THE WALL SERIES is a bi-monthly performance series hosted and curated by The PAUL Collective. This series provides artists of all disciplines an opportunity to present their works in progress or finished works in an intimate setting for an enthusiastic audience.

When The PAUL Collective tore down the wall dividing their two studios, they were inspired by their newfound larger space and decided to begin a performance series amidst their new expandable wall!


Friday October 25th & Saturday October 26th 8pm




Noemi Luz | Greta Salgado | Edegar Starke

 FRIDAY, MARCH 9TH @ 20:00


Choreography: Noemí Luz

Composer: José Tomé

Choreographic Advisor: Niurca Márquez

Photo: Camilla Greenwell

Photo: Camilla Greenwell

The Ugly Truth is a solo project that explores the boundaries between flamenco and dance theatre. Noemí first presented the work in progress at Seville Conservatoire's Semana Cultural in April 2016. She has performed the finished piece at Coetani Festival of Experimental Flamenco in Athens and as part of a/her/my/our/their/no flamenco curated by Canadian artist Rosanna Terracciano at the Cervantes Theatre in London.

The ocean has an extraordinary capacity to transform, purify and recycle. The Ugly Truth asks: Do human beings have the same capacity to recycle themselves? If our consumerist society is having such devastating effects on the planet’s environment then what are the physical, emotional and spiritual effects it is having on us as individuals? Might our endless dumping of rubbish be a reflection of our attitudes towards ourselves? And what cycles of transformation do we go through when we are confronted with ‘truth’ or when we try to hide from it?


Photo: Camilla Greenwell

Photo: Camilla Greenwell

Noemí Luz is a multidisciplinary artist who works with flamenco, dance theatre and visual arts. She trained classically at Elmhurst Ballet School and Central School of Ballet and also has an HNC Diploma in Fine Art from Kensington and Chelsea College. Noemí relocated to
Seville in 2007 where she specialized in traditional flamenco and bata de cola under the tutelage of her mentor Yolanda Heredia. Noemí co-founded award-winning dotdotdot dance company along with Magdalena Mannion and Yinka Esi Graves. They most recently performed in Sadler’s Wells ‘Sampled’ festival in February 2017.


Choreography: Greta Salgado

Music: "Reptilian" by Converge

Choreographic Advisors: Silvia Ennis, Constanza Ruiz and Alena Shornikova

Photo: Martin Salgado

Photo: Martin Salgado

Aggressivity seems to be directly linked to violence and aggression, in the daily use of the term. At the same time that aggressivity is seen with a certain distance, respect or even fear, it is very intimate, because the expression and demonstration of it ́s existence in ourselves is at the same time a revelation of an inner dis-balance. Solving Torsion Alone aims to vindicate aggressivity's independent existence; it explores aggressivity as a mobilizing energy that works as an initiator for radiating movement from the inner and to the outside, without a concrete direction and purpose, that only in the moment it gets bundled up into one direction and towards a goal it turns into violence.

For the creation of Solving Torsion Alone Greta Salgado investigated together with the Aikido professional, Yannick Zechner, the concept of torsions. Also, she went into the cologne hardcoremusic scene attending to their concerts and speaking, listening to, observing and interacting with the musicians and followers. With a view on aggressivity as an inner energy that stands for itself without a further sense than the one of existing and reaching it ́s manifestation, this work searches to be a celebration of aggressivity digging into some of it ́s various physical and situational manifestations.


Photo: Martin Salgado

Photo: Martin Salgado

Greta Salgado Kudrass was born 1994 in La Coruña, Spain, and grew up in several countries in South-America. In 2013 she co-founded the Collective „Confundamiento“ in Ecuador, and joined the dance ensemble of the Teatro Nacional Sucre in Quito. In July 2017 she finished her contemporary dance studies in the University for Music and Dance in Cologne, where she worked with choreographers such as Anna Konjetsky, Shumpei Nemoto, Emmanuel Gat, and Rafaelle Giovanola. She is currently working on her own research. In february 2018 she performed the piece `Momentum X-Samples´ from Cocoondance at HAU  Berlin and beginning in March 2018 she will be creating in the frame of the Inkubator residency program at Tanzfaktur Cologne, and presenting her resulting work in September 2018.


Choreography: Edegar Starke

Sound: Edegar Starke

Costume: Riccieri Genaro

Photo: Alessandro Sinyus

Photo: Alessandro Sinyus

"Looking back, the oppositions, the search of belonging and the sense of misfiting were always part of my daily life, wether I could have realized it consciously or not. Divided between getting the world’s acceptance and being honest and true to everything that I was, and that surrounded me, I found myself in plenty of spaces created by me to enable that existence."
The childhood I kept to myself; is a solo moving body project by Edegar Starke that investigates the multiplicity of the being. The piece intents to walk a path towards simplifying, towards understanding that our differences can inhabit the same body, the same world. Interested in the subtleties of the being and in its beautiful capability of exchanging, this research tries to have a kind approach to the constant metamorphosis we are in, so the sense of belonging can expand and reach more than just set groups or communities. It helps in gently listening to our bodies and tries to open a path towards relating other than excluding.



Edegar Starke is a Brazilian born artist, currently based in Berlin. Graduated actor with a very strong physical background, he has developed a series of dance theatre projects in Brazil at public schools with children and teens of very difficult social and economical realities. He has been training butoh since 2013. In 2016 he started co-curating the Moving Bodies Butoh Festival together with Ambra Gatto Bergamasco, with whom he also currently collaborates and develops the project H.O.M.E (Human Organization of Multi-cultural Experiences) in the search and development of a multidisciplinary and intercultural platform for collaboration.



 Nicola Bullock | Manon Sif | Eri Watanabe

FRIDAY, MAY 18TH @ 20:00


What happens when dreams and reality collide? In "soft fists insist", a woman is confronted with popular images and ideas about how she-young, white, and female- should behave in the world. As she grapples to interpret these ideations, she begins to lose track of her deeper needs and fears. A piece about the space between what we are and what we imagine ourselves to be, "soft fists insist" asks the question, how does the unconscious relate to social constructions such as femininity, aging, and desire?


High-five to the ridiculous effort to escape oneself. A tribute to the impossibility to comprehend. Anyways, the right circumstances will never be there.
Hope for their contributions, the black sheep illuminations. A sensorization of belonging to. An ode to the miseries, talents & imaginations of all those little fires unexpected.


I describe of my feelings, when I expression to something that I use to my body. My feelings is always not fixed, like a wave and electrocardiogram. My image flow into the outside.



| Lola Lefèvre | Kazuma Motomura | 
| Darragh Mcgloughlin | Eric Wong & Siri Salminen |




“I will never forget those first instances. Often I only remembered the fist names of these men and women as though, subconsciously, I thought of them as my brothers and sisters. Their distress resonated in me; I thought I could share it, when in fact it was just an echo of my own distress. Absence, void, light. Perhaps just light”

Edouard, Macha, Nicolae, Joseph, Dillia, Valodia, Patrick, Alejandra, Denis, Lucie, Pierre, Davie, Piotr, Niolae, Cristian, Maria, Danielle, Josiane, Vasiliev, Olivier, Rolf, Jean Marc, Patricia, Marcel - Vibrating link in between us and the world, all these names resonate in me since the first moment I saw their faces. Sensible place where I allow myself to fall into, “Resonances” is a moment of sharing. A place where I allow myself to be fully vulnerable, a place where I can be. Call for light. For you Nicolae, and all the others. 



Lola Lefèvre is a French dancer and performer. After a high level training in Rhythmic gymnastic, she decided to turn to contemporary dance by passing her Choreographic Diploma in the CRR of Boulogne Billancourt (France), before joining in 2014, the professional school of contemporary dance SEAD in Salzburg (Austria). Under a very poetic artistic line, she combines dance and performance with romanticism, and is particularly interested in interdisciplinary collaboration.



Boom Boom! Is a direct reaction of body to the music. Which music? A complex super layered glitchy multi rhythm machine gun composed by musician and beat maker Zozo. How much of the beats and accents can the body catch, all the while reacting to audience and the space around the dancing body? 
Which body? Dance and performance maker Kazuma Glen Motomura tackles the music head on with his body physically composed of memories of dancing around the universe. 



Half Japanese, half South African. Dances a melange of contemporary and street/club styles. Finalist of Juste Debout 2018 World Championship battles in street dance and winner in the Experimental division in London.




Stickman works extensively with the concept of (re)framing: periodically shifting the conceptual /emotional setting of the work on order to continuously challenge the audiences interpretation of the piece. This is achieved primarily through use of linguistic framing, whereby a TV displays titles /sentences which dramatically shift the focus of what we see age experience. Stickman is more about the the moment of interpretation than what is being interpreted. 

The main content of the work is the result of two years of investigation into object balancing. Balance as a means to force the body into a perpetual state of motion. The body responds out of pure necessity, and through this begins to speak.
TEASER: https://vimeo.com/269454983



Darragh was born in Ireland in 1987, son to two chefs. He has a degree in contemporary circus and performance at, yet these days is happy to just call himself a creator and performer without sticking to one genre or another. He is the artistic director of Squarehead Productions, and is currently based in Berlin. Stickman is his 3rd full length creation.


The duo investigate and try to captivate moments with the guitar, movement, and percussive footwork in the manner of improvisation. Delicate and glittery yet with a touch of explosion and punk. The scrap is rolling in the wind.


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Born 1981 in Minneapolis, grew up in Hong Kong, studied psychology at the University of Minnesota, and subsequently audio production and engineering at the Institute of Production and Recording. He is a composer and sound artist, as well as a guitarist and computer musician. His main focus lies on sound textures, the perception of sound and spatial experience.


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Born in 1987 in Stockholm. Graduated from the University College of Dance and Circus in Stockholm 2011 with specialisation in flamenco dance, and has since then worked with contemporary flamenco and dance pedagogics in different contexts, mostly in Sweden and Turkey and now also Germany. Her main interest lies in different aspects of absurdity and uningratiating qualities.







Bricks cast with embedded audio electronics allow the ubiquitous building modules to function as sound objects when amplified. The performance will feature a selection of bricks from a system that is being developed to construct full-scale sonically sensitive architectural environments. Made from a range of materials—concrete, plaster, wax, and silicone—each brick expresses its unique sonic ontology when activated by a performer or stacked upon another, resulting in physical feedback.



Brad Nath is working between architectural design and sound art to develop techniques of space-making which are sensitive to the vibrations that occur at audible frequencies. Emerging from the belief that the architect is not only an organizer of space, but also of time, and that likewise the composer is not only an organizer of time, but also of space, he seeks to expand upon the built environment's temporal vocabulary through material research, performance, composition, installation, and built environments. Brad recently moved to Berlin from New York, where he completed a B.Arch thesis titled "Acoustectonics" with advisers from the Architecture and Music Departments at Cornell University.



MIMOWERK is a journey through multiple personas drawing a self-portrait. Always having had an obsessive pleasure in dressing up and acting out as different characters while being in my own environment: my room, I decided to use it as a starting point for research. My room felt like an experimental laboratory far from any fears. Perhaps I had spatial restrictions but certainly no boundaries when it came to dare to push unknown doors. My main tool of work was my video camera, I could analyse my self-image and behaviours by watching the videos made during my journey into defining my different personas. Punk culture has been essential throughout the process as it helped my awakening of my inside scream: ANGER. MIMOWERK is an inside scream loudly extracted to the outside, a confrontation, a manifestation, a denunciation, a call. 
'It makes me believe; it pushes me to experiment with myself and be louder and louder, bringing dreams and nightmares to a fantasy reality.'

Joséphine Auffray


Joséphine Auffray studied at Trinity Laban Conservatoire of Music and Dance in London (2015-2018) for the BA (Hons) in Contemporary Dance. In 2017, as part of the Erasmus programme, Joséphine studied at Folkwang Universität der Künste in Essen for several months. During her training, Joséphine has been performing works by Merce Cunningham, Alison Curtis Jones, Marina Collard, Heidi Rustgaard, Claude Brumachon and Benjamin Lamarche. Throughout this period, she has been able to experience collaborations with artists such as Ellen Van Schuylenburch, John Richards and Rodolfo Araya. By studing at Laban School, Joséphine achieved and collected choreographic tools, which pushed her to create already two of her own works; KLIMAX and MIMOWERK. Originally from France, Joséphine first studied in the Conservatoire de Nantes with intense ballet training along teachers such as Nathalie Quernet, Maurice Courchay and Marie-Elisabeth Demaille. Deeply attracted to contemporary values, she then followed in the same Conservatoire the contemporary dance Course along teachers such as Rodolfo Araya, Rosine Nadjard and Anne Carrié.



‘Chopsticks’ is born from a collaboration between the two Italian dancers Francesca Merolla and Giorgia Reitani and the Vietnamese choreographer Khai Ngoc Vu, during the year 2017-2018 in which they worked at the Tanzcompagnie Volkstheatre Rostock. The duet, 15 minutes long, uses movements to voice a desire of union. What does it mean to have a tradition in our society that perpetually forces us to move and start from zero somewhere else? How can we feel at home when the circumstances are hostile and hard? With this tumultuous lifestyle, Where/How do we find peace? Perhaps in the reminiscing of our culture, far away as it may be. Perhaps in a common fight. Or maybe we attempt to conjure up something completely new to draw us back towards that innocent and overflowing state of serenity and play that we experienced so strongly before we got conscious, growing more ravenous and blinded by every failed attempt. Our journey does not really give an answer but it can give us some calmness in the experience of union, collaboration and honesty with the other. When we put our hearts together as part of a unique body, the struggle is easier and the journey morphs into a pleasant succession of moments of freedom and belonging.



Between 2013-2016 Italian-born Giorgia Reitani studied at Iwanson International. After the education she worked for Hannes Härtl in the production ‘Bloodlines’, in Munich, Germany. Then she worked for two years at the Tanzcompagnie Volstheater Rostock, being part of different productions of Katja Taranu and the show ’The four seasons’ choreographed from Elias Lazaridis. She is dancing in the piece choreographed by Khai Ngoc Vu “Chopsticks” with Francesca Merolla.

In 2016, after her graduation at the Iwanson International, she started her apprenticeship at the ZfinMalta Dance Ensemble. She was then part of the Tanzcompagnie Volstheater Rostock, performing ‘The four seasons’ choreographed by Elias Lazaridis. She worked for Iván Pérez in the production ‘Island’ in Wrocalw, Poland and she is currently part of B’cause Dance Company in Warsaw. She is dancing in the piece choreographed by Khai Ngoc Vu “Chopsticks” with Giorgia Reitani.


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Buzzz Sok Zang Tsssiii HoOwm Dzing zzZZzzz Whaam iimOOzz Tjak Whoosh Slam Zonk Thunk ZooOom Ka-Blam Soohm Slurp Crash Poww 

Fictive magicians. Dragon Ball Z. Fantastic animals. 

When a child plays, he is sometimes taken by the desire of creating the sound effects of his own actions. And as he navigates blithely in his imaginary world that protects him from the gaze of others, the sounds naturally come out of his mouth. I play with reminiscences of that state to create a language for improvisation, this time fully exposed.


Camille Chapon / Jofe D'mahl, Artist based in Berlin.
Director and Host of the Cabaret for arts and mixed performances called "Carte Blanche".
Member of a performance trio called "Eternuer", together with Bruno Ducret and Tom Bouët.
Invested in pedagogy, teaching improvisation workshop for children and adults.
2014, Master of Fine Art, Ecole supérieure d’art et de design – ESAD-GV, France.
2017, Bachelor dance context and choreography, Hzt Berlin, Germany. 


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Great Circus of Failure combines approaches of contemporary music and dance, performance arts, new media art and reworks them in new circumstances. There are two main points for acting: enjoyment of art, equal to enjoyment of life, and the idea of personal memory, keeping unstable (quantum) state of the happening.


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Great Circus of Failure was formed in spring 2018 by Petr Laden and Masha Fomenko. Masha has background in the field of game development and theory of interaction of computer gaming with spatial performative practices. Petr worked as video and performance artist and curator. 







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Throughout the research process I have been trying to answer three big questions of life. Where humans originate? What are we made of? How do we progress? The aim of my research is to create different images in relations to these questions.

The original piece was made in 2016 at Salzburg Experimental Academy of Dance  (SEAD)


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He was born in Hungary where his interest in dance started at the Budapest Contemporary Dance Academy. He gained his first experience in performing at Trafo and Mu Theatre in Budapest. Attila continued his studies at the Salzburg Experimental Academy of Dance (SEAD) where he gained professional experience at different festivals. (New Face Dance Festival in Salzburg, Symphonic Dance Festival, Tanz House Festival and To Spring Tanz Festival in Salzburg) During his time he worked with Alleyene Dance Company (UK), Eduardo Torroja (ESP), Jelka MIllic (SL), Elton Petri (GR), Rakes Sukes (IND) after he finished his study He was collaborating with Lior Lazarof (ISR),  HZT Academy, Berlin with Anna Németh (HU) and The Ryder Project Gallery in London with Andrea Canepa (CO). 

Currently living and working in London, Attila has started the creation of his own work as well as delivering CHANGE, FORMATION, TRANSFORMATION movement research workshops in London, Budapest and Berlin. He is looking for movers to collaborate and explore his work and ideas all around Europe. 


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String Theory is a research performance based on empathy and teamwork. Five audience members will tie an access to point to the performer and influence, or just listen, to what follows. String Theory provides anonymous responsibility to the on-looker and valuable information to the stage. This piece provides creative influence for and by the audience as well as tangible responsibility for all parties involved. What will we learn, where will we go, and who will we see on this corporeal kite ride together?


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Sabina Moe is a choreographer//performer from the U.S. She makes work for the purpose of joy and empathy. She has lots of friends. She has make lots of work. She has lots of work still to be done. Hi Mom.

Rosa de la Rosa is an Electronic music producer, writer, and photographer focused on the visibility and exposure of trans and genderqueer artists.


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“The move” is a piece about all, more or less, movements we do in order to do a single movement. It is about a kinetic research of a dancer’s usual movements, which does without even think. It is about an effort to be more considerate about how a dancer moves all the time. A constant battle of mind and body in order to do the right movements, with the proper quality and to keep the balance concerning the choreography, the dramaturg and the perfect timing. So the idea is to do and speak loud to myself of what to do and the audience is experiencing live my thoughts and my interpretation. This piece is an improvisation solo, concerning my kinetic patterns and has a goal to break through my habits in movement.

Concept/Performing/Musical design: Nadi Gogoulou
Support: KID Residency (Malme, Sweden 2018)


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Nadi Gogoulou is a professional dancer/performer. She graduated a professional dance school in 2011 and she has a degree in Economics from 2013. She mostly works as a dancer with many Greek choreographers in dance performances and site specific performances, but also as a creator of her own choreographies. Works of her own is the pieces “DownFall”, “On the spot”, “Late Night Impro”. In addition to that she directs her own short dance films and some of them had been presented in the Athens Video Dance Project, Moving Images International Video Dance Festival and International Dance Film Festival, in Greece, Cyprus and Belgium respectfully. She works also in theater productions as a director of the movement and occasionally she gives contemporary dance classes to amateurs and actors.


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How an ashamed body moves when it is forced into action. Revealed when it is not ready to be visible. Needing to disappear. What we shame or celebrate is about what ideas we have of right or wrong.
A critical perspective on feelings, power structures & space. But there is a fantasy of freedom — depowering oppressive structures, unlearning and unbecoming what is constituted. Freedom from having to be or do, from expectations, discipline and the essential.


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Marcella Quinchavil Stéen is a Swedish-Chilean dance artist. Her artistic practice is inspired of somatic practices, everyday habits and how words construct situations. Her performative interest lies in the banal, what knowledge is and both the vulnerable and the ridiculous in being a human. That, in order to have a critical perspective on feelings, performance and power structures.

She graduated from Trinity Laban Conservatoire of Music and Dance with a first class degree BA (Hons) in Contemporary Dance, London, U.K. Currently, she is undertaking a MFA in Performing Arts. She has worked with very famous people, and is very famous herself.



Instant composition for cello & dance 

Observe the empty space between inhaling and exhaling. 

Trap into the silence between the words.

Things disappear, only the last substance remains.

Forms disappear, only the formless remains. 

Definitions disappear, the undefined remains. 

But this very pure space is there before anything comes into being.

Cello: Hannes Buder | Dance: Sarah Jegelka


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Hannes Buder (born 1978 in the former GDR) is a musician, improviser and composer in the field of experimental music. His works concentrate on issues of movement, authenticity, intuition, minimalism, density and slowness. Buder's current projects include the bands 'Zug Zug' with Todd Capp and Andrew Lafkas, 'Gravity' with Hannes Lingens and Andrew Lafkas, the duo with Luc Houtkamp, the dance company "one:third", and his solo project. Beyond that he has collaborated with Audrey Chen, Tony Buck, Audrey Lauro, Hilary Jeffery, Mike Majkowski, Matthias Bauer, Steve Heather, the Berlin Improvisers Orchestra and many others. Hannes Buder's Solo recordings include "changes" (2000), "dunkelbunt" (2004), "openyoureyescloseyoureyes" (2006) and "changes II" (2015). He performed concerts in Europe, Australia and in the USA. Buder has also composed, improvised and recorded music for different dance (Oxana Chi, Judith Sanchez Ruìz), theater (Jörg Mihan, Johannes Maria Schmit) and film projects (Barbara Lubich, Annick Gaudreault). He's been giving workshops at festivals, music schools and with prisoners in jail. He studied guitar at the Carl Maria von Weber Conservatory in Dresden and the Franz Liszt Conservatory in Weimar.

 Sarah Jegelka is a professional dancer based in Berlin. Sarah likes to find new ways of connecting and expressing different arts through movement. Fascinated by the notion of touching the unconscious inherent in movement, she has chosen to further her research in the area of instant composition and mind-body connection, studying western and eastern medicine and philosophies.





MARCH 16th @20:00


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Distinct. Huge. Important. Aggressive. Unstable. Strong. Desperate. Loud. Unfair. Scared child. He likes to kill animals, but I want him to like me.

Following the performer, the audience goes through the chain of images as if they were skimming an old photo album. They experience the moments of recognition, caused not by certain narrative, but mostly by the atmosphere and feelings, which are known – fear, helplessness, avoiding, forgiving and accepting

Music: Emily Berregaard a poem excerpt and Summer Isle Bilal-Haqq Al-Awda


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A Russian-Israeli artist, based in Germany. During childhood, I did a lot of folk dance, during the teenage period was lost between hip-hop and modern. Then I found myself studying marketing, working with video production and technologies. But, finally,  got my way to dance again -  I`ve studied contemporary dance in Germany for several years. People, who affected and inspired me the most during recent years are Maya M.Caroll, Tomas Danielis, Jenia Kasatkina, Ryan Mason, Vest and Page, Pavlos Kountouriotis, Jianan Qu, Fenia Kotsopoulou, Mariam Nagaichuk - I learned or worked with them, sometimes both.



Sexting is a personal idea about Cybersex, also called “virtual sex” encounter in which two or more people connected on computer network.

In some contexts, cybersex is enhanced by the use of a webcam to transmit real-time video of the partners. In this second chapter there is the study of behavioral path of a cyber - sex addicted that moves on a single linear track.

Pornography is human imagination in tense theatrical action; its violations are a protest against the violations of our freedom by nature. Consuming pornography does not lead to more sex, it leads to more porn. Much like eating McDonalds everyday will accustom you to food that (although enjoyable) is essentially not food, pornography conditions the consumer to being satisfied with an impression of extreme sex rather than the real.



Gennaro Maione is an Italian dancer and choreographer who was born in Naples in 1989. He begins to dance in Italy with Dance Company Körper , Collettivo Nada, Balletto di Napoli, Mp3 project, Dignità autonome di prostituzione, AZ dance works. Choreographer and teacher for Opificio in Movimento, Ocram Dance Movement, Dance Company Körper. He works abroad as a dancer with PVC Tanz (Freiburg), Karine Saporta company (Paris), Labo DSN company (Liège). In 2012 begins his career as a choreographer in various national and international festivals. Since 2014 he has been ideator of GMW (Gennaro Maione works), created with the intent to propose projects and new ideas with a real artistic identity.


Photo: Colette Pomerleau

Photo: Colette Pomerleau

Powerfully connected. ONBOARD is a dance of gentle friendship, tiny movement, and everyday habit. Slightly nostalgic, frustratingly the same, and peacefully sweet, ONBOARD initiates intimacy and never lets go. Are you on board?

Performed by: Yannis Mitsos, Tamilde Bassetti, Veronica Lillo, Celeste Patten, Djibril Sall, & Claire Bp

Rehearsal directed by: Dakota Comín

Music by:  Rosa De la Rosa


Photo: Marie Weikopf

Photo: Marie Weikopf

Sabina Moe is a choreographer/performer from the U.S. She makes work for the purpose of joy and empathy. She has lots of friends. She has make lots of work. She has lots of work still to be done. Hi Mom.



I died at the young age of 24. I have finished my life as a son of the Great Korea. Defending my country's mountains from the choking clouds and rampaging winds, At last I took my last breath.

A gun which nobody dare defy was in my hand. A helmet which is not breakable put on my head. I have never been cowardly in fighting the enemy. What's more, a stronger spirit of the Great Korea was shouting in my blood, I ran through mountains and valleys, graveyards and thorny thickets.

I had a mother, a father, and cute brothers and sisters. Also I had a pretty, loving girl. With my youth bloomed, I wanted to flower and live together with my close people on this land, With numerous birds flying in the beautiful sky, I wanted to grow up and sing.



Heun Min Kim is an South Korean dancer, performer and choreographer. He was born in Seoul and graduated from Hansung University, where he made his bachelor degree in modern dance. After his graduation, he entered Salzburg Experimental Academy of Dance (SEAD) in 2013, and began dancing in South Korea with SECOND NATURE DANCE COMPANY. He also participated in many dance projects in South Korea and Europe.

As a contemporary dance choreographer, he has presented his choreographic works at many large dance festivals, such as MODAFE and SPAF in Korea, in which his works <50 Euro table>, <Auntie, Do not Touch That>, <Thirsty> and <Afternoon of Eden> were presented. He is currently based in Berlin and engaged in different Arts projects.





MAY 18th @20:00



DANCE KITCHEN is a format that has been developed by the dancer Sahra Huby in her apartment, and then started to expend to other private settings.

This intimate context allows a close encounter with the audience, where there is time to meet each other, to have a glass of wine, and to talk about dance rather than just watching it. DANCE KITCHEN is structured like a House Concert, where dances are presented like songs between each of which, one can speak. The border between casual speaking, thinking and dancing are fluid, and allows the audience to enter inside the artistic univers, the practice and the „inside kitchen“ of a contemporary dancer.



Sahra Huby is working since 12 years as a freelance dancer with many different choreographers around Europe. She is continually collaborating with Anna Konjetzky in Munich. With her, she created many group pieces as well as solos, like the piece „Abdrücke“ in 2010 (invited to the Tanzplattform Deutschland2012), „chipping“ in 2014, and „MOVE MORE MORPH IT“ in 2018. She is also developing her own research, creating alternative formats for researches and encounters with other artists, as well as a format for performances called DANCE KITCHEN. One important aspect of her work is the principle of thinking and communicating through the body, and use the body as an instrument to develop ideas in a physical way.



We all feed of attention, money, affection and extremity. Since I created the debut piece ”BÆST” in 2018, I have been inspired by how the queer culture is seeking the extremity of live. To get accepted and to avoid not fitting in. We explode ourselves into lifestyles that are extreme to escape from a reality. Like a drug. We use our sexuality to express and protest something we do not accept and do not like. But it all comes down to wanting to fitting in. What have inspired me is the fetishing of the word ”daddy” and the daddy figure especially in the gay – platform and society. We seek someone older to accept us for who we are, to take care of us, to make us feel safe. But do we expose our bodies and prostitute our bodies to an extreme to feel safe in order to seek our extremities? Or is it a cry of help of actually wanting to fit in?



“dancingbeasts” was founded in summer 2018. The company consists of 6 members, all educated in Contemporary dance at the CDSH in Hamburg, Germany. The company first started out as a project, where choreographer Lucas Kruse Kristiansen wanted to explore choreographing on a group after a period of time choreographing solos. This was experienced in Collide Festival 2018 in Hamburg, and after the performances of the debut piece ”bæst”, Lucas Kruse Kristiansen, founded the company dancingbeasts, and kept on developing and emerging new ideas and performances.

In February 2019, dancingbeasts had their first performance internationally, in Copenhagen Denmark, after the debut piece ”bæst” was bought to come and perform in the theater, Dansekapellet.

Currently the company is working on the next piece “daddy”, and on collaborations with multimedia platforms and video projects. The upcoming performances of daddy and bæst will be performed as a part of Hamburg Architektur Sommer 2019 in Hamburg, where the company will perform the two pieces in unconventional spaces as a part of the new research of the new piece, “daddy”.


Photo: Cemil Sorgun

Photo: Cemil Sorgun

I saw it but I didn’t say or do anything. I will share because my mom taught me to.
I do want more. So I’m Praying, trading, receiving and doing something.
I'm sure it is taking me to somewhere.

Choreography: MingJou Chen

Performed by: Sabiwa/MingJou 

Music: Wo De Shijian/Sabiwa, Between two worlds/John Zorn


Photo: Cemil Sorgun

Photo: Cemil Sorgun

Made in Taiwan. Studied dance in Taiwan. Moved to Berlin in 2018.

Eating, sleeping, talking, dancing, sharing, living, observing, preforming, loving.

I love green and avocados. 
2015 University of Taipei, Fine art in Dance (Taiwan)

“Krystyna in flamenco mood” - KATARINA MYRDA

/I am Milagros, I wear flashy red skirt and dance in fancy discos, screaming out “mi corazon” and “cambio dolor”-then I feel loud and strongly present in my pain. I am Krystyna, humility, sensitive, forgiving woman, with a soothing touch and steadfast calmness- I am smart, I am wife, I am Polish, I am present. /

Choreography is my reflection about cultural body in a pain and sadness. Flamenco as a metaphor, carnality, culture, music, personality, a power of gesture and emotionality.


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Graduate Music Academy in Lodz (PL)-Department of Vocal and Acting-Choreography, Master programme and AHE in Lodz, Department of Arts-Choreographer, Bachelor programme. Winner of prizes in International Choreographic Competition "3...2...1...DANCE!" in Cracow for solo “Krystyna in flamenco mood”-I prize from Assen Assenov, I prize from Anna Godowska, the special award from Agata Moląg and Grand Prix. The solo “Krystyna...” has been qualifiedin Final of International Dance Festival SoloDuo Budapest 2019 and get award in Choreographic competition “Transmission. Transgression” 2018 in Tarnow. In season 2017/2018 participant ACTA Program-international workshops of contemporary method acting for dancers and actors in Copenhagen International School of Performing Arts and University of Malta. Resident in Nowa Huta Cultural Centre-Krakow Choreographic Centre-Performance „Luggage”. The winner of the third prize for duo “Luggage” in Choreography competition “Sense of move” in Tarnow (Poland). From 2011 to 2016 dancer in Physical Dance Theatre in Lodz. Started her own artistic way by dance and create: “Krystyna in flamenco mood”, “Dual Fusion” (director: Paweł Grala), „Russian disco”, „Luggage”, „My dear Krystyna”, „Don't make scene-about men”. Dancer, performer and participant many international workshops with: David Zambrano, Peter Jasko, Uri Ivgi, Johan Greben, Noa Paran (Batsheva DC), Nuhacet Guerra (Ultima Vez) and others.




FRIDAY, October 25th &

SATURDAY, October 26th @20:00


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G-Force is a solo dance project that explores the concept of antigravity. Movement research has revealed new aspects of lightness and heaviness in the body in relation to external forces. Solo has become an intimate story about a state of in-betweenness and unending struggle with internal g-force.

g-force had its premiere in March 2019 in the Sfera Ruchu Festival in Nowa Sól. In June 2019 the piece was invited for The Solo Dance Contest in Gdańsk.


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Graduated from Choreography at the Academy of Music in Łódź (2017) and Cultural Studies at the University of Warsaw („Gaga – a new kind of dance?” – the first Polish research on Gaga, 2014).
In her practice she explores the connections between mind and body and the potential of applying mental images into movement. As a choreographer she uses not only her experience as a professional dancer, but also her background in other domains of art – music, theatre, photography – and her knowledge of anthropology. She quests for richness of movement qualities and clarity of form deriving from feeling the body from the inside. She treats each performance as a separate, specific universe. Thus an artistic process becomes for her a voyage of discovery, a game where the rules are constantly set and negotiated while playing.


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Extending over a dynamic, imaginary landscape, Interlude is a solo movement journey oriented in a practice-based approach to choreography, where highly structured improvisations build and dissolve in intensity. From the expression of an inner landscape, tensions are manifested that create and shift mood. Through the folding and unfolding, snaking and somersaulting movements, emotions and reactions arise and let go into different velocities; metempsychosis by shedding multiple skins, and enduring different states of being.


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Emily Ranford works between Europe and Australia with collaborations in dance and visual art. Somatic practices fuel her interest in the human body and provide friction to her continual questioning of contemporary dance and contemporary culture. In Melbourne she graduated from the Victorian College of the Arts, and studied a Diploma of Pilates. She has ongoing artistic relationships with Australian choreographers Rebecca Jensen and Sarah Aiken. Emily received the danceWEB Scholarship in 2013 and relocated to Berlin in 2014 where she has worked with Alexandra Pirici, Julian Weber, Felix Ott, Dmitry Paranyushkin, PAF Indigo Dance, Boris Charmatz and Royal Opera London. Her solo choreography has been presented at Lake Studio Triple Bill, Ada Studio Nah Dran, Flutgraben 3AM, Tatwerk, and Ego Bar/Uferstudios. With support from the Berlin Senate, her group work Fallback premiered at Dock 11 in 2018, and her new work Forcefields will premier there in November.


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I AM NOT ALONE is a work in progress that deals with the question of multiplicity of the body. How many bodies are contained in one body? The performer explores the past, memories, familiar as well as strange bodies. The female body seen as a projection surface in society is in this solo going through physical and expressive states that aim to unveil clichés and images of one female body. It is an investigation of the transformative potential of one body, in a frame that seeks the play of proximity and rejection, intimacy and distance, between the performer and audience.


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I received my education in dance and choreography at the Inter - University Center for Dance Berlin (HZT). This year in July I will finish my studies. In the past years I have worked for different choreographers and visual artists such as Jan Rozman, Ania Aristarkhova, Boris Charmatz, Nile Koetting, I- Jung Lim. I find it particularly interesting when dance and performance meet spaces that are not theatre spaces. In non-theatrical spaces one is confronted with a different audience that brings with it different visual experiences. Performing in galleries, in public spaces or in private spaces challenges me as a performer and I love to play with this challenge and explore its rules. As a dancer and performer I seek expression through my body. I don't just reduce my means of expression to movement. Voice, breathing and language are also means of my expression. I like to research complex movement tasks that include spatial and inner body awareness and let myself be surprised by new, still unknown movement qualities. As a choreographer I have realized different works either in collaboration or CO - creations, that often involve a big team of performers and artist from other art fields. One of my beloved project is Kimberly Kaviar, a performance collective that I found together with Juan Felipe Amaya Gonzalez in the year 2015. Mostly we invest and challenge the theatrical dispositive by means of dance and choreography.



„Moody and The Helper“ is a short drama about two characters dealing with pain and loss. The Helper has a sensitive good hearted soul but covers her pain and loss through helping others in order to not think about her own damage. Moody is someone who choses to react to her loss with anger and frustration. Who gets lost and/or who will be ok? A dance that is silly and authentic, unusual but honest.



Chris Jager is a freelance choreographer and dancer from Berlin. He studied contemporary dance at the University of Music and Performing Arts in Frankfurt am Main and has been successfully operating in the industry since 2012. After his studies he joined Jan Pusch in his company at the Staatstheater Tanz in Braunschweig and has since worked with companies and choreographers such as Punchdrunk International in Shanghai, Inbal Pinto and Avshalom Pollak Dance Company in Tel Aviv and Helena Waldmann in Berlin. After 7 successful years as a dancer he would like to tell his own story. Visiting and living in these places inspired him to address social issues with his art. He created and organized several dance pieces a young dance festival at the LOT Theater Braunschweig. In 2019 he choreographed for Tom Tykwer's TV series "Babylon Berlin - Season 3 ". His works have been invited to internationally renowned festivals and competitions and has been well received by the audiences and professionals (28th International Competition of Choreographers in Hannover, HAUT_SCENE Festival Copenhagen, Zawirowania Choreographic Competition Warsaw, etc.). In this way he will now go further and try his luck after a successful dance career to establish himself as a choreographer in Berlin and internationally.