ZuKT heißt Zeitgenössischer und Klassischer Tanz, ist Titel und zugleich Programm. ZuKT steht bekanntermaßen für ästhetische Vielfalt und sucht die Verbindung von Tradition und Innovation. ZuKT ist immer für Überraschungen gut und macht Lust auf Tanz.
Seit 2003 präsentiert ZuKT jährlich ansprechende und anspruchsvolle Programme im Mousonturm und lockt tanzbegeisterte Menschen in das Künstlerhaus, die bereit sind, sich immer wieder von der unbändigen Bewegungslust der jungen Tänzer*innen anstecken zu lassen.
Das Spektrum der in [ZuKT right now!] gezeigten Choreographien reicht von neuen Choreographien von Luc Dunberry, Peter Mika und Paul Whyte, der zum ersten Mal eine eigene Choreographie mit BAtanz Studierenden erarbeitet, zu Ausschnitten von _Work within Work von William Forsythe und Stücken von Cameron McMillan und Dieter Heitkamp.

Durch die Arbeit mit vielen verschiedenen Choreograph*innen haben die Studierenden Gelegenheit, die zahlreichen Facetten ihrer künstlerischen Gestaltungsfähigkeit spielerisch auszuloten – dynamisch, präzise, achtsam, bestechend, forsch!

Kartenvorbestellung: +49 (69) 40 58 95-20 | www.mousonturm.de

Eine Veranstaltung mit Studierenden des Studiengangs ZuKT_BAtanz der Hochschule für Musik und Darstellende Kunst Frankfurt am Main mit Unterstützung der Hessischen Theaterakademie

A warm-up combining different types of practices. Mixing notions of body awareness, Alexander technique, ballet, budo training, multi directional and spiral coordination and extensive stretching. This class offers the possibility to get your body activated and awake, strengthening different types of muscle chain and stimulating new forms of coordination and rhythms. This practice asks for a form of spontaneity and curiosity.

Fabrice Mazliah (1972, Geneva Switzerland) is a choreographer and performer based in Frankfurt/Germany. After studying dance in Geneva, at The National School of Athens and in the Rudra Bejart Atelier in Lausanne, he was part of the Nederlands Dans Theater company in Holland before joining in 1997 the Ballett Frankfurt and further into the Forsythe Company until summer 2015.
In parallel to his work as a dancer performer, since 2002 Mazliah has created and produced many works of his own and in collaboration with others, pieces such as The Manufactured series Duet#1 (2018), In Act and Thought (2015) for the Forsythe Company, Eifo Efi (2013), Cover up (2011) with the mamaza collective and many more. Fabrice has been teaching workshops based on movement research and improvisation, in places such as: P.A.R.T.S (Brussels), La Manufacture (Lausanne) and others. In his recent work he is occupied with the relation between objects, environment, movement and language, attempting at developing new forms of narrativity and poetry.
He is interested in forming alternative formats of working conditions, such as his initiation _ HOOD – A Platform for Creative Exchange_ made of a group of former members of the Forsythe Company, supported by PACT Zollverein Germany between 2015 and 2018. The HOOD model was born of a need for a cohesive artistic community situated between the splintered
economy of freelance work and the fixed institutional structure of a company.

What is taken for granted by many professional athletes – medical and therapeutic support throughout their entire active career – should also become available for dancers!
Priv.-Doz. Dr. med. Benita Kuni will offer support and assistance on the following:

• Prevention of Dance Injuries
• Rehabilitation and How to Make a Comeback after a Dance Injury
• Analysis of Dance Technique and Technique Coaching
• Alternative Training Methods for Dancers
• “Dance Medicine Check-Up”
• Guidance and Supervision in the Field of Dance Medicine

Registration:
Online form

A warm-up combining different types of practices. Mixing notions of body awareness, Alexander technique, ballet, budo training, multi directional and spiral coordination and extensive stretching. This class offers the possibility to get your body activated and awake, strengthening different types of muscle chain and stimulating new forms of coordination and rhythms. This practice asks for a form of spontaneity and curiosity.

Fabrice Mazliah (1972, Geneva Switzerland) is a choreographer and performer based in Frankfurt/Germany. After studying dance in Geneva, at The National School of Athens and in the Rudra Bejart Atelier in Lausanne, he was part of the Nederlands Dans Theater company in Holland before joining in 1997 the Ballett Frankfurt and further into the Forsythe Company until summer 2015.
In parallel to his work as a dancer performer, since 2002 Mazliah has created and produced many works of his own and in collaboration with others, pieces such as The Manufactured series Duet#1 (2018), In Act and Thought (2015) for the Forsythe Company, Eifo Efi (2013), Cover up (2011) with the mamaza collective and many more. Fabrice has been teaching workshops based on movement research and improvisation, in places such as: P.A.R.T.S (Brussels), La Manufacture (Lausanne) and others. In his recent work he is occupied with the relation between objects, environment, movement and language, attempting at developing new forms of narrativity and poetry.
He is interested in forming alternative formats of working conditions, such as his initiation _ HOOD – A Platform for Creative Exchange_ made of a group of former members of the Forsythe Company, supported by PACT Zollverein Germany between 2015 and 2018. The HOOD model was born of a need for a cohesive artistic community situated between the splintered
economy of freelance work and the fixed institutional structure of a company.

A warm-up combining different types of practices. Mixing notions of body awareness, Alexander technique, ballet, budo training, multi directional and spiral coordination and extensive stretching. This class offers the possibility to get your body activated and awake, strengthening different types of muscle chain and stimulating new forms of coordination and rhythms. This practice asks for a form of spontaneity and curiosity.

Fabrice Mazliah (1972, Geneva Switzerland) is a choreographer and performer based in Frankfurt/Germany. After studying dance in Geneva, at The National School of Athens and in the Rudra Bejart Atelier in Lausanne, he was part of the Nederlands Dans Theater company in Holland before joining in 1997 the Ballett Frankfurt and further into the Forsythe Company until summer 2015.
In parallel to his work as a dancer performer, since 2002 Mazliah has created and produced many works of his own and in collaboration with others, pieces such as The Manufactured series Duet#1 (2018), In Act and Thought (2015) for the Forsythe Company, Eifo Efi (2013), Cover up (2011) with the mamaza collective and many more. Fabrice has been teaching workshops based on movement research and improvisation, in places such as: P.A.R.T.S (Brussels), La Manufacture (Lausanne) and others. In his recent work he is occupied with the relation between objects, environment, movement and language, attempting at developing new forms of narrativity and poetry.
He is interested in forming alternative formats of working conditions, such as his initiation _ HOOD – A Platform for Creative Exchange_ made of a group of former members of the Forsythe Company, supported by PACT Zollverein Germany between 2015 and 2018. The HOOD model was born of a need for a cohesive artistic community situated between the splintered
economy of freelance work and the fixed institutional structure of a company.

The Choreographic Workshop offers local and regional dance professionals the opportunity to present their work-in-progress or research projects, to give an insight into current issues and their working methods, and to talk about them in a subsequent discussion.

Up to three presentations (15 min max.) will be shown per evening. In the subsequent discussion, the artists and the audience will have the opportunity to discuss questions, make references or give suggestions for further development.

Application deadline: Wed. May 8, 2019 via email to info@tanzplattformrheinmain.de

Find all further information in our open call.

A warm-up combining different types of practices. Mixing notions of body awareness, Alexander technique, ballet, budo training, multi directional and spiral coordination and extensive stretching. This class offers the possibility to get your body activated and awake, strengthening different types of muscle chain and stimulating new forms of coordination and rhythms. This practice asks for a form of spontaneity and curiosity.

Fabrice Mazliah (1972, Geneva Switzerland) is a choreographer and performer based in Frankfurt/Germany. After studying dance in Geneva, at The National School of Athens and in the Rudra Bejart Atelier in Lausanne, he was part of the Nederlands Dans Theater company in Holland before joining in 1997 the Ballett Frankfurt and further into the Forsythe Company until summer 2015.
In parallel to his work as a dancer performer, since 2002 Mazliah has created and produced many works of his own and in collaboration with others, pieces such as The Manufactured series Duet#1 (2018), In Act and Thought (2015) for the Forsythe Company, Eifo Efi (2013), Cover up (2011) with the mamaza collective and many more. Fabrice has been teaching workshops based on movement research and improvisation, in places such as: P.A.R.T.S (Brussels), La Manufacture (Lausanne) and others. In his recent work he is occupied with the relation between objects, environment, movement and language, attempting at developing new forms of narrativity and poetry.
He is interested in forming alternative formats of working conditions, such as his initiation _ HOOD – A Platform for Creative Exchange_ made of a group of former members of the Forsythe Company, supported by PACT Zollverein Germany between 2015 and 2018. The HOOD model was born of a need for a cohesive artistic community situated between the splintered
economy of freelance work and the fixed institutional structure of a company.

PRAKTisch is a platform initiated by the Frankfurt dancer and choreographer Anja Sauer, which allows professional dancers from the region to meet regularly, try out and exchange ideas. At the centre of this very special regular’s table is joint physical experimentation and research – independent from consistent artistic concepts and cultural institutions. A space for meetings, in which participants can exchange practical exercises, drafts, suggestions, or working methods.

A warm-up combining different types of practices. Mixing notions of body awareness, Alexander technique, ballet, budo training, multi directional and spiral coordination and extensive stretching. This class offers the possibility to get your body activated and awake, strengthening different types of muscle chain and stimulating new forms of coordination and rhythms. This practice asks for a form of spontaneity and curiosity.

Fabrice Mazliah (1972, Geneva Switzerland) is a choreographer and performer based in Frankfurt/Germany. After studying dance in Geneva, at The National School of Athens and in the Rudra Bejart Atelier in Lausanne, he was part of the Nederlands Dans Theater company in Holland before joining in 1997 the Ballett Frankfurt and further into the Forsythe Company until summer 2015.
In parallel to his work as a dancer performer, since 2002 Mazliah has created and produced many works of his own and in collaboration with others, pieces such as The Manufactured series Duet#1 (2018), In Act and Thought (2015) for the Forsythe Company, Eifo Efi (2013), Cover up (2011) with the mamaza collective and many more. Fabrice has been teaching workshops based on movement research and improvisation, in places such as: P.A.R.T.S (Brussels), La Manufacture (Lausanne) and others. In his recent work he is occupied with the relation between objects, environment, movement and language, attempting at developing new forms of narrativity and poetry.
He is interested in forming alternative formats of working conditions, such as his initiation _ HOOD – A Platform for Creative Exchange_ made of a group of former members of the Forsythe Company, supported by PACT Zollverein Germany between 2015 and 2018. The HOOD model was born of a need for a cohesive artistic community situated between the splintered
economy of freelance work and the fixed institutional structure of a company.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

PRAKTisch is a platform initiated by the Frankfurt dancer and choreographer Anja Sauer, which allows professional dancers from the region to meet regularly, try out and exchange ideas. At the centre of this very special regular’s table is joint physical experimentation and research – independent from consistent artistic concepts and cultural institutions. A space for meetings, in which participants can exchange practical exercises, drafts, suggestions, or working methods.

Natalia Rodina´s class is based on a Cunningham technique and also includes shares of ballet which will be applied and transformed into moving exercises.
Her training moves the body as well as the mind, builds stamina and improves the coordination. During this class your body will learn to move in harmony with specific muscles.

Natalia Rodina, dancer, choreographer and teacher, was born in Moskau in 1985. She studied at the Rotterdam Dance Academy and worked for/with The Forsythe Company, Dansgroep Amsterdam, Galili Dance and others.

This contemporary training offers a warmup grounded in principles and methods from Bartenieff Fundamentals developmental movement practice. Guided by both set movement patterns and individual explorations, the focus is on renewal and deepening of our earliest infant experiments in movement, breath and sensation. This is accompanied by perception warmups drawn from the Tuning Scores practice of Lisa Nelson. In the second half of the training, tools from the tuning practice are explored further through partner and group improvisations where our sense of composition is awakened and practiced through the sensations and effects of our internal and external environment.

Miranda Glikson is an independent dance artist and educator based in Australia and Germany. She worked with ballet and contemporary companies in Australia and Germany, as a performer, company trainer and choreographic assistant. Miranda holds a Masters in Contemporary Dance Education from Frankfurt University of Music and Performing Arts. She is currently undertaking a practice-led creative works PhD at the Queensland University of Technology Brisbane, researching place, embodiment and site-located dance practice.

This contemporary training offers a warmup grounded in principles and methods from Bartenieff Fundamentals developmental movement practice. Guided by both set movement patterns and individual explorations, the focus is on renewal and deepening of our earliest infant experiments in movement, breath and sensation. This is accompanied by perception warmups drawn from the Tuning Scores practice of Lisa Nelson. In the second half of the training, tools from the tuning practice are explored further through partner and group improvisations where our sense of composition is awakened and practiced through the sensations and effects of our internal and external environment.

Miranda Glikson is an independent dance artist and educator based in Australia and Germany. She worked with ballet and contemporary companies in Australia and Germany, as a performer, company trainer and choreographic assistant. Miranda holds a Masters in Contemporary Dance Education from Frankfurt University of Music and Performing Arts. She is currently undertaking a practice-led creative works PhD at the Queensland University of Technology Brisbane, researching place, embodiment and site-located dance practice.

This contemporary training offers a warmup grounded in principles and methods from Bartenieff Fundamentals developmental movement practice. Guided by both set movement patterns and individual explorations, the focus is on renewal and deepening of our earliest infant experiments in movement, breath and sensation. This is accompanied by perception warmups drawn from the Tuning Scores practice of Lisa Nelson. In the second half of the training, tools from the tuning practice are explored further through partner and group improvisations where our sense of composition is awakened and practiced through the sensations and effects of our internal and external environment.

Miranda Glikson is an independent dance artist and educator based in Australia and Germany. She worked with ballet and contemporary companies in Australia and Germany, as a performer, company trainer and choreographic assistant. Miranda holds a Masters in Contemporary Dance Education from Frankfurt University of Music and Performing Arts. She is currently undertaking a practice-led creative works PhD at the Queensland University of Technology Brisbane, researching place, embodiment and site-located dance practice.

This contemporary training offers a warmup grounded in principles and methods from Bartenieff Fundamentals developmental movement practice. Guided by both set movement patterns and individual explorations, the focus is on renewal and deepening of our earliest infant experiments in movement, breath and sensation. This is accompanied by perception warmups drawn from the Tuning Scores practice of Lisa Nelson. In the second half of the training, tools from the tuning practice are explored further through partner and group improvisations where our sense of composition is awakened and practiced through the sensations and effects of our internal and external environment.

Miranda Glikson is an independent dance artist and educator based in Australia and Germany. She worked with ballet and contemporary companies in Australia and Germany, as a performer, company trainer and choreographic assistant. Miranda holds a Masters in Contemporary Dance Education from Frankfurt University of Music and Performing Arts. She is currently undertaking a practice-led creative works PhD at the Queensland University of Technology Brisbane, researching place, embodiment and site-located dance practice.

Tanzklub 15 – 25 | Take the 9

Ich bin in den Raum gekommen. Reihe mich in eure Linie ein. Ich beginne meine Gedanken zu vergessen, ich höre auf daran zu denken, was passieren wird. Es ist so still. Was würde deine Hand machen, wenn ich sie berühren will?
Die Körper krachen ineinander, rollen über den Boden, tanzen, erschöpfen sich, wirken zusammen, tragen die Verantwortung und suchen nach Wegen, um den Tanz fortzusetzen. Es macht Spaß. Bin ich da? Oder ist nur ein Teil von mir dort?
Dieses Stück ist zwischen 1994 und 2004 geboren. Seitdem entwickelt es sich. Im Moment befinden wir uns im Tanzsaal und lassen das Stück durch Begegnung mit Bewegung wachsen. Der eigene Körper, die verschiedenen Körper um uns herum, das Suchen, sowie die Verwirrungen, die die jungen Tänzer*innen in ihrem Leben begleiten. Es wurde auf Improvisationsbasis entwickelt, die die Sinne als Einstiegspunkt zum Bewegen nutzt. Es erforscht, wie man Bedingungen für einen Solo- und Gruppentanz schafft, den Zustand des Seins im Moment, sowie den kreativen Fluss und das Auftreten von Engagement

Mit: Sophie Oettinger, Lena Gauly, Nora Eggers, Susanne Mohr, Sarah Mestmacher, Deborah Schmidt-Riese, Laura Giudici, Lu Pahl, Nina Frank
Leitung: Ewelina Zielonka

Ewelina Zielonka ist freischaffende Künstlerin und Tanzlehrerin. Sie absolvierte Movement Studies, Performance und Tanzpädagogik an der Anton Bruckner Universität in Linz. 2015 erwarb sie MA in MA CoDE-Programm an der Hochschule für Musik und Darstellende Kunst in Frankfurt. In diesen Jahren spezialisierte sie sich in zeitgenössischem Tanz, Improvisation und somatischem Bewegungsansatz. Seit vier Jahren arbeitet sie in unterschiedlichen Kontexten in Frankfurt: Tanz in Schulen, Soziale Projekte mit Schüler*innen, mit Kindern, Jugendlichen und Senior*innen. Sie bietet regelmäßig Tanzunterricht an und macht Choreografien für Theaterstücke und Kurzfilme. Sie führt regelmäßig Workshops und vertieft nebenher ihr Hauptinteresse an der Interaktion mit der Umgebung und der Erforschung des Ortsgefühls.

Tanzklub 60+ | Alter ist nichts für Feiglinge

Jeder Mensch altert, jedoch geht jede*r anders damit um. Altern bedeutet weit mehr als das Fortschreiten von Jahren. Den positiven Aspekten wie Erfahrung, Wissen und Gelassenheit stehen die negativen Aspekte wie Nachlassen der Kraft, Vergesslichkeit und Tod gegenüber.
„Mit dem Altwerden ist es wie mit Auf-einen-Berg-Steigen: Je höher man steigt, desto mehr schwinden die Kräfte – aber umso weiter sieht man.“ (Ingmar Bergmann)
Zu der Ausstellung GREY IS THE NEW PINK im Weltkulturen Museum, die sich mit dem Älterwerden auseinandersetzt, haben wir eine ‚performative Führung‘ entwickelt. Diese ist Grundlage für unser Stück Alter ist nichts für Feiglinge. Es ist die Auseinandersetzung damit, wie wir altern und altern möchten.

Mit: Karin Arnold, Heike Bengel, Angelika Bogenschütz, Inge-Maria Böhm, Angela Braun-Krähenhöfer, Barbara Bumann, Licet de Rodriguez, Angelika Geyer, Christel Gold-Hellenkamp, Michael Götze, Renate Hermann, Barbara Jakob, Adelheid Käberich, Alexander Kaestner, Petra Lochner, Adelheid Nake, Michèle Resnik, Jannie Reuels, Anne Rondeau, Claus-H. Schradin, Heide Schucht Lessa, Marianne Spohner
Leitung: Petra Lehr

Tanzklub 25+ | 361° – humans in structures – structures in humans

Strukturen sind Beziehungsgefüge, wobei diese Gefüge mehr sind als die Summe der einzelnen Elemente, aus denen sie bestehen.
Strukturen sind nicht stabil und geschlossen, sondern veränderlich und offen. Die Elemente hängen alle voneinander ab, jede Veränderung eines Elements zieht die Veränderung der übrigen nach sich.
Punkt – Linie – Kreis ⇨ kleiner Tiger

Mit: Elisabeth Aha, Barbara Albers, Ulrike Baumgärtner, Ute Behring, Ana M. Benavent Atienza, Katrin Fischer, Ulla Kirchhoff, Karin Klink, Christa Lips-Schulte, Miriam Loy, Hanna Mach, Ines Mehlhose, Christina Rumpel, Dominique Schäfer, Hermann Schiebener, Marianne Schramm, Dagmar Seitenspinner, Barbara Siebenbürger, Birte Waldeck, Mira Wirth
Leitung: Petra Lehr

Petra Lehr erhielt ihre Ausbildung in Deutschland und den USA (u.a. Martha Graham School of Contemporary Dance, Alvin Ailey American Dance Center). Sie gründete 1993 das co.lab.tanztheater in Frankfurt, mit dem sie bereits 20 Produktionen erarbeitete. Sie unterrichtet Zeitgenössischen Tanz und hatte Lehraufträge an verschiedenen Universitäten. 2012 absolvierte sie eine tanzmedizinische Weiterbildung.

Tanzklub 15 – 25 | Take the 9

Ich bin in den Raum gekommen. Reihe mich in eure Linie ein. Ich beginne meine Gedanken zu vergessen, ich höre auf daran zu denken, was passieren wird. Es ist so still. Was würde deine Hand machen, wenn ich sie berühren will?
Die Körper krachen ineinander, rollen über den Boden, tanzen, erschöpfen sich, wirken zusammen, tragen die Verantwortung und suchen nach Wegen, um den Tanz fortzusetzen. Es macht Spaß. Bin ich da? Oder ist nur ein Teil von mir dort?
Dieses Stück ist zwischen 1994 und 2004 geboren. Seitdem entwickelt es sich. Im Moment befinden wir uns im Tanzsaal und lassen das Stück durch Begegnung mit Bewegung wachsen. Der eigene Körper, die verschiedenen Körper um uns herum, das Suchen, sowie die Verwirrungen, die die jungen Tänzer*innen in ihrem Leben begleiten. Es wurde auf Improvisationsbasis entwickelt, die die Sinne als Einstiegspunkt zum Bewegen nutzt. Es erforscht, wie man Bedingungen für einen Solo- und Gruppentanz schafft, den Zustand des Seins im Moment, sowie den kreativen Fluss und das Auftreten von Engagement

Mit: Sophie Oettinger, Lena Gauly, Nora Eggers, Susanne Mohr, Sarah Mestmacher, Deborah Schmidt-Riese, Laura Giudici, Lu Pahl, Nina Frank
Leitung: Ewelina Zielonka

Ewelina Zielonka ist freischaffende Künstlerin und Tanzlehrerin. Sie absolvierte Movement Studies, Performance und Tanzpädagogik an der Anton Bruckner Universität in Linz. 2015 erwarb sie MA in MA CoDE-Programm an der Hochschule für Musik und Darstellende Kunst in Frankfurt. In diesen Jahren spezialisierte sie sich in zeitgenössischem Tanz, Improvisation und somatischem Bewegungsansatz. Seit vier Jahren arbeitet sie in unterschiedlichen Kontexten in Frankfurt: Tanz in Schulen, Soziale Projekte mit Schüler*innen, mit Kindern, Jugendlichen und Senior*innen. Sie bietet regelmäßig Tanzunterricht an und macht Choreografien für Theaterstücke und Kurzfilme. Sie führt regelmäßig Workshops und vertieft nebenher ihr Hauptinteresse an der Interaktion mit der Umgebung und der Erforschung des Ortsgefühls.

Tanzklub 60+ | Alter ist nichts für Feiglinge

Jeder Mensch altert, jedoch geht jede*r anders damit um. Altern bedeutet weit mehr als das Fortschreiten von Jahren. Den positiven Aspekten wie Erfahrung, Wissen und Gelassenheit stehen die negativen Aspekte wie Nachlassen der Kraft, Vergesslichkeit und Tod gegenüber.
„Mit dem Altwerden ist es wie mit Auf-einen-Berg-Steigen: Je höher man steigt, desto mehr schwinden die Kräfte – aber umso weiter sieht man.“ (Ingmar Bergmann)
Zu der Ausstellung GREY IS THE NEW PINK im Weltkulturen Museum, die sich mit dem Älterwerden auseinandersetzt, haben wir eine ‚performative Führung‘ entwickelt. Diese ist Grundlage für unser Stück Alter ist nichts für Feiglinge. Es ist die Auseinandersetzung damit, wie wir altern und altern möchten.

Mit: Karin Arnold, Heike Bengel, Angelika Bogenschütz, Inge-Maria Böhm, Angela Braun-Krähenhöfer, Barbara Bumann, Licet de Rodriguez, Angelika Geyer, Christel Gold-Hellenkamp, Michael Götze, Renate Hermann, Barbara Jakob, Adelheid Käberich, Alexander Kaestner, Petra Lochner, Adelheid Nake, Michèle Resnik, Jannie Reuels, Anne Rondeau, Claus-H. Schradin, Heide Schucht Lessa, Marianne Spohner
Leitung: Petra Lehr

Tanzklub 25+ | 361° – humans in structures – structures in humans

Strukturen sind Beziehungsgefüge, wobei diese Gefüge mehr sind als die Summe der einzelnen Elemente, aus denen sie bestehen.
Strukturen sind nicht stabil und geschlossen, sondern veränderlich und offen. Die Elemente hängen alle voneinander ab, jede Veränderung eines Elements zieht die Veränderung der übrigen nach sich.
Punkt – Linie – Kreis ⇨ kleiner Tiger

Mit: Elisabeth Aha, Barbara Albers, Ulrike Baumgärtner, Ute Behring, Ana M. Benavent Atienza, Katrin Fischer, Ulla Kirchhoff, Karin Klink, Christa Lips-Schulte, Miriam Loy, Hanna Mach, Ines Mehlhose, Christina Rumpel, Dominique Schäfer, Hermann Schiebener, Marianne Schramm, Dagmar Seitenspinner, Barbara Siebenbürger, Birte Waldeck, Mira Wirth
Leitung: Petra Lehr

Petra Lehr erhielt ihre Ausbildung in Deutschland und den USA (u.a. Martha Graham School of Contemporary Dance, Alvin Ailey American Dance Center). Sie gründete 1993 das co.lab.tanztheater in Frankfurt, mit dem sie bereits 20 Produktionen erarbeitete. Sie unterrichtet Zeitgenössischen Tanz und hatte Lehraufträge an verschiedenen Universitäten. 2012 absolvierte sie eine tanzmedizinische Weiterbildung.

PRAKTisch is a platform initiated by the Frankfurt dancer and choreographer Anja Sauer, which allows professional dancers from the region to meet regularly, try out and exchange ideas. At the centre of this very special regular’s table is joint physical experimentation and research – independent from consistent artistic concepts and cultural institutions. A space for meetings, in which participants can exchange practical exercises, drafts, suggestions, or working methods.