin. In 2010, he co-founded björn & björn, a company for PR, production and dramaturgy. Since 2020 Björn Pätz works as a production and tour manager at the Schauspielhaus Zürich. "},"relationships":{"assets":{"data":[{"type":"file","id":"d20dc366d0f494f9804b6a45d8a24abc9a744ecf","attributes":{"id":"d20dc366d0f494f9804b6a45d8a24abc9a744ecf","filename":"bjo__rn_pa__tz.jpg","mime_type":"image/jpeg","path":"live/d2/d20dc366d0f494f9804b6a45d8a24abc9a744ecf","path_file":"live/d2/d20dc366d0f494f9804b6a45d8a24abc9a744ecf/bjo__rn_pa__tz.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/Bjo__rn_Pa__tz.jpg","height":600,"width":900,"title":"bjo__rn_pa__tz.jpg","alternativeText":"Portrait of Björn Pätz","description":null,"link":"","filename_original":"","mime_type_original":"","date_create":"14.10.2021 23:46","date_update":"15.10.2021 11:39","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":54000,"attributes":{"uid":54000,"pid":6678,"tstamp":123,"hidden":0,"sorting":1776,"CType":"standard_content","header":"Naomi Perlov","bodytext":"Born in 1959 in Israel, daughter to a Polish mother and a Brazilian father.
Studied Dance at the Bat Dor Dance Company (Tel Aviv), Schola Cantorum (Paris) and with Milton Myers (New York). In 1984, graduated with “Honors” from the Benesh Institute of Choreology (Dance Notation).
Concomitantly, from 1994–98, served as Co-Artistic Director of the Batsheva Ensemble, Tel-Aviv Israel (Junior Dance Company) along with Ohad Naharin.
Since 1988, she has been working with the choreographer Angelin Preljocaj, assisting in his creations and restaging his ballets all over the world. From 1999 to 2006, she served as Artistic Director for the biannual “Shades in Dance” contest for young Israeli artists at the Suzanne Dellal Center.
In September 2009, she founded “The Maslool”, a 2-years professional dance programme at Bikurey Ha’Itim Arts Center (Tel Aviv–Jaffa). ”The Maslool” is artistically directed by Perlov and Offir Dagan and has been supported by the Minister of Culture of Israel since 2011.
In 2015, together with Sharon Rubinov Biderman, she established “Dconstruction”, a methodological course for dance teachers, which provides methodological tools for formulating lesson plans and annual curriculums, knowledge in implementing corrections while encouraging and emphasizing the artistic aspects of rehearsal directing.
In conjunction with her work as artistic director, rehearsal director and judge in dance contests, Naomi teaches modern dance and trains dancers in many courses and workshops.
Carina Premer is based in Giessen, Germany, and works as a lighting designer, teacher and choreographer in contemporary dance and performing arts.
Being trained as a light technician and operator, she studied Applied Theater Studies at Justus Liebig University in Giessen where she developed and hosted several discursive formats and created transdisciplinary performances and exhibitions. Throughout the years, she gained an expanded experience in working in bigger institutions as well as in independent artistic processes. Carina often uses complex light compositions and non-linear dramaturgies to shrink, stretch and warp space and time almost imperceptibly. Her emphasis on choreography and dance manifests in numerous collaborations with choreographers like Mårten Spångberg (SWE), Ana Dubljevic (SE) and Lucie Tuma (CH) as well as in her current studies of the MA programme Choreography and Performance in Giessen. Her approach to performance and dance is strongly informed by the challenge of the very frame of the public presentation and the interconnectedness of working conditions and conditions of spectatorship. In her work she questions origin, identity and authorship by directing attention to prefigurative thinking and the transformation of affective and somatic memories into collective or common agencies.
Charlotta Ruth works and plays with time and perception in her choreography, artistic research and game design. Her work has been presented at WUK, Tanzquartier, brut in Vienna and MDT & Dansens Hus in Stockholm, as well as at conferences at Uniarts Stockholm, the SAR Society of Artistic Research and the Artistic Research Pavillon Venice. Ruth approaches ideas by disregarding genre, instead taking a location- and context-specific approach that oscillates between stage, gallery, public space, institutional intersections and the Internet. She most recently developed a game design for City Games Vienna and worked with Dominik Grünbühel to create “Living Documents”, five choreographic installations laid out as a course in Stockholm, Copenhagen and Vienna (2020). A continuous source of inspiration and resonance of thought is her work as a performer and collaboration with other artists such as Ingrid Cogne, Alexander Gottfarb, Anne Juren, Saskia Hölbling, Toxic Dreams/Yosi Wanunu, Petter Jacobsson and Thomas Caley. Ruth was educated at the Royal Swedish Ballet School and has an MFA in Choreography, specializing in Performance Art from Uniarts Stockholm. She also studied computer-aided thinking and basic programming, e-poetry, digital filmmaking, media activism and writing live-action role plays. Ruth has been a PhD student in artistic research at the University of Applied Arts Vienna since 2017, supervized by Prof. Dr Margarete Jahrmann.
Tanja Saban is a dancer, certified Gaga teacher and yoga practitioner. Born and raised in Switzerland, she graduated from SEAD training programme in 2007. She is a recipient of the conveyor scholarship from the Tanzquartier in Vienna, where she started her career as a freelance dancer and teacher. She collaborates with choreographers and artists of other disciplines on projects as well as creating her own work in Austria, Spain, Switzerland, Israel and New York City.the heart of her artistic practice is an ongoing research of the moving body-a space of experience, expression and personal expansion in the unfolding of physical intelligence and the sensory body. She is currently developing a platform for co-creative, immersive dance experiences that oscillate between club culture, performance and embodied practices.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":96926,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Tanja Saban is a dancer, certified Gaga teacher and yoga practitioner. Born and raised in Switzerland, she graduated from SEAD training programme in 2007. She is a recipient of the conveyor scholarship from the Tanzquartier in Vienna, where she started her career as a freelance dancer and teacher. She collaborates with choreographers and artists of other disciplines on projects as well as creating her own work in Austria, Spain, Switzerland, Israel and New York City.the heart of her artistic practice is an ongoing research of the moving body-a space of experience, expression and personal expansion in the unfolding of physical intelligence and the sensory body. She is currently developing a platform for co-creative, immersive dance experiences that oscillate between club culture, performance and embodied practices."},"relationships":{"assets":{"data":[{"type":"file","id":"0516fcef1c16fdf78ab7a83ff1f5af46975bde32","attributes":{"id":"0516fcef1c16fdf78ab7a83ff1f5af46975bde32","filename":"tanja_saban.jpg","mime_type":"image/jpeg","path":"live/05/0516fcef1c16fdf78ab7a83ff1f5af46975bde32","path_file":"live/05/0516fcef1c16fdf78ab7a83ff1f5af46975bde32/tanja_saban.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/tanja_saban.jpg","height":1733,"width":1300,"title":"Tanja Saban","alternativeText":"Portrait of Tanja Saban","description":"Tanja Saban","link":"","filename_original":"","mime_type_original":"","date_create":"12.05.2022 14:33","date_update":"12.05.2022 14:34","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":91663,"attributes":{"uid":91663,"pid":6678,"tstamp":123,"hidden":0,"sorting":2176,"CType":"standard_content","header":"Mor Shani","bodytext":"Mor Shani started his professional career at Bat-Dor dance company Tel Aviv. Studied at Artez dance academy in Arnhem, at DasArts theater academy Amsterdam, The Netherlands, and nowadays finishing his studies of cultural policy at Sapir College, Sderot, Israel. Shani worked as artist in residence at Dansateliers Rotterdam, at ICK Amsterdam and in the last years was house choreographer at Inbal Dance Theater, Tel Aviv, Israel. His works are presented in Israel, Europe, Canada and the U.S, and were nominated for several awards as the Dutch Zwan award next to choreographers Jiri Kylian and Alain Platel. His Project Love-ism was chosen by the European Dance House Network as one of 25 best practices. Currently Shani is developing a format for a new academic dance company that will ask to redefine the way community art is developed in Israel.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":91662,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Mor Shani started his professional career at Bat-Dor dance company Tel Aviv. Studied at Artez dance academy in Arnhem, at DasArts theater academy Amsterdam, The Netherlands, and nowadays finishing his studies of cultural policy at Sapir College, Sderot, Israel. Shani worked as artist in residence at Dansateliers Rotterdam, at ICK Amsterdam and in the last years was house choreographer at Inbal Dance Theater, Tel Aviv, Israel. His works are presented in Israel, Europe, Canada and the U.S, and were nominated for several awards as the Dutch Zwan award next to choreographers Jiri Kylian and Alain Platel. His Project Love-ism was chosen by the European Dance House Network as one of 25 best practices. Currently Shani is developing a format for a new academic dance company that will ask to redefine the way community art is developed in Israel. "},"relationships":{"assets":{"data":[{"type":"file","id":"00516c051ec8a3651e5b823228999109effe7bb1","attributes":{"id":"00516c051ec8a3651e5b823228999109effe7bb1","filename":"mor_portrait.jpg","mime_type":"image/jpeg","path":"live/00/00516c051ec8a3651e5b823228999109effe7bb1","path_file":"live/00/00516c051ec8a3651e5b823228999109effe7bb1/mor_portrait.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/mor_portrait.jpg","height":861,"width":750,"title":"Mor Shani","alternativeText":"Portrait of Mor Shani","description":"Mor Shani","link":"","filename_original":"","mime_type_original":"","date_create":"18.01.2022 16:54","date_update":"18.01.2022 16:55","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":43567,"attributes":{"uid":43567,"pid":6678,"tstamp":123,"hidden":0,"sorting":2304,"CType":"standard_content","header":"Liane Simmel","bodytext":"Liane Simmel, MD, is a medical doctor, osteopath and former professional dancer. She studied dance at the University of Music and Performing Arts Munich and with Merce Cunningham in New York. For over 25 years, she has been working as a dancer and choreographer, during which time she also began her medical studies. Today, she is established with her own practice in Munich as a dance medicine specialist, with a particular focus on osteopathy, spiraldynamics and sports medicine. As director of Fit for Dance, an institute for dance medicine, she specializes in prevention and therapy of dance-related injuries. Liane Simmel is a medical consultant at the University of Music and Performing Arts Munich and is a permanent guest teacher at the Palucca University of Dance, Dresden, as well as at the Zurich University of the Arts. She is a founding member and has been president for 15 years of tamed – Tanzmedizin Deutschland, the German dance medicine organization. Her book “Dance Medicine in Practice” published in German, English and Spanish has become standard literature for applied dance medicine all over Europe, the US and Australia. Her new book “Nutrition for Dancers”, written together with Eva-Maria Kraft, was published in English in January 2018. For her pioneering work in the realm of dance medicine, she has been awarded the Prize of Recognition of the German Dance Prizes 2016.
www.fitfordance.de
Ohad Talmor is a New York based Saxophonist and Composer.
A leading voice in the New York modern Jazz scene, he has performed worldwide with a who’s who of musicians, including Lee Konitz, Josh Redman, Jason Moran, Michael Brecker.
Classically trained as a pianist, he has a Composition degree from the Manhattan School of Music. His music mixes contemporary and jazz vocabulary and has been played by orchestras all over the world.
He teaches at the Geneva Conservatory, the New School in New York and is a frequent guest as a lecturer at the ZHdK Master Jazz programme.
→ Ohad Talmor's website
Anouk van Dijk is a Dutch choreographer, director, dancer and the creator behind the movement system Countertechnique. She was the Artistic Director of Australia’s leading contemporary dance company Chunky Move from 2012–2019. Her work is staged for a wide range of settings, varying from black box theatre, to large proscenium stages, to site-specific works.
\r\nIn 2012, she was awarded the Golden Swan, the most prestigious dance accolade in the Netherlands – in recognition of her outstanding artistic and academic contribution to dance in her home country. Her movement methodology Countertechnique has become known worldwide.
\r\nSince the start of her career, alongside her work as a dancer, Van Dijk has been interested in creating. Before relocating to Australia, Van Dijk had an extensive career in Europe, touring worldwide with her Dutch company anoukvandijk dc from Festival d’Avignon to Dance Triennale Tokyo to Festival TransAmériques. Van Dijk’s long collaborative partnership with German writer and director Falk Richter has resulted in the creation of six critically acclaimed productions such as “TRUST” (2009) and “Complexity of Belonging” (2014). Her interest in site-specific work, such as “Mensch” (2011), “Depth of Field” (2015) and “Accumulation” (2018) has taken her dancers from the Ship Yards in Amsterdam to the National Gallery of Victoria in Melbourne.
\r\nIn 2012, Van Dijk premiered “An Act of Now”, her debut work for Chunky Move, and the production went on to win The Age Critics’ Award for best new Australian work during the Melbourne Festival. For the company she has since created 12 full-evening and shorter works, including three collaborative works: “Complexity of Belonging” (2014) with German writer/director Falk Richter, “Anti—Gravity” (2017) with Singaporean visual artist Ho Tzu Nyen and the film installation work “Traces” (2019) with American/Australian artist Ian Strange. In 2018, Van Dijk created and curated “Accumulation” (2018), an immersive work for the gallery space at NGV Triennial EXTRA, followed by her final work for Chunky Move, “Common Ground” (2018).
\r\nCentral to the foundation of Anouk van Dijk’s artistic work and the training of her dancers has been Countertechnique, the movement system she developed to provide dancers with applied tools for versatile dance practice in the 21st century. Countertechnique helps dancers in training, rehearsal and performance – focusing on the process of incorporating information into action. The principles of Countertechnique can also be applied to other dance forms and training methods, such as ballet, hiphop, partnering, yoga, running and Pilates. In 2008, Van Dijk initiated the first, biennial Countertechnique Teachers Training (CTTT) programme. Currently, Countertechnique has 31 certified teachers around the world and the method holds a prominent place in the publication “Dance Techniques 2010”, co-written by Gerald Siegmund and Anouk van Dijk.
\r\nCurrently, Anouk van Dijk is a free-lance choreographer and created her first commission “Distant Matter” (2019) for the Staatsballett Berlin. Van Dijk is now preparing a new work for the Münchner Kammerspiele, which will premiere in October 2020.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":53752,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Anouk van Dijk is a Dutch choreographer, director, dancer and the creator behind the movement system Countertechnique. She was the Artistic Director of Australia’s leading contemporary dance company Chunky Move from 2012–2019. Her work is staged for a wide range of settings, varying from black box theatre, to large proscenium stages, to site-specific works.\r\nIn 2012, she was awarded the Golden Swan, the most prestigious dance accolade in the Netherlands – in recognition of her outstanding artistic and academic contribution to dance in her home country. Her movement methodology Countertechnique has become known worldwide.\r\nSince the start of her career, alongside her work as a dancer, Van Dijk has been interested in creating. Before relocating to Australia, Van Dijk had an extensive career in Europe, touring worldwide with her Dutch company anoukvandijk dc from Festival d’Avignon to Dance Triennale Tokyo to Festival TransAmériques. Van Dijk’s long collaborative partnership with German writer and director Falk Richter has resulted in the creation of six critically acclaimed productions such as “TRUST” (2009) and “Complexity of Belonging” (2014). Her interest in site-specific work, such as “Mensch” (2011), “Depth of Field” (2015) and “Accumulation” (2018) has taken her dancers from the Ship Yards in Amsterdam to the National Gallery of Victoria in Melbourne.\r\nIn 2012, Van Dijk premiered “An Act of Now”, her debut work for Chunky Move, and the production went on to win The Age Critics’ Award for best new Australian work during the Melbourne Festival. For the company she has since created 12 full-evening and shorter works, including three collaborative works: “Complexity of Belonging” (2014) with German writer/director Falk Richter, “Anti—Gravity” (2017) with Singaporean visual artist Ho Tzu Nyen and the film installation work “Traces” (2019) with American/Australian artist Ian Strange. In 2018, Van Dijk created and curated “Accumulation” (2018), an immersive work for the gallery space at NGV Triennial EXTRA, followed by her final work for Chunky Move, “Common Ground” (2018).\r\nCentral to the foundation of Anouk van Dijk’s artistic work and the training of her dancers has been Countertechnique, the movement system she developed to provide dancers with applied tools for versatile dance practice in the 21st century. Countertechnique helps dancers in training, rehearsal and performance – focusing on the process of incorporating information into action. The principles of Countertechnique can also be applied to other dance forms and training methods, such as ballet, hiphop, partnering, yoga, running and Pilates. In 2008, Van Dijk initiated the first, biennial Countertechnique Teachers Training (CTTT) programme. Currently, Countertechnique has 31 certified teachers around the world and the method holds a prominent place in the publication “Dance Techniques 2010”, co-written by Gerald Siegmund and Anouk van Dijk.\r\nCurrently, Anouk van Dijk is a free-lance choreographer and created her first commission “Distant Matter” (2019) for the Staatsballett Berlin. Van Dijk is now preparing a new work for the Münchner Kammerspiele, which will premiere in October 2020."},"relationships":{"assets":{"data":[{"type":"file","id":"8e07dc2e790cfbb5a7de1d5b99528417b3cae7a2","attributes":{"id":"8e07dc2e790cfbb5a7de1d5b99528417b3cae7a2","filename":"2019_mda_van-dijk_anouk_foto_nn.png","mime_type":"image/png","path":"live/8e/8e07dc2e790cfbb5a7de1d5b99528417b3cae7a2","path_file":"live/8e/8e07dc2e790cfbb5a7de1d5b99528417b3cae7a2/2019_mda_van-dijk_anouk_foto_nn.png","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/2019_MDA_van-Dijk_Anouk_Foto_NN.png","height":639,"width":454,"title":"Anouk van Dijk","alternativeText":"Anouk van Dijk","description":"Anouk van Dijk","link":"","filename_original":"","mime_type_original":"","date_create":"30.10.2019 16:17","date_update":"05.11.2019 14:39","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":43571,"attributes":{"uid":43571,"pid":6678,"tstamp":123,"hidden":0,"sorting":2784,"CType":"standard_content","header":"Annette von Keudell","bodytext":"After training as a photographer, Annette von Keudell first went on to study graphic art, painting and experimental film at the Hochschule für Gestaltung (University of Art and Design) in Offenbach, Germany, before turning her attention to time-based media, spatial installations and artistic photography under the guidance of Prof. Valie Export at Berlin University of the Arts. She then became a protégé of film-maker Prof. Heinz Emigholz (Berlin University of the Arts).
\r\nAnnette von Keudell has since been working as a freelance artist, specializing in media art, conceptual art and space-based media. From 2005 to 2009, she studied cultural management at Universität Hamburg (the University of Hamburg). Alongside her work as a lecturer in short film (film theory, storytelling, camera work and editing) and as an artist, she has also been involved in organizing exhibitions, media productions and public relations work for theatres, mainly for dance productions. In addition, since undertaking training to become a systemic coach from 2010 to 2015, she has provided guidance and support for artistic processes with a focus on communication training.
Her artistic work focuses on interdisciplinary conceptual projects, video installations, photography and experimental film.
Elizabeth Waterhouse is a dancer and postdoc in dance studies at the University of Bern. She is the author of the book Processing Choreography: Thinking With William Forsythe’s Duo published by Transcript Verlag (2022). Her research focuses on choreographic practices, ethnographic and oral history methodology, as well as digital techniques for research and documentation of dance practices. As a performer, she danced from 2004–2012 in Ballett Frankfurt/The Forsythe Company. Since that time, in parallel and often nurturing her scholarly work, she has continued to develop performances and artistic research projects, including with the groups HOOD, tō, and Movement Forum Bern. Waterhouse’s viewpoint within dance studies makes use of her methodological competences across ‘research’ and ‘creative’ practices in the arts, the humanities and the natural sciences: an education comprising of a BA in Physics from Harvard University, an MFA in dance practice from The Ohio State University and a PhD in dance studies from the Universität Bern/Hochschule der Künste Bern.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":96801,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":"","phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Elizabeth Waterhouse is a dancer and postdoc in dance studies at the University of Bern. She is the author of the book Processing Choreography: Thinking With William Forsythe’s Duo published by Transcript Verlag (2022). Her research focuses on choreographic practices, ethnographic and oral history methodology, as well as digital techniques for research and documentation of dance practices. As a performer, she danced from 2004–2012 in Ballett Frankfurt/The Forsythe Company. Since that time, in parallel and often nurturing her scholarly work, she has continued to develop performances and artistic research projects, including with the groups HOOD, tō, and Movement Forum Bern. Waterhouse’s viewpoint within dance studies makes use of her methodological competences across ‘research’ and ‘creative’ practices in the arts, the humanities and the natural sciences: an education comprising of a BA in Physics from Harvard University, an MFA in dance practice from The Ohio State University and a PhD in dance studies from the Universität Bern/Hochschule der Künste Bern."},"relationships":{"assets":{"data":[{"type":"file","id":"ff50acb4176592175ea6236b15fe69ce6cd984b0","attributes":{"id":"ff50acb4176592175ea6236b15fe69ce6cd984b0","filename":"elizabeth_waterhouse.jpg","mime_type":"image/jpeg","path":"live/ff/ff50acb4176592175ea6236b15fe69ce6cd984b0","path_file":"live/ff/ff50acb4176592175ea6236b15fe69ce6cd984b0/elizabeth_waterhouse.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/elizabeth_waterhouse.jpg","height":982,"width":1300,"title":"Elizabeth Waterhouse","alternativeText":"Portrait of Elizabeth Waterhouse","description":"Elizabeth Waterhouse","link":"","filename_original":"","mime_type_original":"","date_create":"12.05.2022 10:40","date_update":"12.05.2022 10:40","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":85254,"attributes":{"uid":85254,"pid":6678,"tstamp":123,"hidden":0,"sorting":3000,"CType":"standard_content","header":"Gunda Zeeb","bodytext":"Gunda Zeeb studied European Business in Germany, the USA and France and Cultural Management at City University in London. After working at the Forum Freies Theater Düsseldorf and the Hebbel am Ufer/ HAU Berlin, she worked as dramaturg and interim director at the Theaterhaus Gessnerallee Zurich from 2006 to 2012. Since 2013 she has been the artistic director of the biennial cultural festival Wildwuchs in Basel, and since 2018 she has been co-director of About Us! Zürich Interkulturell. She is a regular guest lecturer at Zurich University of the Arts, the University of Zurich and the Dimitri Theatre School in Verscio. She has been a member of the Cantonal Theatre and Dance Commission since 2012 and a jury member of the Capital Cultural Fund Bern since 2017.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":85253,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Gunda Zeeb studied European Business in Germany, the USA and France and Cultural Management at City University in London. After working at the Forum Freies Theater Düsseldorf and the Hebbel am Ufer/ HAU Berlin, she worked as dramaturg and interim director at the Theaterhaus Gessnerallee Zurich from 2006 to 2012. Since 2013 she has been the artistic director of the biennial cultural festival Wildwuchs in Basel, and since 2018 she has been co-director of About Us! Zürich Interkulturell. She is a regular guest lecturer at Zurich University of the Arts, the University of Zurich and the Dimitri Theatre School in Verscio. She has been a member of the Cantonal Theatre and Dance Commission since 2012 and a jury member of the Capital Cultural Fund Bern since 2017."},"relationships":{"assets":{"data":[{"type":"file","id":"5f7a47e35c0bdefed91a9162ce7999b07e3dec94","attributes":{"id":"5f7a47e35c0bdefed91a9162ce7999b07e3dec94","filename":"zeeb_gunda.jpg","mime_type":"image/jpeg","path":"live/5f/5f7a47e35c0bdefed91a9162ce7999b07e3dec94","path_file":"live/5f/5f7a47e35c0bdefed91a9162ce7999b07e3dec94/zeeb_gunda.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/zeeb_gunda.jpg","height":1953,"width":1300,"title":"Gunda Zeeb","alternativeText":"Portrait of Gunda Zeeb","description":null,"link":"","filename_original":"","mime_type_original":"","date_create":"18.10.2021 18:44","date_update":"18.10.2021 18:44","column_width":50,"copyright":null,"_parent_sys_language_uid":1}}]}}},{"type":"content","id":85256,"attributes":{"uid":85256,"pid":6678,"tstamp":123,"hidden":0,"sorting":3036,"CType":"file_list","header":"","bodytext":"","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":85255,"categories":0,"rowDescription":null,"is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0}},{"type":"content","id":43186,"attributes":{"uid":43186,"pid":6678,"tstamp":125,"hidden":0,"sorting":3072,"CType":"standard_content","header":"Emanuel Gat","bodytext":"Artistic Director und Choreograf
\r\nEmanuel Gat kam 1969 in Israel zur Welt. Im Alter von 23 Jahren kam er an einem vom israelischen Choreografen Nir Ben Gal geleiteten Workshop zum ersten Mal mit Tanz in Berührung. Zwei Monate später wurde er Mitglied der Liat Dror Nir Ben Gal Company, mit der er an internationalen Gastspielen teilnahm. 1994 begann Emanuel Gat als unabhängiger Choreograf zu arbeiten.
Während zehn Jahren nahm er an zahlreichen Projekten als Choreograf teil, bevor er 2004 seine eigene Kompanie gründete. Mit der Truppe Emanuel Gat Dance kreierte er verschiedene Stücke, mit denen er internationale Erfolge feierte. Die 2004 am Festival d'Uzès entstandenen Choreografien «Winterreise» und «Le sacre du printemps» wurden weltweit über 350 Mal aufgeführt. Das 2006 erarbeitete Stück «K626» feierte am Festival de Marseille Premiere. 2007 folgte die Produktion «3for2007».
Im selben Jahr beschloss Emanuel Gat, sich in Frankreich niederzulassen und mit seiner Kompanie im Maison Intercommunale de la Danse in Istres, Frankreich, zu arbeiten. «Silent Ballet» war das erste in Frankreich produzierte Stück. Es wurde 2008 am Festival Montpellier Danse aufgeführt, vor der Tanzproduktion «Winter Variations» im Jahr 2009. 2011 produzierte Emanuel Gat das Stück «Brilliant Corners» für zehn Tänzer, für das er auch die Musik kreierte.
Am 33. Festival Montpellier Danse war er 2013 als Associated Artist beteiligt. Mit seiner Kompanie entwickelte er das Projekt «Up Close Up» und stellte zwei Kreationen vor: «The Goldlandbergs» und «Corner Etudes»; die fotografische Installation «It’s people, how abstract can it get?» und den choreografischen Event «Danses de Cour». Im Jahr darauf kreierte er «Plage Romantique» für die Agora, ein Stück für neun Tänzer.
Nach drei Jahren in Folge am Festival Montpellier Danse schuf Emanuel Gat «SUNNY», eine Choreografie für zehn Tänzer und den Musiker Awir Léon live auf der Bühne. 2017 präsentierte Emanuel Gat sein zweites Projekt im Zusammenhang mit seiner Tätigkeit am Festival Montpellier Danse. Es umfasste zwei Produktionen: eine einzigartige Zusammenarbeit mit dem Ballet de l'Opera de Lyon, «TENWORKS» (für Jean-Paul), ein Programm bestehend aus zehn kurzen Stücken, an dem Tänzer beider Kompanien beteiligt waren; und «DUOS», eine Serie aus Duetten, die an verschiedenen öffentlichen Standorten in Montpellier aufgeführt wurden. 2016 arbeitete der Choreograf ausserdem mit der Scène Nationale d'Albi zusammen.
2017 war er zum ersten Mal am Festival d'Avignon mit «Story Water», einem Projekt der Truppe Emanuel Gat Dance und dem Ensemble Modern für elf Tänzer und 13 Musikerinnen und Musiker im Ehrenhof des Papstpalastes. Seit der Saison 2018/2019 ist Emanuel Gat für drei Jahre als Associated Artist am Théâtre National de Chaillot tätig.
Er wird regelmässig von renommierten französischen und internationalen Kompanien eingeladen, für die er Stücke kreiert oder überträgt, so vom Ballet de l'Opéra de Paris, dem Ballet du Rhin, dem Ballet National de Marseille, dem Ballet de Lorraine, der Opéra de Lyon, der Sydney Dance Company, dem Tanztheater Bremen und der Candoco Dance Company, dem Ballet du Grand Théâtre de Genève, dem Los Angeles Dance Project, dem Ballet Royal de Suède, dem Cedar Lake (New York) und dem Ballet British Columbia.
Emanuel Gat wurde mit zahlreichen Preisen ausgezeichnet, so 1995 mit einem Stipendium der Fondation du Ballet Master Albert Gaubiers, 2003 mit dem Rosenblum-Preis und 2004 mit dem Landau-Preis. 2006 wurde er als Mitglied von IcExcellence, der Israeli Culture Excellence Foundation aufgenommen. Ausserdem erhielt er den Bessie Award für die Aufführung der Choreografien «Winterreise» und «Sacre du Printemps» 2006 am Lincoln Center Festival in New York. Im Jahr 2012 wurde er erneut für den Bessie Award nominiert mit «Préludes et Fugues» für das Ballet du Grand Théâtre de Genève am Joyce Theater in New York. Darüber hinaus entwickelt und überträgt Emanuel Gat Stücke im Rahmen pädagogischer Schulungen.
Site | Facebook | Instagram | YouTube | Vimeo | Twitter
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Artistic Director und Choreograf\r\nEmanuel Gat kam 1969 in Israel zur Welt. Im Alter von 23 Jahren kam er an einem vom israelischen Choreografen Nir Ben Gal geleiteten Workshop zum ersten Mal mit Tanz in Berührung. Zwei Monate später wurde er Mitglied der Liat Dror Nir Ben Gal Company, mit der er an internationalen Gastspielen teilnahm. 1994 begann Emanuel Gat als unabhängiger Choreograf zu arbeiten. Während zehn Jahren nahm er an zahlreichen Projekten als Choreograf teil, bevor er 2004 seine eigene Kompanie gründete. Mit der Truppe Emanuel Gat Dance kreierte er verschiedene Stücke, mit denen er internationale Erfolge feierte. Die 2004 am Festival d'Uzès entstandenen Choreografien «Winterreise» und «Le sacre du printemps» wurden weltweit über 350 Mal aufgeführt. Das 2006 erarbeitete Stück «K626» feierte am Festival de Marseille Premiere. 2007 folgte die Produktion «3for2007». Im selben Jahr beschloss Emanuel Gat, sich in Frankreich niederzulassen und mit seiner Kompanie im Maison Intercommunale de la Danse in Istres, Frankreich, zu arbeiten. «Silent Ballet» war das erste in Frankreich produzierte Stück. Es wurde 2008 am Festival Montpellier Danse aufgeführt, vor der Tanzproduktion «Winter Variations» im Jahr 2009. 2011 produzierte Emanuel Gat das Stück «Brilliant Corners» für zehn Tänzer, für das er auch die Musik kreierte. Am 33. Festival Montpellier Danse war er 2013 als Associated Artist beteiligt. Mit seiner Kompanie entwickelte er das Projekt «Up Close Up» und stellte zwei Kreationen vor: «The Goldlandbergs» und «Corner Etudes»; die fotografische Installation «It’s people, how abstract can it get?» und den choreografischen Event «Danses de Cour». Im Jahr darauf kreierte er «Plage Romantique» für die Agora, ein Stück für neun Tänzer. Nach drei Jahren in Folge am Festival Montpellier Danse schuf Emanuel Gat «SUNNY», eine Choreografie für zehn Tänzer und den Musiker Awir Léon live auf der Bühne. 2017 präsentierte Emanuel Gat sein zweites Projekt im Zusammenhang mit seiner Tätigkeit am Festival Montpellier Danse. Es umfasste zwei Produktionen: eine einzigartige Zusammenarbeit mit dem Ballet de l'Opera de Lyon, «TENWORKS» (für Jean-Paul), ein Programm bestehend aus zehn kurzen Stücken, an dem Tänzer beider Kompanien beteiligt waren; und «DUOS», eine Serie aus Duetten, die an verschiedenen öffentlichen Standorten in Montpellier aufgeführt wurden. 2016 arbeitete der Choreograf ausserdem mit der Scène Nationale d'Albi zusammen. 2017 war er zum ersten Mal am Festival d'Avignon mit «Story Water», einem Projekt der Truppe Emanuel Gat Dance und dem Ensemble Modern für elf Tänzer und 13 Musikerinnen und Musiker im Ehrenhof des Papstpalastes. Seit der Saison 2018/2019 ist Emanuel Gat für drei Jahre als Associated Artist am Théâtre National de Chaillot tätig. Er wird regelmässig von renommierten französischen und internationalen Kompanien eingeladen, für die er Stücke kreiert oder überträgt, so vom Ballet de l'Opéra de Paris, dem Ballet du Rhin, dem Ballet National de Marseille, dem Ballet de Lorraine, der Opéra de Lyon, der Sydney Dance Company, dem Tanztheater Bremen und der Candoco Dance Company, dem Ballet du Grand Théâtre de Genève, dem Los Angeles Dance Project, dem Ballet Royal de Suède, dem Cedar Lake (New York) und dem Ballet British Columbia. Emanuel Gat wurde mit zahlreichen Preisen ausgezeichnet, so 1995 mit einem Stipendium der Fondation du Ballet Master Albert Gaubiers, 2003 mit dem Rosenblum-Preis und 2004 mit dem Landau-Preis. 2006 wurde er als Mitglied von IcExcellence, der Israeli Culture Excellence Foundation aufgenommen. Ausserdem erhielt er den Bessie Award für die Aufführung der Choreografien «Winterreise» und «Sacre du Printemps» 2006 am Lincoln Center Festival in New York. Im Jahr 2012 wurde er erneut für den Bessie Award nominiert mit «Préludes et Fugues» für das Ballet du Grand Théâtre de Genève am Joyce Theater in New York. Darüber hinaus entwickelt und überträgt Emanuel Gat Stücke im Rahmen pädagogischer Schulungen.\r\nSite | Facebook | Instagram | YouTube | Vimeo | Twitter"},"relationships":{"assets":{"data":[{"type":"file","id":"cf0d1137110d0d296afed6e16d14fc61f9fe54f7","attributes":{"id":"cf0d1137110d0d296afed6e16d14fc61f9fe54f7","filename":"mda_gastdozierende_gat_web.jpg","mime_type":"image/jpeg","path":"live/cf/cf0d1137110d0d296afed6e16d14fc61f9fe54f7","path_file":"live/cf/cf0d1137110d0d296afed6e16d14fc61f9fe54f7/mda_gastdozierende_gat_web.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/MDA_Gastdozierende_Gat_web.jpg","height":867,"width":1300,"title":"Emanuel Gat","alternativeText":"Emanuel Gat. Foto: Julia Gat","description":"Emanuel Gat. Foto: Julia Gat","link":"","filename_original":"","mime_type_original":"","date_create":"06.09.2018 16:43","date_update":"05.03.2019 11:01","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":85169,"attributes":{"uid":85169,"pid":6678,"tstamp":125,"hidden":0,"sorting":3264,"CType":"standard_content","header":"Michael Getman","bodytext":"Michael (Misha) Getman was born in Israel to parents Dora and Zechariah, who immigrated to Is-rael from Soviet Leningrad after a failed-plane hijacking by young Jewish dissidents to escape the USSR in 1970 – ”Operation Wedding.”
His professional education was at the Bat Dor School of dance, directed by Jennette Ordman. As an interpreter, he gained experience at the Batsheva junior ensemble directed by Naomi Perlov. He later joined the Batsheva dance company, where he worked for three years with the choreographer and artistic director Ohad Naharin. In 1999 he joined the Ballet Freiburg Pretty Ugly, where he worked till 2004 with the choreographer Amanda Miller. He also worked at the Sadt Theatre Saarbrucken, directed by the choreographer Marguerite Donlon. As a performer, he had the privilege of learning and interpreting works by master choreographers, including Ohad Naharin, Amanda K Miller, Marguerite Donlon, and William Forsythe. Since 2007 Getman has been developing his work and choreographic structure. He examines and is curious about the relationship between our bodily actions, cognitive responses, and the ability to respond to the ongoing demands of experience with a range of physical arousal and emotions. His works have been presented in various festivals and venues, including Israel Museum (Jerusalem), Suzanne Dellal Center (Tel Aviv), Open Look (St.Petersburg), Holland Dance (Den Haag), Nowy Teater (Warsaw), Théâtre National de Chaillot (Paris), Schauspielhaus (Hamburg). Michael also works in Theatre and Ethnography, researching and facilitating artistic expression with various communities and cultures.
He teaches choreography, composition, and improvisation workshops for professional and non-professional.
Since 2020 Getman has been working towards an M.A. at the University of Huddersfield, England.
Geboren in Hongkong als Sohn deutscher und westafrikanischer Eltern, aufgewachsen in Berlin und erzogen durch Hip Hop, nutzt Raphael Moussa Hillebrand seinen vielseitigen kulturellen Hintergrund, um seine Vision von Hip Hop Tanztheater zu verwirklichen. Seit 2005 arbeitet er regelmäßig mit dem Goethe Institut zusammen. Durch seine umfangreiche internationale Arbeit hat er ein Verständnis und Gespür für soziale Gerechtigkeit und eine Sensibilität für die Komplexität kultureller Identität entwickelt. Er leitet regelmäßig internationale Kultur- und Kooperationsprogramme und kreiert Tanztheaterproduktionen mit den lokalen Tänzern.
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Geboren in Hongkong als Sohn deutscher und westafrikanischer Eltern, aufgewachsen in Berlin und erzogen durch Hip Hop, nutzt Raphael Moussa Hillebrand seinen vielseitigen kulturellen Hintergrund, um seine Vision von Hip Hop Tanztheater zu verwirklichen. Seit 2005 arbeitet er regelmäßig mit dem Goethe Institut zusammen. Durch seine umfangreiche internationale Arbeit hat er ein Verständnis und Gespür für soziale Gerechtigkeit und eine Sensibilität für die Komplexität kultureller Identität entwickelt. Er leitet regelmäßig internationale Kultur- und Kooperationsprogramme und kreiert Tanztheaterproduktionen mit den lokalen Tänzern."},"relationships":{"assets":{"data":[{"type":"file","id":"ef91ab15836b966754567f7d5682d24de851925b","attributes":{"id":"ef91ab15836b966754567f7d5682d24de851925b","filename":"raphael_moussa_hillebrand.jpeg","mime_type":"image/jpeg","path":"live/ef/ef91ab15836b966754567f7d5682d24de851925b","path_file":"live/ef/ef91ab15836b966754567f7d5682d24de851925b/raphael_moussa_hillebrand.jpeg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/raphael_moussa_hillebrand.jpeg","height":1280,"width":859,"title":"Raphael Moussa Hillebrand","alternativeText":"Portrait von Raphael Moussa Hillebrand","description":"Raphael Moussa Hillebrand","link":"","filename_original":"","mime_type_original":"","date_create":"12.05.2022 10:29","date_update":"12.05.2022 10:29","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":43272,"attributes":{"uid":43272,"pid":6678,"tstamp":125,"hidden":0,"sorting":3456,"CType":"standard_content","header":"Jason Jacobs","bodytext":"Jason Jacobs lebt in Frankfurt a. M. und ist Tänzer, Choreograf und Dozent. Er entwickelt Tanznummern und ist weltweit mit renommierten Choreografen und Kompanien aufgetreten, so auch mit Hofesh Shechter, Johannes Wieland, dem Complexions Contemporary Ballet und dem North Carolina Dance Theater. 2014 schloss er an der HfMDK Frankfurt den Studiengang Contemporary Dance Education mit dem Master ab. Derzeit entwickelt er zusammen mit der Choreografin Ekaterine Giorgadze Projekte unter der Bezeichnung «MuddyBoots». Er lehrt an verschiedenen Tanzinstitutionen in ganz Europa, ist Fakultätsmitglied an der Anton Bruckner Privatuniversität in Linz, Österreich, und arbeitet als Probenleiter für TanzMainz.
www.muddyboots-dance.com
Dutch choreographer Nanine Linning (1977, Amsterdam) consciously leaves the beaten theatrical track. Moving beyond divisions and working across disciplines, combining dance, opera, concerts and installations. Crossing fields of design, video, visual arts and music, her productions are characterized by an explosive movement language and an equally vivid imagery. Linning designs opulent poetic work; her evening-length productions are worlds on their own in their visual and dramaturgical content. Her out of the box concepts make reference to human emotions as well as aspects of cultural history and social criticism. Her close cooperation with diverse internationally known artists and scientists is reflected in the broad spectrum of her projects, which include European co-productions and touring, exhibitions and installations.
Linning received the Philip Morris Prize (2003), a Swan for Best Dance Production for «Bacon» (2006), and was nominated twice for the German ‘Faust’ Award (2012 and 2013) for «Voice Over» and «Zero» respectively. Her «Requiem» (2015) for Konzert Theater Bern, gained the Swiss Dance Award. Die Deutsche Bühne named her top 4 Impressive Choreographers of 2017. Magazine tanz mentioned her in the Category Choreographer of the Year 2017. Her dancefilm «La Voix Humain» won several prizes in Filmfestivals in Venice, Tokyo, London, Lisbon, Amsterdam and New York in 2021–2022.
After graduating Linning founded her own ensemble, Dance Company Nanine Linning. From 2001–2006 she was appointed resident choreographer for Scapino Ballet. From 2009–2012 she was artistic director and chief choreographer at Theater Osnabrück, from 2012–2018, she headed the newly established dance company of Theater und Orchester Heidelberg where she created seven evening length dance productions and directed two operas, «Madama Butterfly» and «Akhnaton» from Philip Glass. In Heidelberg she became a founder of both Festival Tanzbiennale and the Choreographic Centre. In 2018 and 2019 she was appointed as curator of the dance programme of Festspiele Ludwigshafen. Linning is appointed as new Artistic Director of Scapino Ballet Rotterdam as of season 2024–2025.
Linning created and produced with her own company evening lenghth productions such as «Bacon» about the painter Francis Bacon, «Cry Love» and «Endless Song of Silence», her acclaimed dance and video production in collaboration with Iris van Herpen. In 2019 she created «Double Helix», an installation based performance in collaboration with Dutch designer Bart Hess.
As freelancer she was commissioned to create productions for the Stuttgart Ballet, Bavarian State Ballet Munich, Gauthier Dance Stuttgart, Theater Bielefeld (DE), Netherlands Chamber Choir (NL), Konzert Theater Bern (CH), Boston Ballet (USA), Szeged Dance Company (HU) and MusicAeterna in St. Petersburg (RU).
→ Instagram: naninelinningdance
→ Nanine Linning’s website
Der gebürtige Villacher Guido Markowitz studierte klassisches Ballett sowie zeitgenössischen und modernen Tanz an der Akademie Iwanson und arbeitete anschliessend an den städtischen Bühnen Münster, bevor er 1996 als Solist und Choreograf zum Tanztheater am Staatstheater Darmstadt wechselte. Seit 2004 arbeitet Guido Markowitz als freischaffender Choreograf und Regisseur. In seine Arbeiten bezieht er sämtliche Sparten mit ein, mischt Generationen und bringt Tänzer gemeinsam mit Turnern und Break Dancern auf die Bühne. Der Pforzheimer Ballettdirektor wurde für seine Arbeiten zweimal für den Deutschen Theaterpreis Faust nominiert. 2014 war der Choreograf unter anderem mit zwei Produktionen beim Tanztreffen der Berliner Festspiele eingeladen.
\r\nGuido Markowitz ist seit der Spielzeit 2015/16 Ballettdirektor am Theater Pforzheim.
Seit März 2017 ist er zudem im Vorstand der «TanzSzene Baden-Württemberg e.V.» ehrenamtlich tätig.
Tabea Martin is a choreographer and performer based in Basel, Switzerland. She studied Modern Dance at the Hogeschool voor de Kunsten in Amsterdam (2002). She danced with Piet Rogie & Company in Holland, with Fabian Chyle in Stuttgart and Nick Bryson in Ireland. She has been guest student at SNDO in Amsterdam and finished studying choreography at Rotterdamse Dansacademie in 2006.
Her productions “A coté de l’ombre” (2004), “Sculpterre” (2005), “Promenade dans l’eau” (2005) and “Impair” (2005) have been touring in Holland and Switzerland. 2006 her production “Über freundliche und ausgeglichene Menschen” was the opener for Tanztage Basel at Roxy theatre. In 2007 she was invited to a symposium with Forced Entertainment at PACT Zollverein Essen. Also she created choreographies for Junges Theater Basel “S chunnt scho guet”.
2008 she was invited to Choreoroam Project, an initiative for young choreographers in Great Britain, Italy and Switzerland. 2009 she collaborated with filmmaker Lucy Cash at B-Motion Festival in Italy and with director Merel de Groot at Grand Theatre Groningen.
In Holland her work has been supported by Dansateliers Rotterdam and Het LAB Utrecht. 2011 Tabea has won the Wim Barry Prize for all her choreographic work in Holland and was nominated by the Dutch Dance Days for promising young choreographers.
“Duet for two dancers” (2010) was selected by Aerowaves in 2013 and was awarded by Reconnaissance, Échirolles 2013. “Field” (2014) has been selected by Aerowaves to Priority Group. Both production have been touring in Europe since.
Tabea Martin regularly collaborates with municipal and state theatres. At Schauspielhaus Zürich, Gorki Theater Berlin, Theater Basel, Konzert Theater Bern Staatstheater Oldenburg Stadt Theater Konstanz and Theater Neumarkt she worked together with Sebastian Nübling, Anna Bergmann, Elina Finkel and Sibylle Berg.
2015 she has won the special prize from Berner Tanzpreise.
Her production “Pink for Girls & Blue for Boys” premiered at Tanzhaus Zürich in January 2016 and was touring in whole Europe. Her production “Beyond Indifference” premiered in December 2016 at Kaserne Basel. In May 2017 she realized the mediation project “Home – Tanzakademie Basel” in collaboration with Kaserne Basel and Tanzfest Basel. In September 2017 she did the choreography for “Nach uns das All” (text: Sibylle Berg) with Sebastian Nübling at Maxim Gorki Theatre Berlin. On 1 February 2018 her Duet “This is my last dance” together with Italian dancer Simona Bertozzi premiered at Kaserne Basel. This was the first part of the trilogy that she made about transience. After she created “FOREVER“ and “Nothing Left”. Both had Premiere at Kaserne Basel. Nothing Left is co-produced by Dance Festival Steps – Migros culture percentage 2020.
Pink for Girls and Blue for Boys, This is my last dance as well as Forever were programmed for the Swiss Dance Days.
Her latest works are “Geh nicht in den Wald im Wald ist der Wald” 2022 and the solo for Tamara Gvozdenovic “Demain est annulé”. Both are touring in Europe.
Tabea Martin received the Culture Award 2016 from Kanton Basel-Landschaft, Switzerland.
From 2016–2018 she was “Young Associated Artist” of the mentoring-programme of Pro Helvetia-Swiss Arts Council. She was supported by PRAIRIE – the coproduction support of Migros Culture-Percentage from 2016–2019.
From 2018–2020 / 2021–2023 and from 2024-2026 Tabea Martin is supported by Fachausschuss Tanz & Theater Basel-Stadt and Basel-Landschaft in cooperation with Pro Helvetia – Swiss Arts Council.
Tabea Martin is a jury member of Tanzkommission of the city of Zurich, the SSA – Société Suisse des Auteurs and Atelier Mondial of the Christoph Merian Stiftung.
She has been teaching at ZHdK, Manufacture, Marchepied, CFP Genève.
Ballet Mistress at Ballet Nacional de España and freelance writer/researcher.
\r\nDr. Elna Matamoros holds a PhD with International Mention in Aesthetics and Art Theory (Universidad Autónoma de Madrid, 2017 – Research Internship at ZHdK), and an MA in Dance Education as a Fulbright Scholar (New York University, 2000). As a dancer she was mainly trained in Madrid by her mother Carmina Ocaña following the Bournonville School, and later in New York, at the Joffrey Ballet School and under the tutelage of Wilhelm Burmann and David Howard.
\r\nBetween 2012 and 2019 she was a member of Compañía Nacional de Danza (CND) as a Ballet Mistress with José Carlos Martínez as Artistic Director. Besides having taught ballet in several international companies, Elna Matamoros has also rehearsed ballets by Balanchine, Bournonville, Fabre, Forsythe, Galili, Martínez, Léonide Massine, Perrot or Petipa, among many others. She has staged ballets such as Marius Petipa’s Odalisques Pas de trois and August Bournonville’s Flower Festival in Genzano, Guillaume Tell Pas de Deux and La Sylphide Divertissement; in 2016, Matamoros revived for Elena Vostrotina the version that Mikhail Fokine staged of The Dying Swan for Elna Ørnberg while he was in Denmark in 1925. She is currently working on the revival of another of the most emblematic pieces of Diaghilev’s Ballets Russes and preparing two new books.
\r\nDr. Matamoros is the author of the book Augusto Bournonville, Historia y estilo (Madrid, Akal, 2008, prefaced by Frank Andersen and Tamara Rojo), and editor, by commission of the Antonio Gades Foundation, of the book Carmen/Gades 25 Años (Madrid, Fundación Autor, 2008). Her most recently published book, as part of the sub-Texte series of ZHdK (volume 24) is Dance & Costumes, A History of Dressing Movement (Berlin, Alexander Verlag, 2021, prefaced by Jane Pitchard – V&A Museum); it provides a history of dance costumes linked to the evolution of movement itself.
She is also a regular contributor to several performing arts publications and a dance specialist in El Cultural. Dr. Matamoros was also in charge of the full collection of Cuadernos Educativos de la Compañía Nacional de Danza. Since 2019 she has been writing the first books for a new series published by Ballet Nacional de España titled #BNE nos cuenta which will be expanded throughout the next years.
She has been teaching ballet regularly at ZHdK since 2016. In the last years she created two theory courses especially for the MA students at ZHdK: ‘Dance coaching as a link between choreographer and dancer’ and ‘Dance and Costumes’. Dr. Matamoros has participated in numerous international symposia, focusing on Romantic Ballet, Diaghilev’s Ballets Russes, Spanish Dance, Aesthetics and Dance Costumes among other subjects. As a frequent lecturer, she has given courses of Anthropology and Dance History, Repertoire Analysis and Ballet Methodology – especially the Bournonville School – in several conservatories and research centers, both to students and teachers.
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Ballet Mistress at Ballet Nacional de España and freelance writer/researcher.\r\nDr. Elna Matamoros holds a PhD with International Mention in Aesthetics and Art Theory (Universidad Autónoma de Madrid, 2017 – Research Internship at ZHdK), and an MA in Dance Education as a Fulbright Scholar (New York University, 2000). As a dancer she was mainly trained in Madrid by her mother Carmina Ocaña following the Bournonville School, and later in New York, at the Joffrey Ballet School and under the tutelage of Wilhelm Burmann and David Howard. \r\nBetween 2012 and 2019 she was a member of Compañía Nacional de Danza (CND) as a Ballet Mistress with José Carlos Martínez as Artistic Director. Besides having taught ballet in several international companies, Elna Matamoros has also rehearsed ballets by Balanchine, Bournonville, Fabre, Forsythe, Galili, Martínez, Léonide Massine, Perrot or Petipa, among many others. She has staged ballets such as Marius Petipa’s Odalisques Pas de trois and August Bournonville’s Flower Festival in Genzano, Guillaume Tell Pas de Deux and La Sylphide Divertissement; in 2016, Matamoros revived for Elena Vostrotina the version that Mikhail Fokine staged of The Dying Swan for Elna Ørnberg while he was in Denmark in 1925. She is currently working on the revival of another of the most emblematic pieces of Diaghilev’s Ballets Russes and preparing two new books.\r\nDr. Matamoros is the author of the book Augusto Bournonville, Historia y estilo (Madrid, Akal, 2008, prefaced by Frank Andersen and Tamara Rojo), and editor, by commission of the Antonio Gades Foundation, of the book Carmen/Gades 25 Años (Madrid, Fundación Autor, 2008). Her most recently published book, as part of the sub-Texte series of ZHdK (volume 24) is Dance & Costumes, A History of Dressing Movement (Berlin, Alexander Verlag, 2021, prefaced by Jane Pitchard – V&A Museum); it provides a history of dance costumes linked to the evolution of movement itself. She is also a regular contributor to several performing arts publications and a dance specialist in El Cultural. Dr. Matamoros was also in charge of the full collection of Cuadernos Educativos de la Compañía Nacional de Danza. Since 2019 she has been writing the first books for a new series published by Ballet Nacional de España titled #BNE nos cuenta which will be expanded throughout the next years.\r\nShe has been teaching ballet regularly at ZHdK since 2016. In the last years she created two theory courses especially for the MA students at ZHdK: ‘Dance coaching as a link between choreographer and dancer’ and ‘Dance and Costumes’. Dr. Matamoros has participated in numerous international symposia, focusing on Romantic Ballet, Diaghilev’s Ballets Russes, Spanish Dance, Aesthetics and Dance Costumes among other subjects. As a frequent lecturer, she has given courses of Anthropology and Dance History, Repertoire Analysis and Ballet Methodology – especially the Bournonville School – in several conservatories and research centers, both to students and teachers."},"relationships":{"assets":{"data":[{"type":"file","id":"650d559283650f33b315d5bee239cf67f11e18da","attributes":{"id":"650d559283650f33b315d5bee239cf67f11e18da","filename":"ematamoros_sia_2334m1fb.jpg","mime_type":"image/jpeg","path":"live/65/650d559283650f33b315d5bee239cf67f11e18da","path_file":"live/65/650d559283650f33b315d5bee239cf67f11e18da/ematamoros_sia_2334m1fb.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/ematamoros_sia_2334m1fb.jpg","height":867,"width":1300,"title":"Dr. Elna Matomoros","alternativeText":"Porträt von Dr. Elna Matomoros","description":"Dr. Elna Matomoros","link":"","filename_original":"","mime_type_original":"","date_create":"10.01.2022 09:14","date_update":"10.01.2022 09:18","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":53741,"attributes":{"uid":53741,"pid":6678,"tstamp":125,"hidden":0,"sorting":3520,"CType":"standard_content","header":"Michael Maurissens","bodytext":"Michael Maurissens wurde in Brüssel geboren, wo er mit seinem Tanztraining begann. Weiter studierte er Tanz an der Heinz-Bosl-Stiftung in München (1991–1992) und an der Schweizerischen Ballettberufsschule in Zürich (1992–1993, mit der Unterstützung der Pierino Ambrosoli Foundation) und war am Ballett Nürnberg / Tanzwerk Nürnberg, am Ballett Freiburg Pretty Ugly, am Nationaltheater Mannheim und bei pretty ugly tanz köln engagiert. Er hat unter anderem mit Amanda Miller, William Forsythe, Katy Duck, Hideto Heshiki, Martin Sonderkamp, Dominique Dumais und Georg Reischl gearbeitet. 2009 gründete er zusammen mit dem Kollegen Douglas Bateman das MichaelDouglas Kollektiv, welches sich um einen Kern von fünf Performern bildet, die sich konsistent für unterschiedliche Aktivitäten neu verbinden – mit bekannten und mit neu zu entdeckenden Tänzern, Choreografinnen, Musikern/Musikerinnen und einem breitgefächerten, kollaborativen System von institutionellen Partnern.
\r\nSeit einigen Jahren arbeitet Michael Maurissens mit Medien über die Mittel der Tanzkunst hinaus, auf dem Gebiet des Graphic Design, der Fotografie und des Films (als Filmemacher, Kameramann und Cutter). 2013 schloss er sein Postdoc-Studium an der Kunsthochschule für Medien Köln mit der Note «sehr gut» ab. Sein Studium konzentrierte sich auf Szenografie, angewandte bildende Kunst und Dokumentarfilm. Heute inszeniert und produziert er Filme, experimentelle Videoarbeiten sowie Performance-Dokumentationen und beteiligt sich an gemeinsamen visuellen Kunstprojekten.
\r\n→ Website CARRÉ BLANC Productions
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Michael Maurissens wurde in Brüssel geboren, wo er mit seinem Tanztraining begann. Weiter studierte er Tanz an der Heinz-Bosl-Stiftung in München (1991–1992) und an der Schweizerischen Ballettberufsschule in Zürich (1992–1993, mit der Unterstützung der Pierino Ambrosoli Foundation) und war am Ballett Nürnberg / Tanzwerk Nürnberg, am Ballett Freiburg Pretty Ugly, am Nationaltheater Mannheim und bei pretty ugly tanz köln engagiert. Er hat unter anderem mit Amanda Miller, William Forsythe, Katy Duck, Hideto Heshiki, Martin Sonderkamp, Dominique Dumais und Georg Reischl gearbeitet. 2009 gründete er zusammen mit dem Kollegen Douglas Bateman das MichaelDouglas Kollektiv, welches sich um einen Kern von fünf Performern bildet, die sich konsistent für unterschiedliche Aktivitäten neu verbinden – mit bekannten und mit neu zu entdeckenden Tänzern, Choreografinnen, Musikern/Musikerinnen und einem breitgefächerten, kollaborativen System von institutionellen Partnern. \r\nSeit einigen Jahren arbeitet Michael Maurissens mit Medien über die Mittel der Tanzkunst hinaus, auf dem Gebiet des Graphic Design, der Fotografie und des Films (als Filmemacher, Kameramann und Cutter). 2013 schloss er sein Postdoc-Studium an der Kunsthochschule für Medien Köln mit der Note «sehr gut» ab. Sein Studium konzentrierte sich auf Szenografie, angewandte bildende Kunst und Dokumentarfilm. Heute inszeniert und produziert er Filme, experimentelle Videoarbeiten sowie Performance-Dokumentationen und beteiligt sich an gemeinsamen visuellen Kunstprojekten.\r\n→ Website CARRÉ BLANC Productions "},"relationships":{"assets":{"data":[{"type":"file","id":"7ed4a141d4904b2be3e6db34649fe7481056a86f","attributes":{"id":"7ed4a141d4904b2be3e6db34649fe7481056a86f","filename":"2019_mda_maurissens-michael_foto_nn.png","mime_type":"image/png","path":"live/7e/7ed4a141d4904b2be3e6db34649fe7481056a86f","path_file":"live/7e/7ed4a141d4904b2be3e6db34649fe7481056a86f/2019_mda_maurissens-michael_foto_nn.png","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/2019_MDA_Maurissens-Michael_Foto_NN.png","height":943,"width":943,"title":"Michael Maurissens","alternativeText":"Michael Maurissens","description":"Michael Maurissens","link":"","filename_original":"","mime_type_original":"","date_create":"30.10.2019 15:30","date_update":"19.11.2019 15:02","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":110810,"attributes":{"uid":110810,"pid":6678,"tstamp":125,"hidden":0,"sorting":3528,"CType":"standard_content","header":"Thomas Meinecke","bodytext":"Thomas Meinecke was born in Hamburg in 1955 and lives near Munich and in Marseille. He is a writer (numerous novels and stories since 1986 published by Suhrkamp, currently “Selbst”, 2016), musician (with his band F.S.K., founded in 1980, whose albums have been released on Daniel Richter’s Buback label since 2008; since 1998 many joint electronic projects with Move D.), radio DJ (own broadcast on Bayerischer Rundfunk 1985–2021) and also DJ in urban night clubs (Berghain, Robert Johnson, Pudel Club, Rote Sonne, Toni Molkerei etc.). At Berlin’s Theater Hebbel am Ufer, he ran the dialogic event series “Plattenspieler” from 2007 until the first Lockdown in 2020; since fall 2022, the series has continued at Berlin’s Volksbühne. In the winter semester 2011/12 he held the poetics lectureship at Goethe University, Frankfurt am Main (“Ich als Text”, edition suhrkamp, 2012). Residencies at universities in Europe and the USA. Most recently: Writer in Residence at the University of St. Andrews, Scotland, Poetics Lectureship Gender at the TU Braunschweig. Numerous awards, in 2020 the Berliner Literaturpreis (with guest professorship at the FU in the summer semester of 2022). In 2021 a “Text + Kritik” volume on Thomas Meinecke was published, in 2022 the poetological reader “Ozeanisch Schreiben” (in Verbrecher Verlag).
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Thomas Meinecke was born in Hamburg in 1955 and lives near Munich and in Marseille. He is a writer (numerous novels and stories since 1986 published by Suhrkamp, currently “Selbst”, 2016), musician (with his band F.S.K., founded in 1980, whose albums have been released on Daniel Richter’s Buback label since 2008; since 1998 many joint electronic projects with Move D.), radio DJ (own broadcast on Bayerischer Rundfunk 1985–2021) and also DJ in urban night clubs (Berghain, Robert Johnson, Pudel Club, Rote Sonne, Toni Molkerei etc.). At Berlin’s Theater Hebbel am Ufer, he ran the dialogic event series “Plattenspieler” from 2007 until the first Lockdown in 2020; since fall 2022, the series has continued at Berlin’s Volksbühne. In the winter semester 2011/12 he held the poetics lectureship at Goethe University, Frankfurt am Main (“Ich als Text”, edition suhrkamp, 2012). Residencies at universities in Europe and the USA. Most recently: Writer in Residence at the University of St. Andrews, Scotland, Poetics Lectureship Gender at the TU Braunschweig. Numerous awards, in 2020 the Berliner Literaturpreis (with guest professorship at the FU in the summer semester of 2022). In 2021 a “Text + Kritik” volume on Thomas Meinecke was published, in 2022 the poetological reader “Ozeanisch Schreiben” (in Verbrecher Verlag)."},"relationships":{"assets":{"data":[{"type":"file","id":"5e0811fd880cb6a4166e210aff8f3a8346fc54c7","attributes":{"id":"5e0811fd880cb6a4166e210aff8f3a8346fc54c7","filename":"thomas_meinecke.jpeg","mime_type":"image/jpeg","path":"live/5e/5e0811fd880cb6a4166e210aff8f3a8346fc54c7","path_file":"live/5e/5e0811fd880cb6a4166e210aff8f3a8346fc54c7/thomas_meinecke.jpeg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/thomas_meinecke.jpeg","height":427,"width":640,"title":"Thomas Meinecke","alternativeText":"Photo: Porträt von Thomas Meinecke","description":"ZHdK-Gastdozent Thomas Meinecke","link":"","filename_original":"","mime_type_original":"","date_create":"29.11.2022 00:50","date_update":"29.11.2022 00:50","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":85170,"attributes":{"uid":85170,"pid":6678,"tstamp":125,"hidden":0,"sorting":3536,"CType":"standard_content","header":"Björn Pätz","bodytext":"Björn Pätz absolvierte das Studium der Theaterwissenschaft und Neueren deutschen Literatur an der Freien Universität Berlin. Seit 2004 koordiniert er die Presse- und Öffentlichkeitsarbeit für zahlreiche freie Projekte und Festivals der darstellenden Künste. Ab 2006 folgen auch Produktionsleitungen für diverse Künstler:innen. 2010 Mitbegründer von björn & björn, einer Agentur für Presse, Produktion und Dramaturgie. Das Label björn & björn begleitete darstellende Künstler:innen und ihre Arbeiten aus Tanz, Schauspiel, Musiktheater und Performance-Art. Seit 2020 arbeitet er am Schauspielhaus Zürich im Touring Office im Bereich Touring Management und internationale Beziehungen.
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Björn Pätz absolvierte das Studium der Theaterwissenschaft und Neueren deutschen Literatur an der Freien Universität Berlin. Seit 2004 koordiniert er die Presse- und Öffentlichkeitsarbeit für zahlreiche freie Projekte und Festivals der darstellenden Künste. Ab 2006 folgen auch Produktionsleitungen für diverse Künstler:innen. 2010 Mitbegründer von björn & björn, einer Agentur für Presse, Produktion und Dramaturgie. Das Label björn & björn begleitete darstellende Künstler:innen und ihre Arbeiten aus Tanz, Schauspiel, Musiktheater und Performance-Art. Seit 2020 arbeitet er am Schauspielhaus Zürich im Touring Office im Bereich Touring Management und internationale Beziehungen."},"relationships":{"assets":{"data":[{"type":"file","id":"f5f554b2f576402cdbadd911c6de1d2d0ac4e86e","attributes":{"id":"f5f554b2f576402cdbadd911c6de1d2d0ac4e86e","filename":"bjo__rn_pa__tz.jpg","mime_type":"image/jpeg","path":"live/f5/f5f554b2f576402cdbadd911c6de1d2d0ac4e86e","path_file":"live/f5/f5f554b2f576402cdbadd911c6de1d2d0ac4e86e/bjo__rn_pa__tz.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/Bjo__rn_Pa__tz.jpg","height":600,"width":900,"title":"bjo__rn_pa__tz.jpg","alternativeText":"Porträt von Björn Pätz","description":null,"link":"","filename_original":"","mime_type_original":"","date_create":"14.10.2021 23:45","date_update":"10.01.2022 09:17","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":53754,"attributes":{"uid":53754,"pid":6678,"tstamp":125,"hidden":0,"sorting":3552,"CType":"standard_content","header":"Naomi Perlov","bodytext":"Naomi Perlov wurde 1959 in Israel als Tochter einer Polin und eines Brasilianers geboren.
Sie studierte Tanz an der Bat Dor Dance Company (Tel Aviv), an der Schola Cantorum (Paris) und bei Milton Myers (New York). 1984 schloss sie ihre Ausbildung am Benesh Institute of Choreology mit Auszeichnung ab (Tanznotation).
Von 1994 bis 1998 war sie als künstlerische Co-Leiterin des Batsheva Ensemble in Tel Aviv tätig (Junior Dance Company), zusammen mit Ohad Naharin.
Seit 1988 arbeitet sie mit dem Choreografen Angelin Preljocaj zusammen und unterstützt ihn in seinen Produktionen und den weltweiten Wiederaufführungen seiner Ballette.
Von 1999 bis 2006 war sie künstlerische Leiterin des zweijährlich stattfindenden «Shades in Dance»-Wettbewerbs für junge israelische Künstlerinnen und Künstler am Suzanne Dellal Center.
Im September 2009 begründete sie «The Maslool», ein zweijähriges professionelles Tanzprogramm am Bikurey Ha’ltim Arts Center in Tel Aviv–Jaffa. «The Maslool» steht unter der künstlerischen Leitung von Naomi Perlov und Offir Dagan und wird seit 2011 vom israelischen Kulturministerium gefördert.
2015 lancierte Perlov gemeinsam mit Sharon Rubinov Biederman «Dconstruction», ein Kursprogramm für Tanzlehrerinnen und -lehrer mit methodologischen Tools zur Lektionen- und Jahresplanung, zur Umsetzung von Verbesserungen und zur gleichzeitigen Förderung und Stärkung der künstlerischen Aspekte während der Probenleitung.
Parallel zur ihrer Tätigkeit als künstlerische Leiterin, Probenleiterin und Jurymitglied an Tanzwettbewerben unterrichtet Naomi Perlov Modern Dance und trainiert Tänzerinnen und Tänzer in zahlreichen Kursen und Workshops.
Carina Premer lebt in Giessen und arbeitet als Lichtdesignerin, Lehrerin und Choreografin im Bereich zeitgenössischer Tanz und darstellende Kunst.
Nach ihrer Ausbildung zur Lichttechnikerin und Beleuchterin studierte sie Angewandte Theaterwissenschaft an der Justus-Liebig-Universität in Giessen, wo sie verschiedene diskursive Formate entwickelte und moderierte und transdisziplinäre Performances und Ausstellungen kreierte. Im Laufe der Jahre sammelte sie umfangreiche Erfahrungen sowohl in der Arbeit in größeren Institutionen als auch in unabhängigen künstlerischen Prozessen. Carina verwendet häufig komplexe Lichtkompositionen und nicht-lineare Dramaturgien, um Raum und Zeit fast unmerklich zu schrumpfen, zu dehnen und zu verzerren. Ihr Schwerpunkt auf Choreografie und Tanz manifestiert sich in zahlreichen Kooperationen mit Choreografen wie Mårten Spångberg (SWE), Ana Dubljevic (SE) und Lucie Tuma (CH) sowie in ihrem aktuellen Studium des MA-Studiengangs Choreografie und Performance in Gießen. Ihre Herangehensweise an Performance und Tanz ist stark von der Herausforderung des Rahmens der öffentlichen Präsentation und der Verflechtung von Arbeits- und Zuschauerbedingungen geprägt. In ihrer Arbeit hinterfragt sie Herkunft, Identität und Autorschaft, indem sie die Aufmerksamkeit auf präfiguratives Denken und die Transformation von affektiven und somatischen Erinnerungen in kollektive oder alltägliche Handlungen lenkt.
Charlotta Ruth arbeitet und spielt mit Zeit und Wahrnehmung in der Choreografie, künstlerischer Forschung und Game Design. Ihre Arbeiten wurden zum Beispiel im WUK, Tanzquartier, Brut in Wien und MDT & Dansens Hus in Stockholm und auf Konferenzen bei Uniarts Stockholm, in der SAR Society of Artistic Research und im Artistic Research Pavillon Venedig präsentiert. Ruth geht mit einem genreunabhängigen, aber orts- und kontextspezifischen Ansatz an Ideen heran, der zwischen Bühne, Galerie, öffentlichem Raum, institutionellen Zwischenräumen und online oszilliert. Zuletzt hat sie Game Design für City Games Vienna entwickelt und gemeinsam mit Dominik Grünbühel «Living Documents» erarbeitet, fünf choreografische Installationen als Teil eines Parcours in Stockholm, Kopenhagen und Wien (2020). Eine kontinuierliche Quelle der Inspiration und Resonanz des Denkens bildet ihre Arbeit als Performerin und die Kooperation mit anderen Künstschaffenden wie Ingrid Cogne, Alexander Gottfarb, Anne Juren, Saskia Hölbling, Toxic Dreams / Yosi Wanunu, Petter Jacobsson und Thomas Caley.
\r\nRuth wurde an der Royal Swedish Ballet School ausgebildet und hat einen MFA in Choreografie mit Spezialisierung auf Performancekunst von der Uniarts Stockholm. Sie studierte ausserdem computergestütztes Denken und grundlegende Programmierung, E-Poesie, digitales Filmemachen, Medienaktivismus und Schreiben von Live-Rollenspielen («Live Action Role Play»). Ruth ist seit 2017 PhD-Studentin in künstlerischer Forschung an der Universität für angewandte Kunst Wien, betreut von Prof. Dr. Margarete Jahrmann.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":"","is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":"","sticky":"","number_of_records":0,"open":"","research_projects_specific_projects":"","research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":"","iframe_height":0,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"Charlotta Ruth arbeitet und spielt mit Zeit und Wahrnehmung in der Choreografie, künstlerischer Forschung und Game Design. Ihre Arbeiten wurden zum Beispiel im WUK, Tanzquartier, Brut in Wien und MDT & Dansens Hus in Stockholm und auf Konferenzen bei Uniarts Stockholm, in der SAR Society of Artistic Research und im Artistic Research Pavillon Venedig präsentiert. Ruth geht mit einem genreunabhängigen, aber orts- und kontextspezifischen Ansatz an Ideen heran, der zwischen Bühne, Galerie, öffentlichem Raum, institutionellen Zwischenräumen und online oszilliert. Zuletzt hat sie Game Design für City Games Vienna entwickelt und gemeinsam mit Dominik Grünbühel «Living Documents» erarbeitet, fünf choreografische Installationen als Teil eines Parcours in Stockholm, Kopenhagen und Wien (2020). Eine kontinuierliche Quelle der Inspiration und Resonanz des Denkens bildet ihre Arbeit als Performerin und die Kooperation mit anderen Künstschaffenden wie Ingrid Cogne, Alexander Gottfarb, Anne Juren, Saskia Hölbling, Toxic Dreams / Yosi Wanunu, Petter Jacobsson und Thomas Caley.\r\nRuth wurde an der Royal Swedish Ballet School ausgebildet und hat einen MFA in Choreografie mit Spezialisierung auf Performancekunst von der Uniarts Stockholm. Sie studierte ausserdem computergestütztes Denken und grundlegende Programmierung, E-Poesie, digitales Filmemachen, Medienaktivismus und Schreiben von Live-Rollenspielen («Live Action Role Play»). Ruth ist seit 2017 PhD-Studentin in künstlerischer Forschung an der Universität für angewandte Kunst Wien, betreut von Prof. Dr. Margarete Jahrmann."},"relationships":{"assets":{"data":[{"type":"file","id":"a377260cb42cd8227ea2edbeb681020fa674429f","attributes":{"id":"a377260cb42cd8227ea2edbeb681020fa674429f","filename":"2019_mda_ruth-charlotta_foto_luke_baio.png","mime_type":"image/png","path":"live/a3/a377260cb42cd8227ea2edbeb681020fa674429f","path_file":"live/a3/a377260cb42cd8227ea2edbeb681020fa674429f/2019_mda_ruth-charlotta_foto_luke_baio.png","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/2019_MDA_Ruth-Charlotta_Foto_Luke_Baio.png","height":939,"width":943,"title":"Charlotta Ruth","alternativeText":"Charlotta Ruth. Foto: Luke Baio","description":"Charlotta Ruth. Foto: Luke Baio","link":"","filename_original":"","mime_type_original":"","date_create":"30.10.2019 15:42","date_update":"19.11.2019 14:47","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":96926,"attributes":{"uid":96926,"pid":6678,"tstamp":125,"hidden":0,"sorting":3904,"CType":"standard_content","header":"Tanja Saban","bodytext":"Tanja Saban ist Tänzerin, zertifizierte Gaga-Lehrerin und Yoga-Praktizierende. Geboren und aufgewachsen in der Schweiz, absolvierte sie 2007 das SEAD Trainingsprogramm. Sie ist Förderstipendiatin des Tanzquartiers in Wien, wo sie ihre Karriere als freischaffende Tänzerin und Lehrerin begann. Sie arbeitet mit Choreographen und Künstlern anderer Disziplinen an Projekten zusammen und kreiert ihre eigenen Arbeiten in Österreich, Spanien, der Schweiz, Israel und New York City. Das Herzstück ihrer künstlerischen Praxis ist die fortlaufende Erforschung des sich bewegenden Körpers - ein Raum der Erfahrung, des Ausdrucks und der persönlichen Entfaltung in der Entfaltung der physischen Intelligenz und des sensorischen Körpers. Derzeit entwickelt sie eine Plattform für co-kreative, immersive Tanzerfahrungen, die zwischen Clubkultur, Performance und verkörperten Praktiken oszillieren.
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Tanja Saban ist Tänzerin, zertifizierte Gaga-Lehrerin und Yoga-Praktizierende. Geboren und aufgewachsen in der Schweiz, absolvierte sie 2007 das SEAD Trainingsprogramm. Sie ist Förderstipendiatin des Tanzquartiers in Wien, wo sie ihre Karriere als freischaffende Tänzerin und Lehrerin begann. Sie arbeitet mit Choreographen und Künstlern anderer Disziplinen an Projekten zusammen und kreiert ihre eigenen Arbeiten in Österreich, Spanien, der Schweiz, Israel und New York City. Das Herzstück ihrer künstlerischen Praxis ist die fortlaufende Erforschung des sich bewegenden Körpers - ein Raum der Erfahrung, des Ausdrucks und der persönlichen Entfaltung in der Entfaltung der physischen Intelligenz und des sensorischen Körpers. Derzeit entwickelt sie eine Plattform für co-kreative, immersive Tanzerfahrungen, die zwischen Clubkultur, Performance und verkörperten Praktiken oszillieren."},"relationships":{"assets":{"data":[{"type":"file","id":"890943809876017da222c3b0ac430e62a51d39f4","attributes":{"id":"890943809876017da222c3b0ac430e62a51d39f4","filename":"tanja_saban.jpg","mime_type":"image/jpeg","path":"live/89/890943809876017da222c3b0ac430e62a51d39f4","path_file":"live/89/890943809876017da222c3b0ac430e62a51d39f4/tanja_saban.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/tanja_saban.jpg","height":1733,"width":1300,"title":"Tanja Saban","alternativeText":"Porträt von Tanja Saban","description":"Tanja Saban","link":"","filename_original":"","mime_type_original":"","date_create":"12.05.2022 14:33","date_update":"12.05.2022 14:33","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":91662,"attributes":{"uid":91662,"pid":6678,"tstamp":125,"hidden":0,"sorting":3968,"CType":"standard_content","header":"Mor Shani","bodytext":"Mor Shani started his professional career at Bat-Dor dance company Tel Aviv. Studied at Artez dance academy in Arnhem, at DasArts theater academy Amsterdam, The Netherlands, and nowadays finishing his studies of cultural policy at Sapir College, Sderot, Israel. Shani worked as artist in residence at Dansateliers Rotterdam, at ICK Amsterdam and in the last years was house choreographer at Inbal Dance Theater, Tel Aviv, Israel. His works are presented in Israel, Europe, Canada and the U.S, and were nominated for several awards as the Dutch Zwan award next to choreographers Jiri Kylian and Alain Platel. His Project Love-ism was chosen by the European Dance House Network as one of 25 best practices. Currently Shani is developing a format for a new academic dance company that will ask to redefine the way community art is developed in Israel.
","image":0,"deleted":0,"pages":null,"teaser_header":"","subheader":"","date":0,"sys_language_uid":0,"l18n_parent":0,"categories":0,"rowDescription":null,"is_accordeon":1,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":null,"phd_projects_program":null,"phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":null,"date_start":null,"date_end":null,"news_folder":null,"iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":null,"tx_backend_configuration_discipline":null,"tx_backend_configuration_interest":null,"teaser_render_type":0,"bodytext_stripped":"Mor Shani started his professional career at Bat-Dor dance company Tel Aviv. Studied at Artez dance academy in Arnhem, at DasArts theater academy Amsterdam, The Netherlands, and nowadays finishing his studies of cultural policy at Sapir College, Sderot, Israel. Shani worked as artist in residence at Dansateliers Rotterdam, at ICK Amsterdam and in the last years was house choreographer at Inbal Dance Theater, Tel Aviv, Israel. His works are presented in Israel, Europe, Canada and the U.S, and were nominated for several awards as the Dutch Zwan award next to choreographers Jiri Kylian and Alain Platel. His Project Love-ism was chosen by the European Dance House Network as one of 25 best practices. Currently Shani is developing a format for a new academic dance company that will ask to redefine the way community art is developed in Israel. "},"relationships":{"assets":{"data":[{"type":"file","id":"804305fb9d0ac04e04045557d75b115b9b332bc2","attributes":{"id":"804305fb9d0ac04e04045557d75b115b9b332bc2","filename":"mor_portrait.jpg","mime_type":"image/jpeg","path":"live/80/804305fb9d0ac04e04045557d75b115b9b332bc2","path_file":"live/80/804305fb9d0ac04e04045557d75b115b9b332bc2/mor_portrait.jpg","path_source":"/fileadmin/user_upload/Tanz/MA_Dance/Gastdozierende/mor_portrait.jpg","height":861,"width":750,"title":"Mor Shani","alternativeText":"Porträt von Mor Shani","description":"Mor Shani","link":"","filename_original":"","mime_type_original":"","date_create":"18.01.2022 16:54","date_update":"18.01.2022 16:54","column_width":50,"copyright":null,"_parent_sys_language_uid":0}}]}}},{"type":"content","id":43187,"attributes":{"uid":43187,"pid":6678,"tstamp":125,"hidden":0,"sorting":4096,"CType":"standard_content","header":"Liane Simmel","bodytext":"Liane Simmel, Dr. med., ist Ärztin, Osteopathin und war früher professionelle Tänzerin. Sie studierte Tanz an der Hochschule für Musik und Theater München und in New York bei Merce Cunningham. Während 25 Jahren arbeitete sie als Tänzerin und Choreografin. In dieser Zeit nahm sie auch ihr Medizinstudium auf. Heute lebt sie in München mit einer eigener Praxis für Tanzmedizin, wobei der Schwerpunkt auf Osteopathie, Spiraldynamik und Sportmedizin liegt. Als Leiterin des Instituts für Tanzmedizin Fit for Dance ist sie spezialisiert auf Prävention und Therapie von tanzbedingten Verletzungen. Liane Simmel ist ausserdem medizinische Beraterin an der Hochschule für Musik und Theater München und regelmässige Gastdozentin an der Palucca Hochschule für Tanz Dresden und der Zürcher Hochschule der Künste. Sie ist Gründungsmitglied und seit 15 Jahren Präsidentin von tamed, der Organisation für Tanzmedizin Deutschland. Ihr auf Deutsch, Englisch und Spanisch erschienenes Buch «Tanzmedizin in der Praxis» ist in ganz Europa, den USA und Australien zu einem Standardwerk für angewandte Tanzmedizin geworden. Ihr 2016 erschienenes Buch «Ernährung für Tänzer», das sie zusammen mit Eva-Maria Kraft verfasst hat, ist im Januar 2018 auch auf Englisch erschienen. Für ihre Pionierarbeit im Bereich der Tanzmedizin wurde sie mit dem Anerkennungspreis des Deutschen Tanzpreises 2016 ausgezeichnet.
www.fitfordance.de
Ohad Talmor is a New York based Saxophonist and Composer.
A leading voice in the New York modern Jazz scene, he has performed worldwide with a who’s who of musicians, including Lee Konitz, Josh Redman, Jason Moran, Michael Brecker.
Classically trained as a pianist, he has a Composition degree from the Manhattan School of Music. His music mixes contemporary and jazz vocabulary and has been played by orchestras all over the world.
He teaches at the Geneva Conservatory, the New School in New York and is a frequent guest as a lecturer at the ZHdK Master Jazz programme.
→ Ohad Talmor's website
Anouk van Dijk ist eine holländische Choreografin, künstlerische Leiterin, Tänzerin und hat die Bewegungsmethodik «Countertechnique» entwickelt. Von 2012 bis 2019 war sie künstlerische Leiterin der führenden zeitgenössischen Tanzkompanie Australiens, Chunky Move. Ihre Produktionen inszeniert sie für vielfältige Bühnentypen, sei es für Black Box Theater oder grosse Guckkastenbühnen. Sie entwickelt auch standortspezifische Produktionen.
\r\n2012 wurde sie in Anerkennung ihres herausragenden künstlerischen und akademischen Beitrags zum Tanz in ihrem Heimatland mit dem «Goldenen Schwan» ausgezeichnet, der prestigeträchtigsten Tanzauszeichnung der Niederlande. Für ihre Bewegungsmethodik «Countertechnique» wurde sie weltberühmt.
\r\nSeit Beginn ihrer Laufbahn interessiert sich van Dijk neben ihrer Arbeit als Tänzerin für Produktion. Bis zu ihrem Umzug nach Australien erlebte van Dijk eine intensive Karriere in Europa, indem sie mit ihrer holländischen Kompanie anoukvandijk dc weltweite Tourneen bestritt und am Festival d'Avignon, an der Dance Triennale Tokio und am Festival TransAmériques teilnahm. Van Dijk’s langjährige Zusammenarbeit mit dem deutschen Autor und Regisseur Falk Richter mündete in sechs von den Kritikern gefeierten Produktionen wie «TRUST» (2009) und «Complexity of Belonging» (2014). Ihr Interesse für standortspezifische Produktionen wie «Mensch» (2011), «Depth of Field» (2015) und «Accumulation» (2018) führte ihre Tänzerinnen von den Ship Yards Amsterdam bis zur National Gallery of Victoria in Melbourne.
\r\n2012 feierte van Dijk die Premiere von «An Act of Now», ihrer Debütproduktion für Chunky Move. Später wurde diese Produktion am Festival Melbourne mit «The Age Critics’ Award» für die beste neue australische Produktion ausgezeichnet. Für die Kompanie kreierte sie seither zwölf abendfüllende und kürzere Werke, drei davon in Zusammenarbeit mit anderen Künstlern: «Complexity of Belonging» (2014) mit dem deutschen Autor und Regisseur Falk Richter, «Anti-Gravity» (2017) mit dem visuellen Künstler Ho Tzu Nyen aus Singapur und die Filminstallation «Traces» (2019) mit dem amerikanisch-australischen Künstler Ian Strange. 2018 produzierte und kuratierte sie «Accumulation», eine immersive Produktion für den Galeriebereich der NGV Triennial Extra, gefolgt von ihrer letzten Arbeit für Chunky Move, «Common Ground» (2018).
\r\nIm Zentrum der künstlerischen Arbeit und im Training ihrer Tänzerinnen und Tänzer steht das von ihr entwickelte Bewegungssystem Countertechnique. Dieses bietet den Tanzenden Tools für eine vielseitige Tanzpraxis im 21. Jahrhundert. Countertechnique unterstützt die Tänzerinnen und Tänzer beim Training, in Proben und Performance und fokussiert dabei auf den Prozess der Umwandlung von Information in Handlung. Die Prinzipien der Countertechnique können auch auf andere Tanzformen und Trainingsmethoden angewandt werden, wie beispielsweise Ballett, Hip-Hop, Paartanz, Yoga, Laufen und Pilates. 2008 initiierte van Dijk das erste, zweijährlich stattfindende Countertechnique Teachers Training-Programm (CTTT). Aktuell sind weltweit 31 zertifizierte Countertechnique-Lehrerinnen und -Lehrer tätig. Die Methode wurde in einem von Gerald Siegmund und Anouk van Dijk verfassten Artikel in «Dance Techniques 2010» prominent vorgestellt.
\r\nMomentan arbeitet Anouk van Dijk als Freelance-Choreografin. 2019 hat sie mit «Distant Matter» ihren ersten Auftrag für das Staatsballett Berlin produziert. Zurzeit arbeitet van Dijk an einer neuen Produktion für die Münchner Kammerspiele, deren Premiere im Oktober 2020 stattfinden wird.
Nach einer Ausbildung zur Fotografin studierte Annette von Keudell zunächst Grafik, Malerei und Experimentalfilm an der Hochschule für Gestaltung in Offenbach, später Zeitbasierte Medien, Rauminstallation und Künstlerische Fotografie bei Prof. Valie Export an der Universität der Künste Berlin. Anschliessend wurde sie Meisterschülerin bei Filmemacher Prof. Heinz Emigholz (UdK Berlin).
\r\nSeitdem arbeitet sie als freie Künstlerin im Bereich mediale Kunst, Konzeptionelle Kunst, und raumbasierte Medien. 2005–2009 studierte sie Kulturmanagement an der Universität Hamburg. Neben ihrer Arbeit als Dozentin für Kurzfilm (Filmtheorie, Storytelling, Kamera und Schnitt) und als Künstlerin war Annette von Keudell auch in den Bereichen Ausstellungsorganisation, Medienproduktionen und Öffentlichkeitsarbeit für Theater tätig, überwiegend für Tanzproduktionen. Seit der Ausbildung zum systemischen Coach, 2010–2015, begleitet sie zusätzlich künstlerische Prozesse mit dem Fokus auf Kommunikationstraining.
Der Schwerpunkt ihrer künstlerischen Arbeit liegt in interdisziplinären konzeptuellen Projekten, Videoinstallationen, Fotografie und Experimentalfilm.
Elizabeth Waterhouse ist Tänzerin und Postdoc in Tanzwissenschaften an der Universität Bern. Sie ist die Autorin des Buches \"Processing Choreography: Thinking With William Forsythe's Duo», erschienen im Transcript Verlag (2022). Ihre Forschungsschwerpunkte sind choreografische Praktiken, ethnografische und oral-history-Methoden sowie digitale Techniken zur Erforschung und Dokumentation von Tanzpraktiken. Als Performerin tanzte sie von 2004-2012 im Ballett Frankfurt/The Forsythe Company. Seitdem entwickelt sie parallel und oft begleitend zu ihrer wissenschaftlichen Arbeit immer wieder Performances und künstlerische Forschungsprojekte, u.a. mit den Gruppen HOOD, tō und Movement Forum Bern. Für ihre tanzwissenschaftlichen Betrachtungen bedient sich Waterhouse ihrer methodischen Kompetenzen in Bezug auf \"Forschung\" und \"kreative\" Praktiken in den Künsten, Geistes- und Naturwissenschaften: ihre Ausbildung umfasst einen BA in Physik an der Harvard University, einen MFA in Tanzpraxis an der Ohio State University und einen PhD in Tanzwissenschaft an der Universität Bern/Hochschule der Künste Bern.
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He is a member of the interim management team of the Zurich Dance Academy (taZ), whose composition remains unchanged for the current academic year.
\r\nFor 18 years, Jason Beechey has been the Rector of the Palucca University of Dance Dresden. Before that, he was the Pedagogical Director for the Choreographic Centre of the Federation Wallonia-Brussels in Belgium, where he also founded his own studio: “The Loft”. Before being made a soloist at the London City Ballet, he studied at the School of American Ballet, the Vaganova Ballet Academy in St. Petersburg and the National Ballet School of Canada. He has collaborated with the choreographers Wayne McGregor, Frédéric Flamand and William Forsythe. In his dance work, Beechey emphasises the individual and has pursued his vision by developing new training programmes, health teams and a global network of partner institutions.
\r\nMarijke Hoogenboom, Director of the Department of Performing Arts and Film, spoke as follows: “The training programmes at ZHdK already cover a wide spectrum of career opportunities in dance, despite professional dance studies in Switzerland still being relatively young. In contrast to just about every other area, dance training can be provided here across different fields and generations. Together with the Head of Programme in Contemporary Dance and the interim management of taZ, it was decided to promote these synergies further and to build up a forward-looking field of study in an integrative environment. We found Jason Beechey’s commitment to the professional field, to the university and to his international networks compelling. His experience, integrity and enthusiasm for the potential of dance in art and society will be a great asset to ZHdK. His commitment to transparency and participation is an ideal prerequisite for a value-oriented attitude that is already being lived out by the current management teams”.
\r\n“This is an inspiring opportunity to utilise a shared vision to create a new era for dance at ZHdK, in Zurich and Switzerland as a whole. In a spirit of collaboration and co-creation, I would like to create a new dynamic towards a healthy, inclusive dance study programme that ranges from classical ballet to contemporary dance, and from pedagogy to research. I am very much looking forward to the task of bringing ZHdK to the forefront of innovation and development in dance studies”, says Jason Beechey.
","image":0,"deleted":0,"pages":"","teaser_header":"","subheader":"","date":0,"sys_language_uid":1,"l18n_parent":132743,"categories":0,"rowDescription":null,"is_accordeon":0,"teaser_show_navigation":0,"news_type":0,"url":null,"sticky":null,"number_of_records":0,"open":null,"research_projects_specific_projects":null,"research_projects_project_status":0,"research_category_2":null,"phd_projects_school":"","phd_projects_program":"","phd_projects_specific_projects":null,"phd_projects_project_status":0,"persons_order":"last_name_asc","persons_music_subject":"","date_start":null,"date_end":null,"news_folder":"","iframe_link":null,"iframe_height":null,"iframe_height_mobile":null,"iframe_type":0,"teaser_rendering":0,"teaser_link":"","teaser_link_active":1,"teaser_link_label":"","static_teaser_use_alternative_title":0,"start_color":"","end_color":"","css_classes":"","enable_section":0,"section_text":"","study_model_bachelor_master":[],"study_model_major_minor":0,"tx_backend_configuration_competence":"","tx_backend_configuration_discipline":"","tx_backend_configuration_interest":"","teaser_render_type":0,"bodytext_stripped":"The University Board of ZHdK has confirmed Jason Beechey as Head of Dance, following the recommendation of the search committee of the Department of Performing Arts and Film. Beechey will be the designated Head of Dance as of 1 January 2024 and will take up his post fully as of 1 August 2024. He is a member of the interim management team of the Zurich Dance Academy (taZ), whose composition remains unchanged for the current academic year.\r\nFor 18 years, Jason Beechey has been the Rector of the Palucca University of Dance Dresden. Before that, he was the Pedagogical Director for the Choreographic Centre of the Federation Wallonia-Brussels in Belgium, where he also founded his own studio: “The Loft”. Before being made a soloist at the London City Ballet, he studied at the School of American Ballet, the Vaganova Ballet Academy in St. Petersburg and the National Ballet School of Canada. He has collaborated with the choreographers Wayne McGregor, Frédéric Flamand and William Forsythe. In his dance work, Beechey emphasises the individual and has pursued his vision by developing new training programmes, health teams and a global network of partner institutions.\r\nMarijke Hoogenboom, Director of the Department of Performing Arts and Film, spoke as follows: “The training programmes at ZHdK already cover a wide spectrum of career opportunities in dance, despite professional dance studies in Switzerland still being relatively young. In contrast to just about every other area, dance training can be provided here across different fields and generations. Together with the Head of Programme in Contemporary Dance and the interim management of taZ, it was decided to promote these synergies further and to build up a forward-looking field of study in an integrative environment. We found Jason Beechey’s commitment to the professional field, to the university and to his international networks compelling. His experience, integrity and enthusiasm for the potential of dance in art and society will be a great asset to ZHdK. His commitment to transparency and participation is an ideal prerequisite for a value-oriented attitude that is already being lived out by the current management teams”.\r\n“This is an inspiring opportunity to utilise a shared vision to create a new era for dance at ZHdK, in Zurich and Switzerland as a whole. In a spirit of collaboration and co-creation, I would like to create a new dynamic towards a healthy, inclusive dance study programme that ranges from classical ballet to contemporary dance, and from pedagogy to research. I am very much looking forward to the task of bringing ZHdK to the forefront of innovation and development in dance studies”, says Jason Beechey."}}],"infoboxes":[{"type":"infobox","id":512,"attributes":{"uid":512,"deleted":0,"title":"Contact","text":"Zurich University of the Arts, University Communications
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Zurich University of the Arts, University Communications
E-mail, +41 43 446 44 20, www.zhdk.ch
Die Hochschulleitung der ZHdK hat Jason Beechey als Head of Dance bestätigt. Damit folgte sie der Empfehlung der Findungskommission des Departements Darstellende Künste und Film. Jason Beechey wird ab 1. Januar 2024 designierter Head of Dance und tritt sein Amt per 1. August 2024 vollständig an. Beechey ist Teil des Interimsleitungsteams der taZ, das in seiner Zusammensetzung für das aktuelle akademische Jahr unverändert bleibt.
\r\nJason Beechey ist seit 18 Jahren Rektor an der Palucca Hochschule für Tanz in Dresden und arbeitete zuvor als pädagogischer Leiter am Nationalen Choreografiezentrum in Belgien, dort gründete er auch sein eigenes Studio «The Loft». Vor seiner Zeit als Solist beim London City Ballett absolvierte er die School of American Ballet, die Waganowa Akademie und die National Ballet School in Kanada. Er hat u.a. zusammengearbeitet mit den Choreografen Wayne McGregor, Frédéric Flamand und William Forsythe. Beechey betont das Individuum in seinem tänzerischen Schaffen und trieb seine Vision mit der Entwicklung von neuen Ausbildungsprogrammen, Gesundheitsteams sowie einem globalen Netzwerk an Partnerinstitutionen voran.
\r\n«Die Ausbildungsangebote an der ZHdK decken bereits heute die Breite an Berufsmöglichkeiten im Tanz ab, und das, obwohl die professionelle Tanzausbildung in der Schweiz noch sehr jung ist. Wie in kaum einem anderen Feld kann hier über die Sparten und Generationen hinweg ausgebildet werden. Zusammen mit der Leitung der Studiengänge Contemporary Dance und der Interimsleitung taZ wurde entschieden, diese Synergien nun weiter zu nutzen und in einem integrativen Umfeld einen zukunftsweisenden Fachbereich aufzubauen. Jason Beechey hat uns mit seinem Engagement im Berufsfeld, an der Hochschule und innerhalb internationaler Netzwerke überzeugt. Seine Erfahrung, Integrität und Begeisterung für das Potenzial des Tanzes in Kunst und Gesellschaft ist für die ZHdK ein grosser Gewinn. Sein Bekenntnis zu Transparenz und Teilhabe ist die ideale Voraussetzung für eine werteorientierte Haltung, die von den aktuellen Leitungsteams bereits gelebt wird», sagt Marijke Hoogenboom, Direktorin Departement Darstellende Künste und Film.
\r\n«Dies ist eine inspirierende Chance, durch eine gemeinsame Vision eine neue Ära für den Tanz an der ZHdK, in Zürich und der Schweiz zu schaffen. Ich möchte im Geiste der Zusammenarbeit und der gemeinsamen Gestaltung eine neue Dynamik entfachen, für eine gesunde und inklusive Tanzausbildung, vom klassischen Ballett bis zum zeitgenössischen Tanz – von der Pädagogik bis zur Forschung. Ich freue mich sehr auf die Aufgabe, die ZHdK an die Spitze von Innovation und Entwicklung in der Tanzausbildung zu bringen», so Jason Beechey.
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E-Mail, +41 43 446 44 20, www.zhdk.ch
Hochschulkommunikation, Zürcher Hochschule der Künste
E-Mail, +41 43 446 44 20, www.zhdk.ch
Information about the programme: BA Contemporary Dance
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Tina Tishev is responsible for communications at the Department of Performing Arts and Film.
TINA TISHEV
Tina Tishev is responsible for communications at the Department of Performing Arts and Film.
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Tina Tishev ist Kommunikationsverantwortliche des Departements Darstellende Künste und Film der ZHdK.
TINA TISHEV
Tina Tishev ist Kommunikationsverantwortliche des Departements Darstellende Künste und Film der ZHdK.
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Ilana Werner, Aonghus Hoole, Pornpim Karchai, Lisa Lareida präsentieren ihre Diplom-Kurzfilme in Teaching and Coaching Dance Professionals.","cast":"","abstract":"Hier geht zum livestream
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Friederike Lampert","","Taylan Uysal\r\nE-Mail Tel.: +41 43 446 35 13\r\nSprechzeiten: Dienstag / Donnerstag ganztägig Termine für Studienberatung nur nach Vereinbarung\r\n\r\n\r\n\r\n"]}},"relationships":{"contents":{"data":[{"type":"content","id":32284,"attributes":{"uid":32284,"pid":5955,"tstamp":123,"hidden":0,"sorting":128,"CType":"standard_content","header":"Head of programme","bodytext":"
Artistic Head of Programme
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\r\n\r\nProfessor
\r\nProf. Dr. phil. Friederike Lampert
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\r\nEmail
Phone: +41 43 446 35 13
Office hours: All day Tuesday and Thursday
Appointments for student advice only by arrangement
Künstlerische Leitung
\r\n\r\nOperative Leitung
\r\n\r\nProfessorenstelle
\r\nProf. Dr. phil. Friederike Lampert
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\r\nE-Mail
Tel.: +41 43 446 35 13
Sprechzeiten: Dienstag / Donnerstag ganztägig
Termine für Studienberatung nur nach Vereinbarung