{feature} Connect to your heart, she says – Doro Saykaly

Doro Saykaly’s voice is very bright and full of joyful energy. She has a short black hair, beautiful smile and an open-heart — an authentic human being, talented choreographer and dancer who lives in Sweden and works with GöteborgsOperans Danskompani. Let us get to know her more with her background story – The dialogue was surrounding by motivation, creativity and curiosity. She shared a lot of warmth and inspirations with her presence, even through Skype. I was very excited and honored to be in the dialogue with her. Here is the moment. I tried to keep it as close to original as possible. Please note it that some part has been edited for the flow of whole article.

This conversation had been recorded through Skype in 2018 summer, Berlin.

Part I: Dance

How did you start dancing?

I was eleven years old. I was an introverted child. My parents wanted to send me to learn dance and ballet. But it was not appealing to me at all. I was like a tomboy. She said just tried it. So I went to the class. The first class was not something that I connected with which was with dancers younger than me. I was eager to tell my mother that it was wrong. The second class was with girls my age. I was able to keep up. I was just really enjoy looking. From that day on, I basically never stop doing it. I start it in ballet and some jazz when I am eleven. I did the classes when I could. That’s just something that interested me that I do. Contemporary came up much later. The more I was training the more I realized people can make a career out of it. That opened up a door for my mind to have something to work toward. I was focusing on ballet and some jazz basically.

They say love is blind. I think I was really blinded to find my love in dance, and I went for it. I kept doing whatever came up — workshops, summer program, or loads of auditions to get extra training. Doing whatever projects comes along that I can do. That was a turning point. I know I really want to dance. I remember I was watching thing my father had recorded for me. Back in the day we have VHS still. He had recorded a duet in slow motion, something like Neo classical contemporary from the art channel. I remember watching it and crying. I said ‘’if I don’t get the chance to dance, it would be horrible.’’ I was sad from the inside. These are just little reminder of that I just want to try to make a career out of it. It was really important that as long as there is opportunity to perform, I would do it. At some point when I was around age twenty, I saw a performance from this company “Compagnie Marie Chouinard”. That inspired me so much that just seen how those dancers are moving, the atmosphere of the show and the movement quality. That was the direction that I can finally see myself. Like now, I know what I am striving for. I ended up working with Compagnie Marie Chouinard for seven years since I was twenty-two.

How did you get into this company?

Everyone in Canada, across America and Mexico came to the audition. It was basically a through-day audition. It was long and thrilled. I made it till the end. That went really well, and I was inspired by being there. I love watching the dancers were at the audition. A couple months later, I was shoe-shopping with a friend downtown. My phone rang. The answer said ‘’Hello, this is Marie Chouinard.’’ I thought ‘’oh my god!’’ She offered me short contract to start work. At my first day in the company rehearsing, she said ‘’I want to offer you a one-year contract. Are you happy with that?’’ Which I thought ‘’yeah, I am!’’ She said ‘’okay, great.’’ That was just like going to an audition, and really just being present. I found that the most successful audition that I had is like the combination of ‘’yes wanting the job gladly’’ and also ‘’stay open’’. The audition is such a matter of timing, luck, dedication and presence. It just shows how precious being present is actually, how precious that you have an intuition to do something and just do it. Sometimes it works out sometimes it won’t. I was really just thrilled. It was like an exploration.

The production of Marie Chouinard in 2016, a powerful one.

You have danced in Göteborgs Danskompani since 2014. What are your fondest memories of it?

I start with company of ten dancers to a company of thirty-eight. The transition was really smooth. I was so excited. In the beginning my naive and excitement kind of saved me for this new challenges. It made my initial transition went smooth. I remembered feeling very challenging though in which projects we were doing. I remembered taking on a task that I had very little time to remount it. I felt like rush and out of my element. It was really a big grown point for me, also realizing how I reacted to stress. I think this company has deep experiences that has really helped me. Like how I deal with creation for example. I have to say dance in some way is something that saves me. Even though it creates insecurity or stress, or always it weights up more the inspiration that gives me a breath. Recently I start to create a little bit myself. I am not sure if I would really done that if I stay in Montreal. I think being in this environment with so many creative people around me like as colleagues. It is something open me up and brought me up to additionally more possibilities. There has been an incredible process that I have been very forming.

The stage memories are the ones pop up the most. Be on stage in certain contexts, and working with certain choreographers that are just really beautiful human beings. Someone who is being so brilliant, kind, patient and humble. It is so nice to know these people exist. In some way I am settling in now in Sweden. I finally start to learn Swedish. It is fun. It’s operating yourself in the funny experience. Deciding where to put your root down. It is difficult because once you put some roots down it becomes more permanent. So it’s something I have been thinking a lot lately — What makes a home? Can your home change often depends on where your heart and mind is?

performance of “KODAK” by Alan Lucien Oyen, performed at the Goteborg Opera ©Mats Backer

Would you say that would be your answer if I ask you what’s the question has been shaping your life lately?

I have to say a lot. I am trying to maybe change this right now, but my question has been always ‘’what’s next? What’s my next step? What’s the next stone I am gonna jump onto? Where is that other side that I would like to make through?’’ I would say that is something that shapes me, pushes me. Although recently I realized at the point I am I just need to focus more on ‘’what’s now?’’ You really just take in the moment that are at hands right now, and not think about what is for the future. The piece I am just made recently it had to deal with a lot of past with questions like how do you deal with memories? I was looking at ‘’cognitive bias’’ on how the mind form the information, which is the shortcut that we distort the information. I came across the information that even when the mind is doing like a mathematic equation. We are not programmed to live in the present. There is a break of this concentration during this mathematic equation. We either directly jump to think about the future or it start to attach the past. We adjust the details of the past. It is true. There is an idea at home which is there is something very present. It is the question that I have now — where is home? Also, where is my balance? What is my balance? The balance is between spiritual and physical, relationships and myself, my work and my rest time, enjoy indoor and outdoor. There are things been happening that takes a lot of weight in my life. Maybe there were things got me where I am today but I feel like there is a switching point somehow. There is a ticking point something on the verge of shifting. Taking in life in a different way. That is something that I think I need a bit more. I think everyone needs it — on the big high and big low. By no means I don’t want to be just equal, but just something I find it a bit softer and inviting.

Her solo ‘’UNraveling’’

Part II: Choreography

When did you start choreography? What interested you in the beginning?

I start doing choreography for some video work when I was at my twenty. I did my creations also at my twenty. I was receptive by a small festival in New York. However, I never get myself any credit from those projects. For me, I feel like I just start to create. Couple years later I decided I want to make a solo myself. What was trying to come out then? It is this need of ‘’I don’t want to wait anymore for choreographer to give me what maybe I thought I want to explore or what I want to do physically.’’ Not to say that what I created is exactly satisfying to my body all the time. But at the same time, I don’t want to wait actually. So I just got myself into the studio, and I work with one of the independent theater in Göteborg. I just start making a solo. What came out — what I realized what interests me is speech and words. What I had there at the sound scale of that solo was the speeches from a series of people. It start a line from Gandhi that I was just really like his voice. For me, it was more of the rhythm. I really love the message of change. I was also interested in looking at myths. I stumbled on looking at the Greek Prometheus — who is also the one who gave hope to human. He was tied on to this rock as a punishment because of the God said you against our will to help out the human. The solo revolve messages of hope, and what it is to have hope that something drive us. I think that’s actually in my career — hope has driven me a lot. The hope to get a contract, the hope to be able to dance every day. The hope to move my body the way I never thought I could three years ago. Creating is not very logical. As I said, I just created my own solo piece this year. I was joggling between full-time dancing in the company and this parallel project. I was completely tired afterward. I know I need some time to recover but my mind is still there. It’s like an engine there — I thought ‘’oh take this note down. You know what you gonna write a script about it.’’ There is just something in there that makes me curious. You just have to try it out.

Her solo UNraveling © Zawirowania festival

How long you had been working on ‘’Rosy Retrospection’’- the solo piece we are talking about right now? What were you using in “Rosy Retrospection”?

My creation period officially for this project was twenty-two creation days spread out over three months. It was a wonderful project my artist director initiated. That brought together our company and two other Swedish companies. It was a three ways exchange. One dancer from each company went to go create on other company. You walk into the room and you don’t know the dancer. You inherited three or four dancers that you have never work with before. In your creating it is also not in your home base. You create it somewhere else. This is also interesting since we were talking about home. Like what it is to create in another house? I had not a lot of time to create it.

The idea came a year before when I was applying for the project. I made working progress on two of my friends/ colleagues who I love and respect that we got in our dance company. It start off with the “cognitive bias”- the idea of distorting information, what is perception? But more and more it got down to how we distort the idea personally and in regard to a memory. It also came from my personal experience of how do you delay a memory down or how do you let go of memory? Do you try to shape the memory? By doing that it shapes you? Rosy Retrospection is a cognitive bias which differs from nostalgia. What it does is it makes you retouch the details of the memory to make it better than it was. It is like putting a pink glasses on and look at how things were actually been putting ourselves on a stuck moment. I went through a lot of tries when it came to physicality. I am still trying to develop what it is that express me physically. I really do enjoy a type of steger — a movement that gets interrupted. It has to do a lot with communication. This is trying to talk but you get interrupted. It has to do a lot with the connection between the hands and the body. Sometime it is very awkward. This idea of your bone is slipping out and you are trying to manage, and still pretending everything is fine, or getting caught in something and trying to work with that. I didn’t actually manage to put the element of groove in this piece. There was a lot of things I was putting in there. Flow is something I like. Knowing when is flow and knowing when to break flow. There is something I like to call it an inflatable man — basically you are just skin floating in the water and to cut that like something gets steger. I like to mix these two. Gaga helps me a lot. I have done the workshop few years ago. I applied for scholarship within the dance company after my first year to do a gaga workshop in Barcelona. I applied and received the scholarship. That was also a memory for me that I felt really supported by the dance company. They found my curiosity. At the end of that workshop I felt my false potentials after digging into work for one week and doing repertoire. There is something in gaga I feel like it empowers the dancers. You just need to go for it. I work very well with images. I realized early on that I need images and sensations to access the body.

Her recent piece ‘’Rosy Retrospection’’

How did you make your choices in 《Rosy Retrospection》?

I went in pretty prepared because I knew I have short amount of time. I had some scene that I wanted to do already. It had a narrative of the piece itself. I had characters. I had given myself a list of what I wanted to explore. What I think I forgot, and I only discovered toward the end was the element of a plain time. I made my choices based on instinct a lot of the time with videotapes, improvisations, duet montage — like the way we built that final trio. It came from improvisation with tasks. Maybe that’s not the best way to do it. It took a lot of time for me to figure it out, but everything there flow really well. That one was structured on instinct.

Her solo UNraveling © Zawirowania festival

You mentioned you like to work with scripts. Could you share a bit more of what is a script for you?

Last year when I was making a duet on some friends, I was looking at this acting technique that I had done in Montreal which called Meisner technique which is based on improvising repetition between two people. I love acting. I always feel like it is such a toy. It is such a pleasure and a gift when choreographers come with texts. I would think “please, give it to me.” Acting has always been instinctual and natural to me. I had done some classes that gives me some tools. I want to bring that work that I had done to the piece that I work on. Those inspired me the most that had texts and scripts.

The idea of having scene came up last Fall when my colleagues and I were creating and collaborating together. We were talking about scene — the challenges I had to separate myself. I said I would really like to work with script. So basically I would script out the dialogues between two or three people, characters we were carving out throughout the scene we would just base on its own. For me it was like building the scripts, dialogues and creating that scene, atmosphere and intention. What is that subject matter to talk about? For example, in Rosy Retrospection, I knew I want a scene that with quite difference from the whole piece. There is the idea like this — Obviously the relationship wasn’t working between a male and female character. There is a disturbing character that’s kind of not helping the situation. You don’t really know who he is. The other male character could be like a ship disturber. He is kind of the floating, satellite character. I knew I want a scene which is very different. So I thought I want a psychologist scene. Sometime mainly what I do is to write down my Wishlist, and I start think which one work, which one maybe too ambitious, what’s not gonna fit. For the psychologist scene I just start to write – inspiration from quotes and the research I done on the cognitive bias. I just pull my research and what I know from therapy sessions. I just start writing this dialogue based on nostalgia and how we distort information. I am doing instinctually and consciously, and choosing my words very carefully, reworking the scripts. Usually the scripts were too long, and I cut them down. Once again, gets down to the essence. I don’t think that more words is better. I like concise meaningful scripts. I like the gaps in between the words, two characters — that silence, the space in between people can feel. I like to do more of it and I think I will hopefully. I haven’t had former education, but I used to date a director for seven years. I also work with some choreographers who I saw them how they write the scripts. It is trough experiences basically.

A lot of people post a question asked me why I think the script is necessary. They ask why are you inserting scripts into your piece or whatever you do? It touched on what you were saying, sometimes something can only be touched through words, and others it can only be touched by the body. What I like is that there is a game of tennis between the two medium. Sometimes the script would push the scene forward or give it another weight and filter to look at the movement.

An example of a technique Meisner invented to train actors’ responses is called the Repetition Exercise:

“In this exercise, two actors sit across from each other and respond to each other through a repeated phrase. The phrase is about each other’s behaviour, and reflects what is going on between them in the moment, such as “You look unhappy with me right now.” The way this phrase is said as it is repeated changes in meaning, tone and intensity to correspond with the behaviour that each actor produces towards the other. Through this device, the actor stops thinking of what to say and do, and responds more freely and spontaneously, both physically and vocally.The exercise also eliminates line readings, since the way the actor speaks becomes coordinated with his behavioural response.”

video introduction of Doro

Part III: philosophy

What other hobbies do you indulge in besides dance?

I do meditation. It is something that I have inviting more into my life. Reading and laughing. I am trying to invite more love into my life. Love for the moment, love for the nature, love for people in my life, love for myself, love for my thought. Something to harvest.

What’s the best advice you’ve been given?

I think just be yourself. We hear that so often — my last two years been lived in Sweden, some cliche that I hear my whole life have made so much sense. Also, this idea to love yourself. I think I really understood what that mean — to be yourself, speak your mind, speak your thoughts, not to be apologetic about them.

What’s the best gift you’ve received?

Having a functional body. On the other level, there are so many beautiful gifts I have been gifted by so many friends like letters. Sometimes it is just a card they put words on it.

If you were an animal which would you be and why?

A wild cat. I think it is something I want to be since I was a kid. I was just thinking about it recently. I was always like an outsider when I was a kid for language purposes and everything. Whenever we play a game called transformer or cop and rider, I always want to be an animal. I thought animal is the most amazing things on earth, and I always kind of imagine I was like a black wild cat. Why? For the freedom of running fast, being so agile and wild.

investigating female body ©Melanie Garcia

What’s daily ritual for you?

Flossing. If I do it in the end of the day, it means I am taking care of myself. Also, just taking time to breath usually in the morning. You just need to give five minutes, put the timer on and meditate breath.

Who or what inspires you the most?

Thinkers. Unexpected people and inspiring people. I think about my mother not as you expected. You see her and expect one thing, and she would say something that you would never expected. Just people who are not afraid to say what is against the grain. They are people inspire me the most.

What does be a female in your profession means to you?

Been strong and have the strength of vulnerability as well. How to get comfortable with your vulnerability. There is something I want to get back to is communication. I think it is so important to be unapologetic and know how to communication in our profession. Once again, a cliche — you got to work twice harder than the other men. It is true. Work five times harder than the other men. That’s imperfection. It means having to speak up a little louder. There is something I was thinking about -it also means being comfortable with your identity, your body and your femininity. When I say femininity, by no means I am putting it into a box — I mean whatever versions of feminine power to be. To embrace it fully, it is important for our profession. To really just listen to your internal voice, your internal organs.

Her solo UNraveling © Zawirowania festival

What would be useful tools to practice regarding acting and expressing one’s imaginations more freely? Any secrets?

Connect with the heart. You have to just be there, you have to be willing to connect, and be brave. Really connect to the heart and not making it about what you gonna look like or sound like. When I was doing these Meisner classes with a really fantastic teacher in Montreal, they always say “the most important question in the room is the question in front of you.” In a way what that does are to take away the subconsciousness or take away the egoistical side of looking at yourself. There are something I have been curious about and fascinated with is how the face changes on stage. There is something about not putting on performance’s gaze. To just be present, just being there. Practice in present is very important and very fascinating to me. How a face be so open. When I am in situation when I am watching someone and I feel open, I want to remember these feelings, those moments, those pressure and their intensity and stress. This is how my face to be. This is how I want my soul to come out through my skin. Up through a natural face. To try to connect to that by breathing, by softening the tongue. These are tools when I try to use in moment of pressure, when I come to acting or dancing. The tongue is a very good manometer for how stress you are. If it is tight, you are holding it. Okay, it is to recognize I am holding my tongue, and that’s okay . Let it go and keep going.

Any word you would like to share with our audience?

I just want to say thank you for reaching out, giving the opportunity between me and you, and also between me and your audience For touching the audience that maybe I am not able to reach. Also, this is something I have been thinking about recently. Try to invite the opportunity to connect with your body, whether it is trough yoga classes, breathing, kundalini or a dance class. I find so many of us. People can go through the whole life without connecting to their body once. It is something which is such a blessing. The best gift really is to come back to the body.

If you are intrigued, you can find her on her Instagram @Dorosay.

Thank you for your openness and generosity in our communication, Doro. This dialogue meant a lot to me. You are a very wonderful human being.

{feature} Conscious body system – Chaim Gebber & Roberta Pupotto

Chaim and Roberta created the company which is named ”Chaim Gebber-Open Scene” in 2015. They introduced a dazzling combination of movements including a technique called Conscious Body System which is started in 2005 by Chaim Gebber himself. It makes me curios of their work, so we speak on a dinner table after I had a taste of intensive training of it— It was wonderful and fun to dance with a group of compassionate dancers/movers. Following up, you would read more about them. 

This interview has been recorded in the spring of Berlin, 2018.

Complex Simplicity EMERGENCIA ©Chumpan

PART I: conscious body system

How did Chaim Gebber open scene start?

Roberta:  It started around the end of 2014. When me and Chaim were already working together in performances. I met him when I arrived in Berlin. I have been working with different artists in performances. When we met, we produced two to three performances together. There was a moment we thought about to make a fixed group, create a company together. We were five in the beginning. Now we are two organizing the company, and we invite guest dancers to work with us.

You mentioned ‘’consciousness’’ many times during this training, how do you apply consciousness into your body movement?

Chaim: Firstly, every single movement or action that we play on the classes are based on the personal decision. You should know where you are and where you want to go before starts the “journey”. That means to have a clear intention and aim. Even on the combinations we guide the participants in not  copying the steps but focusing on the way they are doing it on their personal speed/timing.  – What I try to create in my work (Classes, workshops or choreography) is an environment in which each single person has it own space to grow as an individual, as an artist  and as a part of a community, even if an ephemeral community.  So the positive quality I try to develop/ to work on, is the constant collaboration. The capacity of one’s being able to take full responsibility of his/hers actions and consequences  related to his/hers body, space, time and timing and the same in relation to all others involved on the process. So it is always an exchange. When we go for the space, we should be conscious about the space, timing to be able to share. 

Roberta: It is about train the body and the mind with awareness and then bring it into every situation. For example, if you are aware of the space and the surrounding people, you will have the ability to react if something change. For me, it is a lot about being more free on the stage as well. Because I have more control of myself and I can decide consciously to take risk during improvisation for example without hurting myself or the others. This kind of workout gives you the instruments and tools that you can apply it into your daily life, on the stage or in the classes. Do we know our bodies, but sometimes we are not completely aware of our posture or bad habits. If you bring this consciousness into your daily life and training, it helps to prevent injuries and improve your body condition. 

Body Play Shanghai 2016 ©Yao Yao

How about the most challenging situation at the outset of the process in production?

Chaim: In my case is it to bring my ideas to the stage dealing with the financial difficulties. When I have the need to talk about something, to create a performance or choreography, I create a vision with music, costume, light, stage design, number of performers and so on, but to bring it to live I have to deal with the financial situation and start cutting things. It often gets to a point I start to measure the money or take the risk and try to get funding and keep on going. I don’t create an art work to get rich, instead, I create the idea to fulfill the needs of expressing something. So we invest a lot of time, energy and money to create our work with the hope to get this money back later. That brings lots of stress for an artist to create something. 

Roberta: We have already ten works done in complete different formats. They are all important. There are performances for theater, big theater, alternative spaces, art galleries and so on. Chaim is very creative, and he can keep doing new pieces. But we need to focus on what we have already, that is a lot, and we are struggling to find the best way and conditions to show them in the proper way. We have a lot to offer, and we keep going, for showing more in Berlin, Europe and abroad. 

M.O.S.T ©Henryk Weiffenbach

PART II : Choreography

Their newest production《M.O.S.T》was performed on April 20th & 21st 2018 in ACUD Theatre. I was there in the audience. A group of beautiful dancers mixed their personal stories on the stage. A generous offer to the audience toward their personal reflections of lives. We are here now sitting on a table of restaurant after sweating with a group of beautiful dancers who was involved in the practice of conscious body system.

What first attracted you to 《M.O.S.T》 and how long have you been working on it?

Roberta:《M.O.S.T》it is born from a working process in November. It was a way to research. Now we are working with the full version of the piece which is mostly improvisation but combined with some choreography.

Chaim: The place is a space we can experiment with idea. The idea is to see how the idea work visually. It is so strong, and we got invitation and emails that requesting to see the performance. The idea is to talk about how human beings get back to oneself. The situation right now is we escape from not knowing who we are by losing ourselves in entertainment. Mostly, we confront with the question with ourselves – Who am I? What is my core? We try to get back to this core and find what is in there.

I start to think about M.O.S.T by observing how we the “modern” people are always trying to escape from the reality. I believe that soon we will get to a point in which we will lose the borders between the “Real me” and the “desired me”. In fact, it is already happening in some ways through social medias, where we never know if what we see is what is real or produced. This goes many times back to the person that is producing him/her self on the social images and looses the perception of what they are and what they are promoting about themselves.

The main idea in M.O.S.T. is to talk about how human beings could and wish to get back to themselves. M.O.S.T (My Ongoing Silent Transcendence) It is a trip to the inner “ME”, to our core. It is a diving trough the layers of “ME”.

How do you make your choices in 《M.O.S.T》?

Chaim: Mostly by observing and analyzing my surroundings. I like to collect ideas observing real and virtual daily life of people. How we deal (in this case for M.O.S.T) with our possibilities of communication. Then I pick what stays stronger in my memory ROM what I saw and start my individual trip on my memories based on those inputs. 

M.O.S.T ©Henryk Weiffenbach

How do you create – do you go into the studio with a firm idea of the movement you want? Or is it more free-form and organic?

Chaim: When I have the need to say something , to talk about an important topic for me, I already know what kid of energy I will need to express my ideas.

 If you want to talk about protest, you already know what the energy you want to bring in. If you want to talk about meditation, you know what attitude to bring in to. When I go to studio, I already have a clear idea of the texture of the movement that I want to propose for the dancers/performer to improvise. 

What comes out of improvisation is how each one of them/ us turn one idea into physicality. I work on this feelings and physicality to develop situations or scenes. 

How do you choose the performer in this piece?

Chaim: I allow myself to have this freedom to have single decision in each piece. The dancers we work with are from twenty to sixty-two years old. For each single work, I see what kind of people are more suitable deliver the message I am proposing. Then we me and Roberta talk a lot about it before the final decision. Normally we invite people we already knew. Last February was our first audition because we would like to know people. There we got more than four hundred inscriptions. From them we invited 40 dancers for the audition, and we had to choose only 2 of them. 

Roberta: In this case, it was much specific because it was a piece we already showed a lot (Body Play) and we were looking for specific roles. There were beautiful dancers in the audition. But we were looking for specific skills for this particular performance. For other works, we have more freedom because Chaim is working on people. I seldom saw him marking steps by steps without improvisation. He always tries to use what the dancers have. He has an idea or an image, and he tries things. Of course, we are looking always for strong, flexible performers. And he is creating the choreography on these bodies, this person who can express the character, the topic and the messages he wants to give. That is already done. We tried to find roles who are fitting in it. He likes to work on personal skills and direct the piece in this way — open to try things with this group of people at this moment. 

What’s the potential of improvisation?

Roberta: For me, it is important to have clear tasks to research a concrete idea or message that I want to express. Improvisation is about the “moment” — is good for both performer and audience.  Of course, what you are going to deliver is always the same. How you are going to deliver is new. I really like improvisation in this way because it is also challenging. You have to be present and aware all the time. For performance based totally in improvisation, I think it is a harder work but it is more alive. It is real, it is there, it is an experience more than just showing something.

Chaim: It is just like Roberta was saying, you should be there. You are transparent. People can see who you are. That’s beautiful. It is a strong tool to deliver a message.

M.O.S.T ©Henrik Weiffenbach

How do you look at Berlin scene?

Roberta: I like Berlin is giving the freedom to show any kind of arts and cultures. You have chance to experiment and try things. You can find complete different audience who is not necessary connected to the artist and/or intellectual scene. Every kind of people are interested in art and are curious to discover new things. Personally, I love that there is possibility to show. Of course, it is not so easy. Berlin’s performing art scene is so full. But it is very active. Things are always moving and people support each other. I feel less competition and more collaboration between artists. 

Chaim: The art scene in Berlin is like a lost child. An experiment needs a clear aim from starting point to the point we want to reach. A try out in other hand in only a test of the potential of someone or something, not necessarily going somewhere. In many cases it  just becomes a scream and then it’s gone. Of course, there is a lot of things are good. I just would like to see as much artistic research as I see physical researches. 

How do you see unfinished piece?

Chaim: I think if it’s clear it is not finished, it is good because then you have a chance to try out your ideas into something physical. Because you put your idea out there to see — Is my idea / message going through? If it is going well, then I can finish. If it’s not, then I can start over again. But it should be clear it is work in progress that is not finished. 

Roberta: Like what I said before, the freedom to show is nice, but sometimes, it’s also confusing for the audience. Can be disappointing because you expect to see something else. There are a lot of situations in which people perform just to research an idea, an image or a feeling. Sometime is the beginning of something bigger that will come later, but I think it is always good to be honest with the audience and tell them when is about a work in progress or research process.

CBSW in Rabat © Chaim Gebber Open Scene

PART II: To know more

What’s the best advice you’ve been given?

Chaim: As my mom used to say that the best way to give advice is to be an example.

Roberta: The advice I give myself is, if you believe in something and you give in it one hundred percent, it is impossible you would not get it. This is something I always advise —Do your best. It will come back. 

If you were an animal which would you be and why?

Chaim: I would be a dragon for two reason. Firstly, it doesn’t exist. It is a collection of ideas and wishes that people created in a shape of a dragon. Secondly, because my son is a dragon in Chinese lunar calendar.

Roberta: I like cats. Cats are independent, smart, good energy and mysterious in positive ways. Or horse. It is intelligent, sensitive, wild and free. 

Chaim Gebber in workshop © Katya Pomelova

What’s the questions in your head this week?

Chaim: How would I get an apartment in Berlin?

Roberta: What is going to happen in summer? More or less, this question comes to me when things are very open.

What’s daily ritual for you?

Roberta: Coffee. The breakfast coffee for me is very important. I normally take my time and looking to nothing through the window of my kitchen.

Chaim: For me, it is to talk with my son in the morning and in the evening.

Roberta Pupotto in workshop ©Chaim Gebber Open Scene

Any word you would like to share with our audience?

Chaim: First of all i would like to say a big THANKS for all the support our audience has giving us so far. On our workshops, classes and performances. And as well that I hope we can keep their interest in our work. 

With many thanks to Chaim Gebber & Roberta Pupotto
Chaim Gebber Open Scene website here
Photo credits/ as description below each photos
Original article in Mandarin contributing to Red Bull please see the link

{feature} Artist, where do we meet? – Sasha Waltz Open Studio with Rosabel Huguet and Steffen Döring

The act of listening – We sit down and listen to each other. It was after I simply wrote a letter to somewhere unknown and see what happens.

Part I

Quoted Sasha Waltz open studio, ‘’It’s all about listening to each others.‘’ Imagine you wrote a letter to a person you admired the most, and she/he wrote you back. Sasha Waltz open studio open arms to me while I requested for a interview. It is my favourite improvisation space in Berlin. Why? The diverse of movers, artists and musicians gather every month in this breathable architecture, it is a celebration. The event is free and no particular purpose at all—purely for sharing and learning from each other. This kind of meeting point is rare and precious.

My first time there was a coincidence. I was very young in exploring the body practices, a Greek Choreographer invited me to join after a day long of training in studio. Such a blast! There were more than fifty artists through out the whole night, moving in a synchro rhythm. That night was still so deep under my skin. I could feel the lift of improvisation and those gifts I received.

And we met again. For this interview, we came across the room and sat around a white round table. Her name is Rosabel Huguet and his name is Steffen Döring. They are the organisers of the open studio. The dialogue we had was regarding education, open source, network and rituals. Following up, please read the conversation we had for knowing more.

© Lena Kern | Open Studio Berlin #1

© Lena Kern | Open Studio Berlin #1

How did open studio start?

Steffen: In a way the company is in a good position with regular funding and studios that we can afford. Sasha is well known artistically. It’s always been part of her profile to open these resources she had to broader people who are not necessarily connected to the company. It’s always been very important to her. From the education side, there are workshops we are doing. The open studios is part of that philosophy somehow, to give something to the community of the dancers and artists in Berlin who are the audience as well.

Rosabel: That’s one of the core thing which is important for Sasha that the open studios is a free event. The people who comes to participate and improvise don’t have to pay for the entrance, because it puts immediately someone in position of expecting something or exclude people who are not able to afford it. The core of the open studios is based on the extreme generous philosophy of trying to open the space because it’s there and make it free for everybody.

Steffen: That’s basically the resources we had which is the studios belonged to the company that we rent through the whole year which is available 24/7. That’s our access somehow that we put into idea into the project. I have contract with the company so I am also doing other thing in the production. Rosabel are also getting paid for it. So we organise it together as part of the company. We use our resources to publish it.

Rosabel: And expand the idea. Because something that it is happening here has been almost three years. It had happened in Budapest and Amsterdam. We also have request from Israel asking if we would also do it there. This is sort of work because there is no place that people can actually just meet and share without any purpose. It is like you come and just meet and do it; ‘’You are a musician. I am a dancer. You play. I play with you.’’ This basic of doing, I think, shows us through the three years that I work in. That’s why actually we keep on doing it. That’s also reflecting a need of the social meet from the city. There is many many artists, but where are these artists meet and exchange? Well, you can meet in the premiere or classes, but where can you exchange? That’s fundamental big question. I think Sasha is also super concerned with how we exchange, how in a way we keep on sharing the knowledge and information, and keep on talking and listening with each others.

© Lena Kern | Open Studio Berlin #2.jpg

© Lena Kern | Open Studio Berlin #2

On 31st January 2015, the open studios start. It has been three years already. It seems like yesterday. It’s so important to actively create and exchange. The open studio makes itself happen. The room has sort of moving feeling. It’s amazing that it’s always something moving in this room. The light changes very much. It keeps you as well that something is going on in the room. It’s part of the concept of the architecture to keep the space open.

Steffen: That was quite crazy that we didn’t really advertise it so much. We just invented the mailing list.

Rosabel: I told a lot of people that I already knew they would be interested, asking them to invite someone would also be interested to come. That was the first way of doing it.

Steffen: We didn’t post it on Facebook or anything. But then, the first day was super crowd. Last time was again full of people.

Rosabel:We don’t have a fixed date because we keep it flexible. It allows us to have different atmosphere. Sometimes there’s more kids coming because it’s Friday and they don’t have the school the next day. So they can be. There’s all these interesting constitution of people depending on the day.

Steffen: The average ages is really wide. For example, it’s really beautiful aspect of the open studio to see the teenager dance company between 12-15 years old. They comes every time and looking forward to it. They are such good improviser because of they are doing this physical work for at least 5-6 years.

Rosabel: I think it’s really good example of what we are talking about the education. How we get our youngest to move, but not to move in doing something formal? These kids when they go on the street, they move completely differently. They are aware of the space differently. When they are in a station full of people, they know exactly what to do because they are used to confront of people, in the meanwhile feeling the space. It’s also very much feeling the philosophy of how art or movements in this sense can actually bring forward generations of new visioneers. Young people has everything to learn yet, everything to do yet. So that’s of course in the open studio when you have a fifteen years old kid, a baby on the floor, and you confront someone who has been dancing all its life, people to people together, and you face them with no words, it doesn’t matter if you know German or you are Korean. When you meet a child, you just try to listen. It’s the relation and how you communicate. For me, it’s the basis way of constructing. This happens a lot in the open studio, because it has this long way of agents. So we can feed each other and we can learn from each other, the youngest to the oldest and the oldest to the youngest. Of course, as old you get, there’s more experiences of how you move. But there’s someone completely free that you have to see. That’s also interesting to see what happens. The age ranges is very important for me.

Is there a certain ritual or guild to start the session of open studio?

 

Rosabel: We try to keep it simple because we don’t pretend to teach no body or to give any example of anything. Our job to host them, to make them feel comfortable, welcome, and to know if anything happen we are there. That’s why in the beginning we always do a short talk to welcome everybody. For the one who’s the first time, we just go very fast to these basis rules—we listen to each other. We respect with everybody. We start from the side and free the center. And we start. We try to do so because it’s not about us talking, it’s about ‘’us’’ talking.

Steffen: We sometimes try experiments of a structure, format or proposal. We don’t give any rules or framework. Let’s see what happens, if we filtering something to start as a proposal. Sometimes we looks for connection to what’s happening in the studio or workshop during the week.

Rosabel: For example. we would invite that artist of the workshop to define one set of structure or a score. Let’s start improvising by that and see where it lease. For instance, we cover all over the space with papers, and inviting some graffiti artists and painters to come. We invited them and everybody was on the floor. In a normal sense, you move the movement and it’s gone after a second.

© Mark – r | Open Studio Berlin #13.jpg

© Mark – r | Open Studio Berlin #13

For example, there’s another day called the cooking day. We asked an artist Pei Pei who was working a lot with the leftovers. Then, we asked every participant to bring one leftover from its fridge. So everybody brought something.  And then, he was improvising in dish as a cooker during the time we were improvising on the space with the product each one brought. Of course, this meal and the sound of pods sounds like a soundtrack. In the end, we all shared the dish. That’s also a way of improvisation. We also improvised a dish. To Steffen’s saying, to put something and to see how people react to it.

© Jefferson Sofarelli | Open Studio Berlin #6

© Jefferson Sofarelli | Open Studio Berlin #6

The first session we did in Budapest, we were improving together through skype. We put a huge TV in the studio. We went into skype, opened studio Berlin and studio Budapest, said hi to each other.Then, for two hours improving together. In the meanwhile we could see what’s happening from the other city. At certain point, it was chaos. Because here and there are different. Technically issue for example like sound quality were horrible. It was sometimes challenge. So we said goodbye at certain point. But there is an aim to really try to exchange and share. Not trying to put too much imitation, but some inputs. It’s sort of part of our time that we had to start to get used to technology. I am also not from Berlin, so I do talk a lot with my family through Skype. It’s a way of keeping in touch. So we thought why we don’t improvise with someone? It was really fun.

© Jefferson Sofarelli | Open Studio Berlin #8.jpg

© Jefferson Sofarelli | Open Studio Berlin #8

How is going with open studio in Budapest and Amsterdam?

Rosabel: Well, this year is not happening anymore. Because it’s something quite experimental. Berlin can host something like this quite easily, because the city invites these sort of exchanges with many people. People are maybe more open to it. In Amsterdam and Budapest, you need to work like some sessions, but then, the space also needed to reconsider if it’s something worth it. But the time it happened, it was indeed interesting, to realise how different the scene format can be influence by cities and other elements. That’s why it’s also great to see if we do it in Tel aviv.

There’s also another dancer and choreographer from the company for many years who is now based in Madrid, asking that he would like to do it near the canal. We sent him some info and pictures. I have a feeling it expends. I see us more like a revolver point, it’s like every time you come to Berlin you would have the open studios. The other place is more a pop-up which is happening for a while. It’s interesting and understructure.

© Silvia Boschiero | Open Studio Amsterdam #1

© Silvia Boschiero | Open Studio Amsterdam #1

© Silvia Boschiero | Open Studio Amsterdam #1

© Silvia Boschiero | Open Studio Amsterdam #2

© Silvia Boschiero | Open Studio Amsterdam #2

Steffen: It’s not an amazing invention that we created. Things like this also happened in 70’s and 80’s of New York. In the same time, when people ask us if they can also do it, I am always surprised. Of course you can do it. Anybody can do it. How can we even help you? We don’t own the idea.

Rosabel: I have a feeling that Berlin has the spirit of…after the wall fall down, a lot of places were occupied, becoming a cultural center in the end. All these places actually allow this crazy mix of people with completely different idea but still wanna share something. I think Berlin has a little bit of this essence from the history. That’s why also the open studio here works like that.

In Amsterdam, there is a huge community of improvisation. But they would never think of improvising with someone from different disciplines. How and why? This is like part of dialoguing and listening to each other, sharing and constructing something, instead of keeping ourselves in our own perception. The city invites us to open it up. It’s inspiring and happening.

I know that through the open studios many artists got to know each other. They met afterwards and did projects together. It shows how interesting to meet by doing. For example, someone is looking for a dancer. How I know there is connection or no connection? Of course, you go to place like that you do immediately feel if or not. I know a lot also happen there because of this openness. It works because of people are coming and feeling welcome.

A long collaborator of the company, Yoshiko Chuma who is specialist in improvisation. She is one the figure who start in 80’s New York. She opened one open studio with one score. After awhile the session was going on, it got wild. It almost seems like sort of a group therapy. So I approached her saying, ‘what do you think? It’s chaos that nobody is listening to nobody.’ She said, ‘first, don’t say nobody is listening to nobody. Because it’s not true. Nobody is hurt here and nobody is rushing against the wall or each other. So they are listening to each other but just not the way you are expected. They are listing to each other. Second, it get wild because it is what is needed to go through for finding something else.’ She was very much into don’t judge it.  That was a very nice thing to do.

© Roger Rossell | Open Studio Berlin #5.jpg

© Roger Rossell | Open Studio Berlin #5

A three years old has different way of listening than a eighty years old.

Steffen: To see people are independent the whole evening without any interaction, yet if you think about this person, surely there’s interaction which is what happened on this person depended on the group surrounding.  The other people who are constantly with others, always be involved from one person to the other is the same as the person who are independent.

Rosabel: We try to offer bouncing and reflecting who is needed. This is also something which is important to create the online archive where all the things are generated arrive here somehow. It is something we are all doing together. Everybody can go there to look at the drawing or recording to reflect on it, and keep the conversation alive. It is very generous that the photographers and painters would pass and scan the pictures. It all takes time to do so. We don’t force them to do it, they only do it out of spirit of sharing.

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Is there challenging situation during the open studio happening?

Steffen: Sometimes I am worried about the people who is going really crazy, but there is nothing you can do. Nobody really got kicked or hurt. It’s really incredible. I think it is going really smooth. I sometimes worry that there’s no musicians come, because it’s important that the music is there. I think it only happened one time. Somehow the room created its own rhythm. With the music there’s a clear framework. It is so open but somehow everyone is respectful.

Rosabel: When it gets late, the place get dark. But no one steal things on the back sneaky.

Any word you would like to share with our audience?

Steffen: Message has to be meaningful…?

Rosabel: Share and listen. It’s sort of the motto of the open studios which is to keep on open channel instead of closing them.


Part II

Now comes in some personal story telling. It’s not necessary directly relating to the open studio itself but more personal aspect of how things happened. I am always curious about how different characters get involved into a certain degree, and they are having fun with what they do everyday. Here are some questions I request as follows.

How did you become a part of open studio and Sasha Waltz & Guests?

Steffen: I was still a student in Berlin in the 90’s. The year was 1998. I saw one piece from Sasha Waltz which was called ‘’Na Zemlje’’. It was sort of the last performance in Sophiensæle. She did it with a group of Russians actors/performers who is kind of grampy, musical and humorous. I was sitting in the audience thinking ‘‘oh my god I have never seen any like this.’’ I love it. I wrote her saying, ‘’I want to know how she do it and what’s going on. I would love to be part of process sometimes.’’ Somehow it was a good timing. We met and talk. She said yes it would be nice to have you. I was there assisting her in that transformative period, moving from Sophiensæle to Schaubühne. I wonder how this kind of letter turned out successful which is writing a letter into nowhere. I feel like I was really lucky with right time, right place and right kind of thing.

This was one of the first thing. Then, I moved to England for studying dance. I worked as choreographer that I did my own work. In 2004, I wanted to come back to Berlin. Again, the situation was good. Sasha Waltz’s company expended a little bit. So she said, ‘’yes, come back. I need an assistant again. It would be good if you do this.’’

Rosabel: He does it amazingly. It is not a easy job.

Steffen: Sasha is great. I think in term of artist she is one of the most sane and ground people I can imagine. This makes work with her very easy in a way. It is the peak of organisation, there is a lot of people so it’s the challenge of it. We tour a lot and I am always traveling. I only have one time having sushi in Japan. But there is so much stuff to experience. As a dancer and performer, it’s part of the past. So in the open studio I am not in the improvisation anymore.

Rosabel: I moved to Berlin in 2012 from Barcelona, Spain. I was just finished my study in the university there. I knew the work of Sasha because I was studying it in the university. We had the great respect of European theater artists. That’s why I choose Berlin, not because of Sasha but it’s great to be in the incubator of the amazing artists. When I moved here. I have been working with several people in the different projects. Then, I got to work in Schaubühne. There I got to work with a choreographer who is actually working in the company years ago. He told me sometimes they do workshops there. You can write Steffen for this. Then, I asked him for the workshops. It was a workshop about improvisation. I did it. Sasha was there some days as well. It was all about improvisation. The group and atmosphere was so great. That was so nice and a lot of things happened. In the end of the session, there was a small showing. At the showing I remembered we including Sasha were saying it would be so great that we have an improvisation session here in the house. We are full and we are busy, so when and where and how? I remembered that it happened to me as same as Steffen’s letter. I purpose a concrete plan for the company. I remembered Sasha said this is the dream I always had since I had been in New York and doing it myself. So it was not a completely new idea for her to be requested. It was sort of out of contact although she has been inviting someone and group of people to improvise.

Steffen: I think it probably trigger something to hear from the dance community expressing the real need and wish for it. I think that triggered something.

Rosabel: It was a wish already there. It was maybe the right moment to try it. It’s somehow how I got to do it with Steffen. It’s been wonderful. Personally, I need this exchange as well as a person. This is what I wish for myself to be able to be in a space and improvise with people. That’s ideal.

What’s a daily ritual for you?

Steffen: It’s really an interesting question because I do not have rituals. As soon as I need to do something, part of I brush my teeth and have breakfast everyday. Because often times it’s proposing my characters somehow. My life has no routines; two weeks I would be in the office, and another two weeks I would be on tour. Then, I have two months of being in this building everyday. So somehow, if I have rituals, I could not do my job. I would be really unhappy.

Rosabel: It’s exactly the same for me. I am two weeks in Berlin, this Saturday I am going to Australia, five days ago I was in France. I change completely space-wise throughout the year. I learn to be flexible enough to not have too extreme routines which it would be distracting if I don’t do that. Of course, hygiene and coffee in the morning. But I try to not attach too much with those things. Because our life is not for that. It’s actually being flexible.

What’s the best advice you’ve been given?

Rosabel: I have a lot of good advices from many people in many moments of my life. It sounds a little bit of romantic, but I guess it is ‘’follow what you believe and what you want to do. Don’t limitation with what you think.You can do it.’’ It came from the fact that nobody in my family is into arts, and I wanted to do arts. I left and it works.

Steffen: What I like is some kind of philosophy which is ‘’pretending to be stupid would save you fifteen minutes of work.’ It means don’t jump. Just digest, observe and try to understand. Maybe by then, the problem had been solved. If not, you go for it. Often it happens surely in arts when you are working with people are very close to their emotions and feelings. It comes out very quickly. You need to filter it somehow and try to stay calm and try.

What’s the questions in your head this week?

Steffen: It’s regard the projects which we want to do for next half year. There’s a lot of think about what’s the final thing.

Rosabel: I am doing this workshop. My question this week is about gathering and expanding. We are doing this all day long. So the big question for me is how to get into the floor and out of the floor. Because I am going into the floor and out of the floor at least five hundred times a day.

Yin: The dialogue between three of us ended for now. The openness and encouragement are still echoing inside of me. I feel incredibly grateful for how it went. Thank you Rosabel, thank you Steffen. It was a great pleasure.

With many thanks to Rosabel Huguet and Steffen Döring
Please see open studio’s online archive here
Photos credits/ Please see the descriptions of each photo. Cover photo by Roger Rossell photographed Open Studio Berlin #4
Original article in Mandarin contributing to Red Bull please see the link

Christina Boixiere-The story behind the born of La Voyageusethe

Preface

This is a story about a woman and many others. I would begin my thoughts with my encounter with Christina Boixiere who is the founder of ‘La Voyageuse’—the first trusted platform that connects solo female travelers with local women hosts from around the world. She’s my family which is not blood. I see her as an extremely wise woman and someone who dares to dream and do.

I used to stay in my grandmother’s house during the summer with my little sister. This women, my mother’s mother, was a generation of experiencing the colonization and living their life through post-colonization in Taiwan. She spoke and talked as a person who had no space to question authority. Everything is about punishment and reward in her behaviors. Those childhood memories were rather hard to revisit, as it is not a simple setting for a child to understand the dynamic in their complex relationships; I was paralyzed in the face of no self-love, confidence, and innocence of being a child.

Despite all these factors from the environment which is haunted by the ghosts of our past—family, culture, education, and society, I was lucky enough to have met my neighbour—a figure who has influenced and inspired me from any kind of aspect until now. I had inquired her many times about friendship, responsibilities, love, emotions, and one’s abilities to live a happy, meaningful life. Of course, I remember one of the messages she had shared, right before she moved to Bordeaux, saying ‘if not now, when?’ Our lives are so brief, yet we have all the potential to discover, explore and live it as a tree blossom in Spring. I believe there’s always a choice for a better life through listening to each other, accepting, sharing and loving who we are. It’s true to me that we are blissful to be part of our time.

Although Christina and I have been apart for many years, she is so alive in my heart that I kept remembering her encouragement and love. During a psychedelic trip with my partner, I suddenly realized a puzzle in the past; she inspired me to immerse myself into foreign languages, travel solely, while her current husband intrigued me to tell stories. Both of them showed me the essence and unexpected nature of love through their love story. They are free birds to me at that moment.

It was truly powerful to see people with open minds and loving energy. I start to act. I couldn’t hold myself sitting on a haunted island anymore. At this point, I moved to Tokyo out of short notice to my family. I just need to go—This action reshaped everything from the core. I forgot about the past, future and all the perception I had perceived. It doesn’t matter. I am now. I need to feel alive. I need to listen to my heart, dancing, singing and expressing myself honestly as I wish.

Finally, I arrived Berlin two years ago. It’s like home. I reunion with my true self and twin flame. I have never felt so grateful, loved, accepted and free as who I was, who I am, and who I would be. Life is grace as it is.

I feel a sense of gratitude toward her—my childhood hero, Christina. I feel it’s time to share her story because I believe there might be someone out there who would get influenced by this amazing women.

Human being’s nature—adventurous

Christina moved to Bordeaux, France in 2015, two years after her MBA student life in London when she met her current husband in Marseille. I met both of them briefly during my short stay in Taiwan. They just decided to settle in Bordeaux—a safe, clean and vibrant city which is close to the ocean with perfect size. What could one ask more? Next time I heard about her, she is doing ‘La Voyageuse’ for a while. The moment we reconnected online was overwhelming.

Inspired by her first solo travel to Thailand when she was eighteen, she has been traveled to over thirty countries solo. You can call her a ‘solo female traveler’. Of course, everyone needs some courage to take the first step and try. But it is worth it— ‘traveling solo is the best way to meet people. It is exciting and fun as you never know what will happen to you whilst you travel alone,’ Christina said. All of these experience open your heart. It was tremendous transformation if I recalled mine.

As I am aware of, from our cultural and educational background, we do not encourage our youths, especially for girls to go far. Why and how? How do we break out from this?… I say, ‘The only way to do it is to do it.’ We no longer need to wait for the perfect moment, enough saving or proper plans for study or work.

Homepage of La voyageuse

Safety network—meet the local guardian angels

La Voyageuse shares a similar dream a lot of us have—traveling around the world and meeting local hosts from around the world. I interpreted as a global community which networking traveler who do not identify themselves with one single tribe. It takes effort, practice, and trust. Speaking of actions, she offers the crucial solution for the most challenging part of all which is safety.

Christina has been traveling solo since the age of eighteen. She loves staying with locals as she believes this is the best way to experience local culture and to understand local customs, therefore she was using Couchsurfing to find hosts for most of her travels. However, as many of other women have faced, she encountered some really bad experiences while staying with local hosts, in some cases, she was harassed by some of the male hosts. She felt injustice within her, she wishes that all women could be able to travel to places where men could, without feeling scared.

She had the idea to create a safe platform between women with a strict process of profile verifications. From the market research she has done, to her surprise, there hasn’t been yet any solution like that which focuses on safety. Unlike the existing home-sharing platforms which are like AirBnB for women only, she proposes ‘La Voyageuse’—Their hosts don’t make money from hosting their travelers, they do it because they are looking for authentic experience while feeling safe. These people are the vulnerable ones who need to be reassured, and that’s why they call these hosts ‘guardian angels’.

Having said that, they do not exclude men, on the contrary, women living with others, be it their husband, brother, father, male friends…and so on, are extremely welcome! Honestly, It sounds like the most promising platform I could imagine to use as a solo female traveler myself. Martin Luther King, Jr. said, ‘I have a dream…We hold these truths to be self-evident, that all men are created equal’…Isn’t it true that we shall listen to each other, instead of turning away from those who have needs to be heard? 

If you’re interested in learning more about what makes La Voyageuse the safer platform, you can check out: www.la-voyageuse.com

It’s not a one-man show to make this dream happen. Christina has an amazing team of five people including herself and her current husband. ‘They are motivated, young, dynamic and believe in La Voyageuse,’ she said. ‘oh, and they are all solo travelers!’ Support by her other half, Christina overcame her stage freight and gain self-confidence in public speaking, they had won two prizes during the Startup Weekend in Bordeaux where people were amazed by their pitches.

That is a living proof of the fact that today’s women are stronger than ever. We want to create something bigger than oneself. We want to continue the dialogue between different sex without perceiving judgment. ‘Taiwanese culture teaches us to stay humble, and to work without questioning authority at work,’ Christina reflected. ‘Here in France, people are encouraged to give criticism, to disagree, and to challenge authorities. Being a Taiwanese in France, I’m still learning to find the perfect balance;  I can see some progress in me.’

I admired her courage and strength to find her own way. ‘if you ever want to feel free, better and stronger, go traveling solo,’ she said. ‘It’s really the best way for me. Traveling solo has not only made me who I am today, it has helped my healing process when I hit the rock bottom of my life. It enriches me and gives me a new way of looking at things and people around me. If you are still scared, hopefully with La Voyageuse, you will be able to make that step forward!’ That was a solid message from her that she would like to share with you all.

Are you ready? Before you hit the road, here are the practical tips for preparing your travel regardless it’s solo or not. I hope her story would inspires some of you in some ways. I encourage you to find your own destination, break out of your comfort zone, and live in the present moment. 

Christina Boixiere did a skydiving

Tips for planning solo travel— first of all, respect local culture when you travel

  • Research on the local customs and culture, knowing ‘’do’s and don’ts’’.
  • Look for Safety tips and blogs, articles and websites that offer ‘’off the beaten road’’ tips.
  • Make a simple list of what to visit and activities one would do.
  • Download useful apps, such as local off-line maps, useful phrases in local languages, weather, local tour guides, local event calendar…and so on.
  • Note down local emergency numbers and local Embassy number of one’s nationalities.
  • Look for local music and films to put oneself in the mood.
  • Prepare the bag ahead for making sure one pack the essentials.
  • Create a personalized itinerary with flight & accommodation information, contact number/ address, and websites, and save it to one’s mobile phone.

With many thanks to Christina Boixiere
photo credits/Christina Boixiere
The homepage of La Voyageuse please see the link

{feature} 27 dance monkeys’ free playground – Be van Vark & Sven Seeger

Her house was located in the backyard of a typical Neukölln building for the residents. As I was invited to visit, Be van Vark opened the door asking me if I would like a tea. There it was, surprisingly, a concreted pumpkin standing in the backyard. You can have a 360 degrees view of the garden from the big windows inside. She dressed casual, matching quite well with her long hair tiebacks. It all felt very familiar. I stood around the kitchen with a dormer roof. She said it all starts in 1996 when she started working in Schlesische 27. I was delighted to hear the story unfolding itself in that way. Be van Vark was one of the founders of 27 dance monkeys together with Sven Seeger. They started it in an organic way without a name. She continued, ‘’Schlesische 27 is an international youth, art and culture house. It has always been the same: networks and people.”

While she continued to share more about their history, Anna Katalin Nemeth and Julek Kreutzer came into the room with the Turkish dessert. They are the younger generation who help organize the projects. Together, they offer a space to play and create with one another. They found the name ‘27 dance monkeys’ in a bar later on. It showed how important to give it a name that it has been existence. Without a name, they did one project after another. It didn’t have this kind of commitment.

The discussion between four women including me turned into an enthusiastic dialogue. I hope I could warp up those amazing memories they shared with me, but it took so much energy of me. I decided to let my artist write instead of myself. It is very simple. They did amazing things with community. And this is an short introduction of what they do.

Roter Flohmarkt

Bringing people from different ages, background, and styles to merge inside the framework of dance & theater work. It was all about meeting at the moment, doing something together.

What is 27 dance monkeys?

27 dance monkeys have been funding by the government- The Senate Chancellery, the center for funding programmes which has different cultural projects running from different programs. We only have basic funding from the government. Then we find other funding commentary for each project.  

At the moment, the some money comes from a school. Basically, every school in Germany can use three percents of their budget for anything they want. A lot of schools use it for artist’s projects. The school who funds us wants their students to integrate with fantastic monkeys people. Some of them are already there. Last year, the project black mountain was fund by cultural education Kulturprojekte Berlin in Berlin. The thing is, we always have to look because the funding is coming from different places to see what is there. Sometimes we are a part of a big project . One of the strength is we are open, adapting to new situations and projects. For example, it’s our first time letting something like Tensegrity Lab over a period of time. It was a project that one of us came up with the idea that everyone jumped on later on. All of us can think of that under that root. With the strength, I would also consider it’s so open to people that everybody can join. It is really working against the biggest problem of our society-”education”. We had the whole world joining us, such as students, refugees, teachers, dancers, non-dancers or people who come for the first time. It is what I like. It’s great all these people grow together.

What is the most challenging situation at the outset of the process?

Continuity or the openness of the project. There were no rules of joining. You don’t have to pay, you can come whenever. If you come, we would do the best. We are always there for you. This fact- always be able to offer means it’s challenging all the time. If someone drops it at the last moment, it’s fine. We have different people coming in and out; it seems like people are more committed to things that they have to pay. It’s such a tragedy. Togetherness, we find an art project together, and, people think they are not paying. Obviously, it’s not everybody.

This is the education side of it. There’s an interesting thing in this project now that we start with the new generation to teach, be there and let people know us. There are some of the people don’t understand what they have because of the system which they grow up with. They were like ‘It’s no value because I don’t pay for it.’ There are some friends think about this training as ‘I don’t know, maybe I come, maybe not. It’s interesting, but it’s not a prestige.’ Because it’s not in Marameo or you are not paying three hundred euro for it. It’s a thing you learn to understand.

What if we make another circumstance with another project we say to people that you have to write me a motivation letter and CV for participation? Sometimes, it’s easier to get people. Maybe it’s something about people wanna be selected, but it’s really deep in our society. It’s open source. It’s the challenging part to change the value; For being a teacher, it’s also challenging to deal with this. There are people who have the same kind of understanding. Such as ‘it’s my decision to decide what is valuable or not.’ Do we really communicate this by words, openly talking about this now? Or you rather keep back waiting for the other person to discover it by oneself. We choose to do the second. Still, it’s a challenging process to see your own creation. It’s way to grow for us.

How does the creating process go in the project?

In dance monkeys, there’s no such thing as a failure. You can just go, play, and search, which is the beauty of it. There is always an outcome, but there’s no high expectation. You make your own rules with the monkeys. Most of the time, you decide the performance gonna be then and there. It’s an experimental, political playground.

Be:I have inspirations from everything, but Ballhaus has been my main resources of inspiration. It has been so much time involved. They have been really inspirational for me in any kind of aspects. Not only the architecture, design or performance aspect. It’s everything. It’s the philosophy of how people work together, how the thing can be nonhierarchical. In the work to build something in different ways of interacting with one another which is quite flat in the hierarchy. Still, find out how much hierarchy it needs to be.  I have really decided the long time ago that my art is not independent of the society. Therefore my art is always more political. This is the things I am looking for. This is the things we have been doing together.

Kreuz Mountain College   Reenactment „theatre piece no.1“

What is Tänzer ohne Grenzen about?

It’s the same kind of the structure, bring professionals to nonprofessionals. In 2011, we found our NGO. It’s really like our baby growing slowly. We did projects ever since then. It’s something that everybody is evenly involved. Everyone finds their own parts in it. The main thing is not just us. We have a session that we offer our structure and how we function to apply for funding and realising projects. It’s a very special thing to offer. We offer our blueprint to people who are not so experienced, enabling them to work in this structure and find the funding. We always come back to help now and then, having a look at what they do. It’s also good for people to find connections with one another. For example, one of the TOG people connects with the other TOG person to do a project. The project doesn’t have to be us. It’s just there to offer the structure. It’s important.

What is the Blueprint?

The discussion for us is like how can we open up ‘Tänzer ohne Grenzen’. How can we actually make it available for other people to organize things? How it works is basically we come up with an idea like ‘I would like to do this musical in a football club that only with girls and with a clown’. You come up with some idea, finding out what you need to do for this to be realized. In this example, you need to find a clown, football club. You also need to decide what kind of music you want to do, who are people I want to work with. You figure this out by yourself. Then you approach us, saying ‘this is my idea. Are you interested?’ Besides, Tänzer ohne Grenzen has always offered project which is in a context with the society. It’s about social and caring. It offers an opportunity to someone who feels alone to deal with this big thing. They can somehow approach us for some supports. It’s also something valuable to go through an artistic process. It makes you learn a lot. You can point to things, such as how do you relate or respect each other, how do you create or build up things together. There is a lot of knowledge that it’s another part of our society/working field. For instance, we work a lot with youngsters in the school. It’s such a big drama to go through school. You can settle a lot of seeds in the field during the process.

How do work together? How can this system be accessible to people? How can structure and hierarchy establish themselves over the time? How can we break them apart and restructure them?

What’s the best advice you’ve been given?

Be: Take a break.
Julek: Stay wise and soft.
Anna: I just wanna have fun. For me it’s a sentence I remember somehow. It’s great you are doing it, but you should not forget it. Because it’s you every day twenty-four hours, you should enjoy that.

What’s the question you had this week?

Be: When do I gonna have the break? Honestly, if this going to be good? This is normal. Every time you create something, it is always the point of doubt. It never changes. I have never had one project without the doubt. I think it’s a good emotion.
Anna: Is it me or is it them? It’s related to many things, work or personal life. It’s the relations with your behaviors.
Julek: Do I get stuck with the thinking pattern or is the thinking pattern still actual? It’s like the question of how to think of your experiences and imaginations.

Be like the music to be composed for her work and her preferred composer to work with is Alexandre Decoupigny from Psycho and Plastic. 

Any word you would like to share with our audience?

Be: There’s a sentence from someone else describing very well with my artistic and in private life. That is: ’ To empower people to take the decision is the core of democracy. I think it’s so fantastic. It’s political beautiful in the education. It is something that stirs me.
Anna: She just ate a heart of a horse?
Julek: Experiences are concrete.

For more videos of their projects please see the link. For further information, please see their websites: Tänzer ohne Grenzen, Be’s current projects, and 27 dance monkeys

With many thanks to Be van Vark, Anna Katalin Nemeth, and Julek Kreutzer
Photos credits/ 27 dance monkeys
Original article in Mandarin contributing to Red Bull please see the link

The born of Berlin Circus Festival – Josa Kölbel & John Hilliger

I met Kölbel and Hilliger at the Asian restaurant beside the theatre. They dress similar colors, sitting right across me. They are both German and the founder of Berlin Circus Festival; Josa Kölbel studied in Circus art and performance arts in France as a trapeze catcher; John Hilliger’s background is event management. They met each other back in the school. They always would like to do something together. During the period of working, Kölbel got an injury. They decided to start the organization of the festival. It was 2015.

The creating process is: Kölbel works more into the artistic direction, creating the program. It’s more about organizing and planning aspect. Hilliger works all the other aspect of creating the event, such as communication. They bounce them off each other consistently, deciding how they speak to the public visually. It’s quickly clear what’s working and what’s not. When comes to the aspect which is not so clear, then it takes lots of time or even creates conflict. In the end, they know this is an idea worth following. Because there’s needs and will to fight for it.

Slimane Brahimi2

Josa Kölbelz & John Hilliger ©Slimane Brahimi

The first circus festival in Germany

There are different things came together. One is there’s no circus festival in Berlin and Germany, dedicating to this special art form. There’s no platform or possibilities to present this art form. We want to on one hand create a platform, on the other hand, being able to see those shows easily here. We want to see them, show them and share the experiences in Berlin. From the practical aspect, our two experts came together and fit perfectly. We are as a team adapting to each other. We saw the free space to do it. There are not many festivals in performance arts which are outside, summer and ten days long. That’s the point Berlin Circus Festival start.

We were pretty surprised when we realized there’s still space. When people heard about it, many people said they had had this idea for many years. In the end, it’s was clear you need a lot of energy for making it happen. You really need to invest energy to move things forward. On the other hand, many people expressed that they don’t think it’s gonna work. It’s normal to hear this feedback when you just start a new festival.

It went quite fast when we decided to do this festival. It takes like a couple of months to make it happen. Everything we did for the first year was quite new in any case for both of us. We figured it out including the whole communication. It was the first time doing program involved with so many people at once and taking care of them. We are a small team, so it’s lots of talking. In general, we do have kind of the same idea about how the festival should look like. It’s about bouncing off, really cooking with things until it becomes dense with a clear core. This core is the starting point which goes into the festival, manifesting itself. At this point, we start to invite other people engaging in the working process. We exchange with other people about the look, design, and set-up from then on. This concept develops through the years. We learn how to design a few boundaries, letting go the rest and trust. As a team of the festival, it’s two of us most of the time. Other members are such as designer, technician, and stage manager. It grows to maximum fifty people plus the artists in our team if we count the people being active in one day. We always try to develop by asking questions afterward. It’s not always easy to work with feedback. It’s hard at the beginning which is turning out super good.

The experience was quite strong during the second and third year. Where after the second year, we didn’t have any funding, which is a big step from our previous editions. We had to realize the necessity to make a big step. From the first to the second edition, we came from having space with all equipment to building everything ourselves. Besides, we have more than two thousand spectators. In order to adapt to the new situation, we double our spectrum, adding six more tents and shows from the second year. The change was needed to happen. At this moment. We know we need to fight hard to make the third edition somehow. The feedback was rough, giving us a very insight to make small changes. Those changes allowed us to guide the whole team, creating the familiar atmosphere for the public. That makes the public to see the space as a community. The change was: communication, trust, and faith. Of course, it was about the experiences as well. The best part is to see the festival realized. When space is nothing fixed, it allows you to change. It’s also helpful for everyone to participate in a way. Many audiences are curious to discover Tempelhof- a place full of the histories. Space is open, making the exchanging space as one of the aspects to keep in mind. If people find the space, feeling themselves safe and covered, then it creates an even stronger exchange at that moment.

What is the contemporary circus?

It’s like a process. It comes from trying to get away from the tradition as far as possible. At one point you realize it’s just about reflecting what you are doing, putting it into contact with other art forms, disciplines, the circus itself and the place. For us, the contemporary circus is an extremely open term. If we see something might be the contemporary circus, although no one could recognize it, we know it is the circus. Because no other discipline could do that kind of performance. Of course, we always need to think about the circumstances. For our festival, we create the maximum freedom for ourselves. So to speak, it’s not just about the tricks, but the discipline. We create the space for any kind of potentials to happen. We offer a broad range of different shows for the audience to rediscover circus from different points of view.

For example, artist Jörg Müller was turning ‘momentum’ in the water. It makes the click when you know the performer has the circus background. It makes sense.

There was a really special moment in the first edition. It was three Scandinavian women who performed at the last show. Their show was quite feministic and political, not easily accessible. It was cold outside. Despite that, we saw the audience was so responsive, giving so many energy to the performance. That was the first time we realize we could actually speak to the wider audience. You need to believe in the audience that they would grab the message you try to deliver. The audience wants to see the experimental performances. They want to be challenged.

Inspirationally, one of the companies who were close to us from the beginning is ‘Cirk La Putyka’ company. With their energy of creating things, inventing new formats, losing fixed ideas and going different ways, I think we have received quite a lot of inspirations and energy from them. They were the first show that we programmed as well. Their spirits are ‘just do it’. They arrive, play and show. They made things happen in a very little amount of time magically. It feels like every year the community is growing out the zone of people we know. Our circle of friends is also growing who inspires us in all the different way. We are open to see how other festivals do things, how we can adapt or change. Artists who came are often coming back again. From the funding perspectives, we are one of the few festivals offer over fifty percent of our funding to artists who participate. We have a lot of volunteers to work over hours. Everyone stay to make this happen. In the end, everybody goes, you realize what you do there is not for the money but for everything else- friends, experiences, pleasure, fun, food and all of it. This is more than a job. This is a real encounter.

The audience, artists and the community

You don’t necessarily need the audience in the creating process. You can melt something together to build the art piece that it’s going to be finished, then you bring it out to the audience. But it’s something alive. It’s not something written on the stone. It would change through times. It would change during the performance. It would get richer because of the different reactions, different attention to details. Somebody would see something most of the artists would not even realize. It is the process happens when the show performing a hundred times. Only after one hundred times you start getting to know the show better; It does have its own lives. The exchange with the audience is necessary. It’s not fun to play one hundred times without them.

You need the audience to see where you can go deeper, add comedy aspect more or put more energy. For example, the tents we have makes the audience sit really close to the people on the stage. What happens is, unconsciously both side of audience exchange their experiences with the people on the other side. They live the same experience. It builds attention and strong energy in the tent. It makes all the people going out of tent hype from the experience. They had seen something with this collective energy. It’s very different from the traditional theatre setting which is you can easily think you are the only one sitting in the audience; In the tent, you can’t.

We created the exchange between artists and audience spontaneously. Sometimes it happens right on the stage. The artists don’t want to go changing. They sit down, have a Q&A with the audience. For the audience, it’s really good, because they get an insight which is lives. That explains another definition of the contemporary circus: community. It is something very special and specific. When you get deeper into this community, you realize you can go any place seeing someone you know. You can meet and exchange with people everywhere. For example, a Taiwanese festival visited our festival in the last edition. It is a big community around the world. They came here to see what’s happening here and we would also want to go over visiting. For the audience, it’s a great place to understand the creating process. They would hear most of the productions takes one and a half year to establish or the creation takes four to six months.

The size of the community in Berlin is not too small, but it’s always moving. Even if the active artists who are based here, eighty percent of them are working somewhere else. It’s very international. There is only two circus school in Germany, plus a third one just starting. There was a center of joggling, now being rebuilt as a residency. There is a festival showing circus now. On the other hand, the active performing part is relatively small because you don’t have so many opportunities to perform in Berlin.

Norvegian Ninjas 2 - Slimane Brahimi

Norvegian Ninjas ©Slimane Brahimi

What’s going on with your project ‘Die Originale’ collaborating with Berliner Festspiele?

Actually, It’s a completely different project. We have two tasks; First, we work here as curators for circus house, in general, is been asked questions from the director. Second, it’s a festival we create which is gonna happen in April. It is an interdisciplinary researching program around the contemporary circus. We try to inject the idea of the circus which is taking the risk, emerging different art forms. We invite artists to come together, meet and exchange within a week. They would create something which is oriented to the process and intuition without going too much into the imagination. Because they have to go. They have one week to present something. What they present doesn’t have any standard to be perfect. It doesn’t need to be finished or anything. It’s the tail of their experiences, having the dialogue with their audience. The concept is to create the space for researching, then sharing the research with the public, whatever it might be. It’s hard to know there’s no finished product to tell the public beforehand. No one knows what’s gonna happen. You have to let go of the expectations and be open about it.

How do you perceive the future of what you do and the development of the circus in Berlin?

We can only say what we saw from the last year. There’s a lot of space for development which is gonna happen. This year, the festival has three tents. We open up the program to show more different things. We hope the audience would come having fun. I have no idea how big the festival can be in five to ten years, but we do have an arrangement for maximum size to keep the feeling together. There’s a lot of happening right now. We try to make everything denser including the place, program and the language of the festival. Therefore, people can walk around and discover something interesting at every corner; performers would have more energy to create new things.

For example, it’s the first time our art project was being financially supported, which is created in Berlin. They would be shown at the festival. It’s great to support the work performers created. Compared to last year’s one German performance, this year we have four to five German performances. We try to develop the stage dedicating to the performances that are worth showing. We keep the quality, creating the formats that are more open, such as ‘meet the artists’ from last year. We gave the space to the artists presenting themselves for an hour. They have total liberty to do what they want. We just told them, ‘we would like you to create a moment for the audience to exchange with you and get to know you.’ It’s for the small audience. But it’s a real moment of encounter.

Any word you would like to share with our audience?

We love to have people from all over the world. we are lucky to have international audience and artists to join our festival. Start with the idea, doing things that haven’t been done before. Follow your ideas and dreams.

With many thanks to Berlin Circus Festival, Josa Kölbel & John Hilliger
For more information about Berlin Circus Festival please see the link.
Original article in Mandarin contributing to Red Bull please see the link.

{feature} A ”modern” Flamenco woman dancing on the stage – Anna Castillo

I walked into the cafe in Wedding, waiting for Anna Castillo to enter. She showed out shortly, wearing a black top, black pants and a black pair of boots. Her hair was hanging down, unlike her stage image as I remembered. She is such a bright woman that you would easily recognise anywhere once you have met her. Anna Castillo is half German half Chile, a young flamenco dancer growing up in Berlin. She used to dance in her room with her parents. People used to tell her: this looks so flamenco. So she got into flamenco first. Describing flamenco as ‘painting the air’ at age five, Castillo got inspired by usual things with their simple movements. One step afterwards, she got inspired by flamenco festival at age eight.

That was the first time she saw the Spanish flamenco. There was an amazing young dancer called ‘La Moneta’ dancing on that stage. Castillo told her Mom, ‘I loved it. It was amazing!’ Her mom went straight to talk to that dancer. She expressed, ‘my daughter wants to dance with you.’ That was a big deal. They even went to the backstage to talk to the performer. The performer replied, ‘ok, you can take the solo classes with me. You just have to come to Granada to dance.’ That’s how Castillo starts flamenco. She went to Spain for the first time, following this specific dancer. Castillo still appreciates her mom did that. It made her first understand flamenco in a deeper way.

It was very personal and strict. She used to cry when she took classes with her. It was professional flamenco. La Moneta comes from Granada, dancing a lot at ‘Cuevas’ which is a place Gypsy used to live. It was the houses on the mountain near cacti-studded countryside. It was a deep flamenco setting. She basically understands the sense and the difficulty of flamenco. It’s not just dancing. It’s also a cultural thing we are transmitting.

What’s flamenco?

It’s a dance which comes from people who suffers a lot. They’ve never been accepted by the society. They are kind of like the outsiders. That’s why this dance has a lot of suffering and fighting in it, which makes it really strong. What does interesting to me is the ‘solo’ thing. It pushes the women into not as anyone’s background on the stage, which is really nice. A very strong woman dance of who has been discriminated for a long time. It has an important message.

However, there’s a lot of amazing male dancers. They dance a little differently. Flamenco is a very traditional thing with a traditional image, such as a woman in the red dress and a man in the black suit. That’s changing a lot. I was taught by a man how to use ‘petticoat’, which is like a big long wedding dress. Flamenco is a traditional thing but changing very fast and floaty. There’s also women dances a male role. It’s getting more and more free from that cultural perception. In the meanwhile, you have to respect the culture. It’s difficult to say how modern and traditional you want to be. The transformation is happening individually.

modernizing flamenco

Perhaps it’s my interpretation of movement. Flamenco is just changing a lot from last twenty years. People get to have for example ballet and contemporary dance so we can mix traditional flamenco movement with other movements. This is unusual. Because of like I said, fifty years back flamenco was a discriminated dance. That was not very usual to dance it. Now it spreads all over the world. It’s amazing. If flamenco dancers get very famous, they tour around the world. They go to Brazil, Tokyo and China. Fifty years back, people would not imagine that. It’s becoming so international. That’s movement of modernization and globalization. If you talk to professional dancers in the school, you would know you normally need to take flamenco classes. Because flamenco has its own character which is interesting to get to know, such as Arabic dancing and American tapping. It’s a weird combination of totally different backgrounds. It’s quite complicated including the rhythm. It’s an amazing way for people to learn different perceptions of the dance. For example, our communications with guitarists. We always work with live musicians, which is such an incredible experience. Obviously I am alone on the stage, but actually, I am not. Although I am not with other dances nor my partner. We have unspoken rules regarding the communication with the musicians, which makes us able to dance and improvise together. That’s how flamenco start.

We have rules, for example, starting a phrase. It’s called ‘Llamada’. If I do this specific movement, everyone would know the new phrase is gonna happen. Even though we have never spoken to each other, I could jump into a session doing this movement. I think that’s a really important thing people/dancers all over the world could learn from flamenco. It is an interesting way of improvisation. With the strange undercover rules, it’s almost a bit like jazz sometimes. They also communicate in a non-verbal way. Flamenco maybe is richer than jazz regarding this communication. Instead of communicating on the stage in jazz, flamenco dancers need to know specific melodies and lyrics. If you know the lyrics, you know the song has to end at some point. For example, at the end of the phrase comes ‘flowers’. You wait to improvise. The flowers are the change. Everyone knows that. Then we change to the solo of guitarist, singer or foot-tapping. It’s kind of complicated structure. I have to say myself I don’t understand it fully. It takes years to understand. From the popular dancing forms, there are twenty-four types of flamenco. We have to know all the rhythms, the singing and the melodies of the guitar. It’s a difficult art to manage. Different flamenco also has different characters. That would kind of define the improvisation as well. That’s why I sometimes like to choose my song so I could improvise freely.

Gestures & unspoken rules

I learnt these rules from stage experiences. I start doing improvisation. That’s really good to start at the young age. After going to Granada, I went to Plaza de Saint Nicolas, which is a beautiful platform to exchange with all the other live musicians there. That’s where I learn the improvisation rules. They are very free, however, the stage performances are difficult. Especially in Germany, it’s difficult to get taught. My teacher taught us doing choreography, explaining what are we dancing. We as the dancers also contribute to the way how flamenco piece gonna transform on the stage. For example, if I would dance ‘subida’ to suggest speeding up gradually, or Salida as a closer. There are workshops/ lessons for pure techniques. If I want to share or understand more of flamenco, Youtube channel is also a great resource. It changes flamenco completely. Before that, some steps and classes are secret and exclusive. Now you can go on Youtube, watching everyone dancing. You see how the structures are, how everyone respects the singers, the guitars and what the melodies are. Some people just learn on Youtube all the time. You can also google different lyrics and ways of singing. Flamenco’s textbooks are actually the internet. Every day I wake up, I watch a flamenco video. To entertain myself, or get to know the dancers I am curious about. That’s the way I get inspired a lot.

The turning point of life

One of my most important experiences in a professional setting was a dance in the flamenco centre of Berlin by Raphaela Stern, who is my main teacher. She has a flamenco night in a big church. The performance includes two singers, two guitars and two people clapping. That’s always in October. I dance twice with it. It’s always an amazing experience because we prepare a year for that. Even after 15 years of experience, it’s challenging to understand all the steps for dancing nicely. This year, there was another experience which changed my personality and dancing. It was a participation in the Club Oval Battle. The reason is I am pretty young in flamenco scene. There are two or three other ones in my age. But I feel lonely sometimes. I needed to learn more. I was desperate to learn more. I wanted to know how the dancing world looks like in Berlin. Although I am from Berlin, I have no idea about other dance scenes except flamenco. That really depressed me. After seeing Club Oval on facebook, I decided to participate the next time.

I was incredibly nervous at the first time. I only told one friend that I would participate. That’s was a heavy raining day. I came after university with my backpack and computer. My friend told me she’s not gonna have dinner with parents for coming to see me. At that moment I knew I need to go. It turned out Club Oval changed my half of the year completely. It made me a flamenco dancer with more self-confidence, forcing me to dance with non-flamenco music. That’s why I actually participated the Diggs Deeper Berlin. I got to know one of my best friend who I met in the Club Oval in July 2017. I was participating three times in a roll. I won every single one of them. That was something I would have never expected if you would have asked me a half year ago. I was so shy, feeling excluded from this huge dancing scene in Berlin. Suddenly I was so accepted and welcomed by this event. That was a real surprise for me, a most important turning point of my life. I realized this completely new scene that I want to explore and learn. I want to take something from it into flamenco. Club oval is such an interesting place. It is definitely one of my favourite places in Berlin. I feel so motivated by the people I met in Club Oval, that’s why I am going exchange in Madrid Spain for a half year. A lot of things change.

Anna Castillo by Shantel Liao

How does the urban dance/flamenco scene look like in Berlin?

I have no idea what is it like in Hip Hop community. It is really big. I am just myself still discovering it. I was surprised that they are so accepting me as a flamenco dancer. I was able to participate! I would describe it as an open scene. Everything I have seen is inspiring. Every time I went club Oval I met someone inspiring to me. Then I went classes with them. For example, Prince was my judge in the Club Oval twice. He invited me to dance with him in a show ‘BI NKA BI – Tanz in seiner höchsten Form’ at Pfefferberg Theater, which is the same place I met my teacher La Moneta the first time. For me, it was kind of emotional that fifteen years later to dance in that theatre. That was amazing. I also went to another judge’s wrecking class. I am sure you can use the wrecking dance somehow in flamenco. I also met the entire voguing scene. I think the Hip-Hop scene is really well connected. I was so surprised. I would never expect that. I also a little bit of shame of myself that I felt different and afraid. I was not even trying. I lost so much time and energy, instead of just trying. Everyone is so welcoming.

I dance Flamenco since I was five. I tried everyone out in all the different districts. It’s relatively small. Now we have Spanish teachers coming to Berlin two or three times a year in the different schools. That’s really nice because we are not so isolated anymore. I also travelled to other cities for flamenco. It is all over Germany. Berlin has the good amount of people, musicians and other resources. We never dance to CD. There is always singers or guitarists joining.

Which city is the most suitable place for flamenco?

Seville in Spain is the Capital of flamenco. You can find good flamenco in every corner. Once a while, I would go Seville for learning more. It has festivals and crazy good schools. Madrid is also a good spot. There are things happening. You just need to be aware of it. In flamenco, all the different city has its own flamenco atmosphere depending on the circumstances. Granada has its Arabic influences. Without knowing it, there’s a lot of Arabic touch to it. You want to understand flamenco, you have to visit all the different places to be a part of the different scenes. So to speak, travelling is necessary.

What motivates you to continue this journey? What’s your drive?

Oh god! I wouldn’t say I have a specific drive. It’s quite funny. I sometimes try not to dance flamenco, or I can’t dance flamenco because of my study. Then I got really depressed. Like the last two weeks, I couldn’t dance, and I am having nightmares everyday. I would say it’s almost like a surviving skill for me. I don’t know it’s good or bad, but I just need it. It is my deepest way of the communication. It’s also the only way I know to dance. I’ve always been dancing. I can’t imagine myself not dancing in the future. It’s bad for my own health if I don’t dance anymore. But obviously, my drive is also to be a part of this movement, which is ‘modernizing flamenco’, bring flamenco to a wider audience. A lot of people think flamenco with a specific image, like having the red flower in the head. Flamenco is way much more. We are also learning from other styles. We are having new instruments, new dance forms and cooperators into the movement. I want to push that too. I feel like flamenco is such an interesting way of communication. I want to bring it to more people to see it. How beautiful it is.

Anything you would like to share with our audience interested in creativities?

From what I learn from the experiences, not being afraid of the audience is very important for a dancer. It is so difficult. Even I have so many experiences dancing on the street of Spain, I am still afraid of showing myself in Berlin. That’s just because I was feeling different. We need to explore and understand differences. You need to see the different styles, dancing in different battles. I wish people would be willing to show themselves, standing for their own identities. it’s important to show these differences, which is not only important as a person but also for the dance community, even the whole society. So we can explore more, get inspired. I love to get inspired, seeing what other people do. It’s so nice! Not everyone is gonna like you anyways. It’s worth to show a little bit because someone gonna appreciate you.

With many thanks to Anna Castillo
Photos credits/ Ralf Bieniek and Shantel Liao
Original article in Mandarin contributing to Red Bull please see the link