with Gal Fefferman, Isidora Markovic and Eng Kai Er
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.
14.9.2020 | 7.30 p.m.
Pay as you wish
discussion in english
“Try- Out #1”
“Try-Out #1” allows a meeting of two performative forms, contemporary dance and classical singing, with the goal of challenging the esthetic of both these forms and develop a new fragile performativ language. In the project, three professional performers, two dancers (on the 14.09, one dancer) and one singer, are dealing with the overwhelming experience of singing and dancing at the same time.
Developing the work in the time of Corona, we chose the theme Women in isolation as the starting point to our musical research – with the goal to create space for female presence and narrative, especially in the context of contemporary music.
Gal Fefferman, born in Israel, Tel Aviv, graduated the “Maslool- Bikurey Ha’itim” in 2011. In 2016 Gal did her Bachelore in the University of Music and performing arts in Frankfurt am Main. Since then she worked as a freelancer dancer, performer and choreografer in the area of Rhein-Main. 2016 she danced in Jérôme Bels “Gala” (2016) at Mousonturm Frankfurt and at Wiesbaden Biennale. In year 2018 she was part of the danceproduction “UNLIKELY CREATURES (drei) us hearing voices“ made by Billinger & Schulz. Since 2016 Gal works close with Simon Möllendorf, co-founder of StudioNAXOS and the collective „Dorfproduct“. Spring 2017 Gal deputed as a choreografer with the scenic concert „The Melting Pot“ in colaboration with the Kammerphilharmonie Frankfurt. At the “Cantiere Internationale d’Arte” in Moltepulciano she choreographed the Opera “L’impressario in Angustie”. Gal furthermore works as a choreographig assistant, dance dramaturge and theater inspector.
In the research process for the dance piece/dance film “36” the artists are looking into a somewhat simple and traditional solution for the space limitations that are forced on us as performers in the current times. The regulations aimed to protect ourselves and people around us create physical distance of approximately 6 metres from one body to another. Following that rule, each of us, at any given moment is limited to 36 metres square maximum. Isadora Markovic wants to explore the different options of organising 3 dancers in that space, and the organisation of their movement within the cross which they are not to leave. The artists are creating a sequence of 36 movements that will, weather we want it or not, influence one another. I want to explore where our limits are within the limits that are imposed on us, and if something that presents itself as a obstacle can be used to fuel us in search of new solutions.
Isidora Markovic was born in Serbia where she started her dance education. After receiving a silver medal and a scholarship at the Tanzolymp dance competition in Berlin, she finished her studies at the Ballett Akademie of the Hochschule für Musik und Theater München. She then danced with the Junior company of the Bavarian State ballet, Nuremberg ballet and currently is a member of the Hessisches Staatsballett. During her career she attended various workshops and dance research programmes with companies such as Rosas and Ultima Vez. She choreographed for the evenings of young choreographers in both Nuremberg and Wiesbaden.
Eng Kai Er
100 Advertisements is an ongoing project where I create 100 advertisements for imaginary products or services that people – honestly, herselfe – might wish for. The project started in March 2020 during the Corona lockdown. It is a personal documentation of the times – part Corona-diary, part wishful thinking. Some of the advertisements are darker, some nonsensical, some hopeful. In these times, not every pill is/was easy to swallow, but Eng Kai Er found that writing her thoughts as advertisements helped transform her thinking.
Eng Kai Er has a long-term interest in dacne and performance-making. She makes performances mostly for stage, but sometimes also for galleries, film or other contexts. She is studying MA Choreography and Performance in Giesen. Her recent performances include Blunt Knife (2018), an autobiographical solo with inline skating made for the black-box theatre; and two internet-based shows in 2020. These were the solo Stay-Home Kitty-Cat Show where audiences came online to be cats with me, and “skin on screen” in collaboration with Dana Maxim where they discussed nudity and art via Google Doc, Zoom, and YouTube. Both shows were performed at the Digitale Theatermaschine festival at the Institute for Applied Theatre Studies, Giessen. Eng Kai Ers work tends to be intimate, personal and fun.