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CI research in Marseille, nature and studio Kashdance-CIAM
For a week in October 2018, I was lucky to be part of a residency with Aude Fondard and Jennie Zimmermann in a dance studio in the center of Marseille.
The space enabled us to practice Contact Improvisation on a daily basis and to focus on several technical aspects (lifts, slow weight transfer, body-tone, etc.).
After sharing our wishes and needs, we started the day with Contemplative Dance Practice. Contemplative Dance Practice, also known as CDP is defined by Barbara Dilley in the 1970s. It sets a serene framework for a conscious movement session, an awareness of the self and the space.
Most of the days we spent some hours in studio and some outdoors in the city or the nature around Marseille.
We paid special attention to the subtle changes occurring in our body-minds when working inside (closed space) and outdoor. How does our direct environment (from its sounds and smells to its shapes and colors) impacts our dance? We also realized that the practice can be perceived as a performance by curious passers-by.
We agreed on filming some of our improvisations. On one hand to get used to the presence of the lens, an additional witness. On the other hand to keep a documentation of our work.
Many thanks to Elise Mautalen from Kashdance-CIAM for the residency.
Some impressions of our work:
Designed to die?
is a dance-theater piece by Aude Fondard and Jo Bruhn.
(Duo, 20min., 2016)
We have a sorrowful, loving, and amusing concern with the topic „planned obsolescence“. In other words: how things become waste in a planned way. This involves printers and other technical wonders, which break after a short period of time or are replaced by others which are just a tiny bit changed.
(Dance solo, 4min., 2015)
I asked 15 people to say 3 things which come to their minds when they hear the phrases „saying yes“ and „to commit“.
Based on my own interpretation, I heard 4 main attitudes within their answers:
- saying no / resistance
- letting go
Then I researched movement and connected different ways of moving using these different attitudes.
I recorded these answers and made a sound collage.
Fire dancing and stilt walking
After more then 15 years of working as a professional fire performer and stilt walker, I no longer call it my profession. But, if the opportunity arises, I do still like to be a part of projects. Recently I took part as a stilt walker in "The Fair at Sorochyntsi" at Komische Oper Berlin (directed by Barrie Kosky) and as a fire performer in "Romeo and Juliet at the Gornergrat" at Freilichtspiele Zermatt in Switzerland (directed by Livia Anne Richard).
The art of fire-playing or stilt-walking in combination with acting or dancing is still very fascinating to me.
One of my former solos as a fire artist: