Participants

Eylül Fidan Akinci

Eylül Fidan Akıncı is a Ph.D. Candidate in Theatre and Performance program at The Graduate Center, City University of New York. Her dissertation project analyzes the dramaturgy of objects and materiality in contemporary choreography through a feminist lens, and creates a trajectory across Pina Bausch, Eiko Otake, La Ribot, Mette Ingvartsen, Gisèle Vienne, and Geumhyung Jeong. She works as an independent dramaturg across theatre and dance. Her writing on performance has appeared in TDR: The Drama Review and Etcetera Magazine.

Marianne Bäcker

Marianne Bäcker was academic director at the Ruhr-Universität Bochum and was responsible for teaching and research in the areas of Dance, Rhythmic Gymnastics and Circus Skills within the field of sport sciences. She represents the Gesellschaft für Tanzforschung in the domain of Dance Education.

Jason Beechey

Jason Beechey has been the Rector of the Palucca Hochschule für Tanz Dresden since 2006. Having trained at Canada’s National Ballet School, the Vaganova Ballet Academy in St. Petersburg and the School of American Ballet in New York, he danced as a Soloist for the London City Ballet and then fifteen years with Charleroi/Danses in Belgium. Parallel to this, he was the Pedagogical Director for the Choreographic Centre of the Federation Wallonia-Brussels, founded and ran his own studio, The Loft, and was the creator/coordinator of the D.A.N.C.E. Program under the Artistic Direction of Frédéric Flamand, William Forsythe, Wayne McGregor and Angelin Preljocaj. Joining the Prix de Lausanne as a Member of the Artistic Committee in 2009, he continues his involvement there and is also a regular jury Member for the Youth America Grand Prix.

Peter Boragno

Peter Boragno is a graduate in business administration and has worked in cultural management since 1995. His clients include the Haus der Kulturen der Welt, Berlin, the Federal Cultural Foundation, the Federal Ministry of Culture and Media, the Federal Ministry of Education and Research and the Goehte Institute. From 2010 onwards he accompanied the Ausbildungskonferenz Tanz and headed the office for the Biennale Tanzausbildng. Since January 2020, he has taken over the management of the Europäische Theaterakademie GmbH “Konrad Ekhof” Hamburg and is in charge of the Bundeswettbewerb deutschsprachiger Schauspielstudierender and, in the future, the Bundeswettbewerb Biennale Tanzausbildung.

Carolina Borrajo

Carolina Borrajo was born in Zaragoza, Spain. She was trained at the Marìa de Ávila Ballet School in her native town and at the School of the Hamburg Ballet. After her first engagement at the Ballet Classico de Zaragoza, she was a Soloist at Bonn Opera, at the Hessian State Theatre Wiesbaden and at the Lucerne Theatre. She received her diploma as a children‘s dance teacher and stage dance teacher at the State University of Performing Arts in Mannheim. In August 2008 she took up a position on the teaching faculty of the School of the Hamburg Ballet.

Boy Henry and Boy Bernd

Boy Henry and Boy Bernd are members of „the other kind of coverband“ (discogs) Boy Division for over 20 years. They have been organizing shows for themselves as well as for other bands, released their own and other bands´ records, performed in their own theater plays, released fanzines, directed videos. They work as DJs and spend their spare time planning and running various events of all sorts. They also contributed to works by God`s Entertainment, Geheimagentur and Showcase Beat Le Mot. All below mainstream`s radar for over 30 years and still loving it.

Stephan Brinkmann

Stephan Brinkmann is Professor for Contemporary Dance at the Folkwang University of the Arts Essen. He is a dancer, choreographer, teacher and author. He studied dance at the Folkwang University, theatre-, film- and media science, German language and sociology at the University of Cologne and Dance Pedagogy in Essen. He danced for the Folkwang Tanzstudio and the Tanztheater Wuppertal Pina Bausch. In addition, he created numerous choreographies and taught contemporary dance worldwide. He holds a PhD in movement science from the University of Hamburg. Topic: types of memory in dance. (Publication: »Bewegung erinnern. Gedächtnisformen im Tanz« (2013)).

Claire Cunningham

Claire Cunningham is a performer and creator of multi-disciplinary performance based in Glasgow, Scotland and a current Factory Artist with Tanzhaus NRW Düsseldorf, Germany as well as a Work Place Artist with The Place, London. One of the UK’s most acclaimed and internationally renowned disabled artists, Cunningham’s work is initially rooted in the use/misuse, study and distortion of crutches. Through these objects she not only engages physically with the world, exploring the potentiality of her specific physicality as a disabled individual, crafting a unique vocabulary which aims to challenge conventions around virtuosity, classical aesthetic and dance, but are also her means to relate and connect to the world as an artist. She is interested in non-normative bodies and keen to highlight the enrichment to be gained in contemporary performance, especially dance, by embracing this. By extension she is also driven to make work that will attract those often disenfranchised from watching contemporary dance due to the conventional body aesthetics or because of the seeming abstractness of dance. Her interest in combining artforms stems from this intention.

Indrani Delmaine

Indrani Delmaine was born in London, England where she completed her training as a ballet dancer and teacher. She then attended the John-Cranko-Ballett Akademie in Stuttgart before being offered her first contract by John Neumeier in 1977 for the Hamburg Ballet. She later danced with the Stuttgart Ballet for three years before returning to John Neumeier in Hamburg in 1982. Indrani Delmaine worked as a ballet teacher and on dance projects with the Hamburg Youth Orchestra, “Focus on Youth”, TuSch Hamburg and workshops at the Leuphana University. Indrani Delmaine returned in 2013 as the Managing Co-ordinator of the School of the Hamburg Ballet.

Stacey Denham

Stacey Denham was born in New York. She danced with the Alvin Ailey Dance Theatre Repertory Company, the Clive Thompson Dance Company, with Judith Jamison, at the Washington D.C. City Ballet Company and at the Theater des Westens in Berlin. As a long-standing guest teacher, she teaches the Theatre Classes in modern dance, based on the Horton-Technique. She is also in charge of the dance composition classes and co-ordinates the “Creativity Workshop” in the Ernst Deutsch Theater.

Amelie Deuflhard

Amelie Deuflhard has been the artistic director of Kampnagel since 2007. It is Europe’s largest production center for independent performing arts; works on the interfaces between theater, performance, dance, music, visual arts and architecture are realized here. From 2000 to 2007, she directed the Sophiensæle in Berlin. In 2003, she was chairwoman of the „Zwischen Palast Nutzung” association and, in 2004/5, she was one of the artistic directors of the “Volkspalast”, a festival-like program of the half-deconstructed Palast der Republik. She belonged to the four-member curator team for the “Theater der Welt” festival in 2017, which was organized by the Thalia Theater and Kampnagel in Hamburg in 2017. She has also been active in a number of juries and curators.

Katy Dworatzek

Kathrin Dworatzek is a performer, musician, and filmmaker. Since graduating from drama school, she has been working as a freelancer and joined arms with the cobratheater.cobra network. In her artistic work, she is researching forms of expression on stage/camera that reveal the synergistic circumstances which may aid in the creation of a sense of equality amongst performers, situation and audience members alike. Currently, she is an art student at the Academy of Fine Arts Hamburg, finishing her masters in film with P. Danquart, and gives theatre and film workshops for kids and young adults. (www.katydworatzek.com)

Kerstin Evert

Kerstin Evert studied Applied Theatre Studies in Gieβen, where she did her doctorate on the theme of “DanceLab-Contemporary Dance and New Technologies”. From 1997 to 2000, she was a doctoral candidate in the post-graduate program “Körper-Inszenierungen” at the Freie Universität Berlin and with Oliver Behnecke founded the production label “Stadt Raum Inszenierung” (Festival ZeitenWende, Gieβen 2000). From 2002 to 2006, she worked as dramaturge at Kampnagel. Evert founded the choreographic center K3 in Hamburg in August 2006 and has been the director of K3 –Zentrum für Choreographie | Tanzplan Hamburg since then. She works as a lecturer at universities in Berlin, Bern, Gieβen, Hamburg, Frankfurt/Main and Salzburg, among other places, and was part of the co-management teams of the artistic-scientific Research Training Groups “Assembly and Participation (HCU, Fundus, K3) and Performing Citizenship (HCU, HAW, Fundus, K3). Kerstin Evert is member of several juries and advisory boards and member of the board of the European Dancehouse Network.

Claudia Feest

Claudia Feest is a respiration-, voice- and movement pedagogue as well as breath and body therapist, biologist, dancer, choreographer, co-founder and artistic director of the Tanzfabrik Berlin until 2003, networker for dance and others, co-founder and since 2006 board member of Dachverband Tanz Deutschland (DTD) and board member of Aktion Tanz – Bundesverband für Tanz in Bildung und Gesellschaft. 2006/07 Coordinator for the Hochschulübergreifende Zentrum Tanz – Pilotprojekt Tanzplan Berlin (HZT). Since 2007 she is a juror for Dance and Performing Arts in Berlin and nationwide. Teaching with a focus on breathing, movement and body perception at the HZT Berlin and the Hochschule für Musik und Darstellende Kunst (HfMDK) Frankfurt am Main, among others, as well as freelance work in her own practice and in Germany and abroad, too.

Claudia Fleischle-Braun

Dr. Claudia Fleischle-Braun headed the domain of dance and aesthetic movement education at the Institute for Sports and Movement Sciences of the University of Stuttgart (1978-2006). As a member of the executive team of the Gesellschaft für Tanzforschung (gtf) she was involved in various projects in the field of modern dance heritage as well as dance education research.

Moritz Frischkorn

Moritz Frischkorn works as a choreographer and researcher within the contemporary performing arts. In his work, he looks for artistic practices that enable careful and speculative negotiations with the environment and thus allow for more than individual human expression. Since 2015, he researches social choreography of things within the graduate school ‘Performing Citizenship’. His newest work, ‘The Great Report’ (presented at Kampnagel in January 2020) looks at the relations between choreography and logistics. He has worked a.o. with Maria F. Scaroni, Martin Nachbar, Manon Santkin, Vladimir Miller (a.pass) and geheimagentur. (www.moritzfrischkorn.de)

Monica Gillette

A choreographer and dramaturg, Monica Gillette brings over 25 years experience in the performing arts, as well as expertise in artist driven networks, participatory projects and transdisciplinary research. After an education in classical ballet, Monica developed a career in the field of contemporary dance in Los Angeles and New York. In 2008, she began working at Theater Freiburg, not only as a dancer and choreographer, but also in areas of community building and project development. Monica was the dramaturg for the EU project Migrant Bodies – Moving Borders (2017-2019) and editor of the resulting publication. She leads workshops and facilitates collaborative research practices, utilising her dance skills for embodied reflection.

Nik Haffner

Nik Haffner has been the artistic director of HZT Berlin since 2012. As a dancer and choreographer, Nik Haffner realised projects that mostly emerged from collaborations with other artists (including Christina Ciupke and Mart Kangro). His interest in collaboration and interdisciplinary exchange lead him to mediation and education projects. He worked as a guest teacher at schools including P.A.R.T.S. Brussels and Trinity Laban, and also as a Mentor in the K3 Hamburg residence program and as part of the project ensemble of Tanzlabor_21 in Frankfurt/Main. After finishing his dance education at the University of Music and Performing Arts in Frankfurt and at the Australian Ballet School, Melbourne, Nik Haffner joined Ballett Frankfurt under William Forsythe in 1994. Between 1994-1999 he developed the digital publication “Improvisation Technologies, and went on to work on the online score “Seven Duets” for the platform MotionBank.org with Jonathan Burrows and Matteo Fargion from 2012-13. Nik Haffner is a member of the advisory board for Dance Congress Germany and the head speaker of the AK|T Dance Training Conference Germany.

Kevin Haigen

Kevin Haigen began his studies at Diana Avery‘s Sacred Dance Guild of Miami and simultaneously classical ballet with Martha Mahr. He received a scholarship for the School of American Ballet under the direction of George Balanchine, where he was taught by Stanley Williams and Erik Bruhn. After dancing with the American Ballet Theatre (directed by Lucia Chase) and the Stuttgart Ballet (directed by Glen Tetley) he joined the Hamburg Ballet in 1976 under the direction of John Neumeier, whom he considers his artistic mentor. In 1983, he joined the Netherlands Dans Theater under the direction of Jirí Kylián, 1985 becoming Ballet Master for the Ballet de Monte Carlo under the direction of Ghislene Thesman. 1986 moving to English National Ballet under the direction of Peter Schaufuss. 1987 to 1991 joining the Béjart Ballet Lausanne having an enriching creative relationship with Maurice Béjart. He returned to Hamburg his »artistic home« in 1991, continuing his journey with the world of John Neumeier becoming Principal Ballet Master of the Hamburg Ballet and teacher for the School of the Hamburg Ballet under the pedagogical guidance from Irina Jacobson. Most inspiring for him is the development of the future: training creative thinkers and movers and conveying that the art of ballet is a never-ending journey. Kevin Haigen is Artistic and Pedagogical Director of the National Youth Ballet. He teaches internationally and stages John Neumeier’s ballets all over the world. He was awarded with the Theaterpreis Hamburg – Rolf Mares 2019.

Dieter Heitkamp

Dieter Heitkamp is a professor of contemporary dance at the HfMDK Frankfurt am Main and director of the education department at the ZuKT (Zeitgenössischer und Klassischer Tanz). He was a speaker for the AK|T from 2007 – 2014 and worked as part of the management team of Tanzlabor_21 from 2006-2015. He is a founder and former collective member of Tanzfabrik Berlin, and was one of their artistic directors until 1995. His choreographies have been shown in Germany, Europe, the USA Japan, Hong Kong and Brazil. For the last 40 years he has been working intensively on the study, teaching, documentation and performance of contact improvisation.

Rosemary Helliwell

Rosemary Helliwell is presently Acting Director of the Academy of Dance of the state funded Mannheim University of Music and Performing Arts, having been previously the Deputy Head of the dance department under Prof. Birgit Keil. She has also been an active jury member of the Choreographic Center Heidelberg for several years. After studying dance in England at the Doreen Bird College and at the John Cranko School Stuttgart, she began her career as a dancer with the Stuttgart Ballet. After her first choreographic works for the young choreographers’ Noverre Society in Stuttgart, she went on to choreograph for Márcia Haydée and became resident choreographer of the Stuttgart Ballet. Rosemary Helliwell has also choreographed ballets for the London City Ballet, Northern Ballet Theatre (Manchester), National Ballet of Finland, National Ballet of Peru, Irish National Ballet, City Contemporary Dance Company Hong Kong, Ballet Philipines (Manila), Ballet St. Gallen (Switzerland), Ballet of the City of Koblenz, Ballet of the National Theatre Mannheim, Ballet of the Kiel Opera House, Dance Foundation Birgit Keil, and for the Ballet of the Landestheater Coburg.

Raymond Hilbert

Raymond Hilbert, born in Leipzig, studied at the Palucca-School for Dance in Dresden. He became a member of the Company of Komische Oper Berlin under Tom Schilling for 4 years where he was promoted to Soloist in 2004. Later he returned to Semperoper Dresden for 12 years, where he became a Principal Dancer. He danced solo roles in several ballets of John Neumeier, Jirí Kylián, Mats Ek, Stephan Thoss, Mauro Bigonzetti, Claude Brumachon, and Glen Tetley. In 1995, he became a teacher at Palucca-School, in 2001 he was offered a professorship for contemporary dance and became head of the Department of Education. Between 2014 and 2016, he held a professorship for Modern Dance Technique, Interpretation and Choreography at Universidad Academia de Humanismo Cristiano in Chile. He was a guest dancer in Australia, Poland, Canada, Costa Rica, the USA and in the Netherlands. Raymond also teaches Modern Dance, Choreography, Motion Analysis and Eukinetics. In the beginning of the 2017/2018 season, Raymond Hilbert became the Ballet Master of the National Youth Ballet

Leslie Hughes

Leslie Hughes was born in Atlanta, USA. She studied ballet in her hometown and in New York at the American Ballet Center (school of the Joffrey Ballet) and School of American Ballet Theater. She was offered her first contract with the Hamburg Ballet where she advanced to Demi-Soloist. She also performed in Tours, France, with the Atlanta Ballet and with the Stadtheater Bern in Switzerland. In 2002 Leslie completed her certificate for teaching the Vaganov-Method from the Hungarian Dance Academy in Budapest. She taught first at thae École de Danse de Genève and then moved on as ballet mistress with ballettmainz, where she assisted Martin Schläpfer by numerous creations as well as rehearsing ballets from Hans van Manen, George Balanchine, Kurt Jooss and many others. She also taught at the Conservatory in Vienna from 2005 to 2013. Since 2013 Leslie Hughes has been part of the teaching faculty of the School of the Hamburg Ballet.

Gigi Hyatt

Gigi Hyatt is German American. She began her training in her hometown Berlin with Tatiana Gsovsky and continued in 1974 in Munich with Konstanze Vernon at the Heinz-Bosl-Stiftung. In 1982, Gigi Hyatt was awarded the Gold Medal in the Junior Division of the Jackson International Ballet Competition and in the same year joined the Hamburg Ballet John Neumeier. In 1984, she was honored with the Wilhelm Oberdorfer Award. In her first season, Gigi Hyatt was promoted to demi-soloist, the following year to soloist and in 1986 to principal dancer. Gigi Hyatt was fortunate to dance in many ballets choreographed by John Neumeier and created numerous roles, including Desdemona in Othello, Solveig in Peer Gynt, Cinderella, Undine and Viola/Feste in Vivaldi or What You Will. In 1997, ending her career on stage, she moved to the USA, where she first became ballet mistress and teacher at The Georgia Ballet and School and in 2004 assumed the position of Artistic Director. In 2013, Gigi Hyatt returned to Hamburg to take up the position of Pedagogical Principal and Deputy Director of The School of The Hamburg Ballet.

Martina Kessel

Martina Kessel studied dance and dance pedagogy at the academies in Rotterdam and Essen and subsequently completed studies in cultural anthropology, Islamic studies and pedagogy at the University of Cologne. This was followed by positions as research assistant at the universities of Göttingen and Cologne. From 2003 to 2013 she worked at the tanzhaus nrw, where she directed the project “Take-off: Young Dance” as part of Tanzplan Deutschland and established the “Dance for Young Audiences” department. Since 2013 she has been working in Berlin as project manager of “ChanceTanz” and supports dance artistic projects with children and young people with funds from the Federal Ministry of Education and Research. She also works as a freelance dramaturg and consultant and curates, among other things, the Forum of Choreographers and Dancers for the Berliner Festspiele in the context of the Dance Meeting of Young People.

Sebastian Matthias

Sebastian Matthias, born 1980, works internationally as a choreographer with production houses and established institutions such as Luzerner Theater and CORPUS / Royal Danish Ballet. He studied dance at Juilliard School in New York and dance studies at Freie Universität Berlin. In his choreographic work, he deals with modular improvisation systems he develops collectively with the dancers. He elaborated his artistic-scientific research approach as an associated artist at K3 | Zentrum für Choreographie and graduated in 2018 within the graduate college Versammlung und Teilhabe: Urbane Öffentlichkeiten und performative Künste at HafenCity Universität Hamburg. In 2018, his dissertation project with the title ” Gefühlter Groove –Kollektivität zwischen Dancefloor und Bühne” was published by transcript Verlag.

Since 2019, Matthias works as a research assistantant at the research project Participatory Art Based Research of HCU Hamburg, K3 and Fundus/Forschungstheater. Due to the KSB funding Doppelpass, he will be cooperating closely with Bürgerbühne/Staatschauspiel Dresden and Theater Basel until 2021.

Fabrice Mazliah

Nach seinem Tanzstudium in Genf, Athen und Lausanne war Fabrice Mazliah einige Jahre Teil des Nederlands Dans Theatre, schloss sich 1997 dem Frankfurter Ballett unter William Forsythe an und war bis Sommer 2015 Teil der Forsythe Company.
Parallel dazu produzierte Fabrice mehrere eigene Werke und Arbeiten in Zusammenarbeit mit anderen Künstlern, darunter “The Manufactured Series” (2018-2020), “In Act and Thought” (2015) für die Forsythe Company, “Eifo Efi” (2013) ) und “Cover up” (2011) mit dem Kollektiv MAMAZA. Diese Stücke werden auf wichtigen Festivals und Veranstaltungsorten weltweit präsentiert. Fabrice unterrichtet in Workshops, Seminaren und Ateliers auf der Basis von Recherche und Improvisation.

Janusz Mazoń

Janusz Mazoń was born in Bytom, Poland and trained for nine years at the ballet school there. In 1980 he was offered a contract with the ballet company of the Warsaw State Opera. In 1985 he joined the Hamburg Ballet. He advanced to soloist in 1989 and to principal in 1993. He danced many of the leading roles in the repertoire of the Hamburg Ballet as well as creating new roles in John Neumeier’s ballets. In 1997, he moved to the USA where he graduated with a degree as Doctor of Chiropractic in 2002. While maintaining his work in his chiropractic office, he was also ballet master for The Georgia Ballet School and Company. Janusz Mazon returned to Hamburg in 2013, where he took up a position on the teaching faculty of the School of the Hamburg Ballet. He staged John Neumeier’s ballets for Houston ballet, the Bolshoi Ballet in Moscow, the Boston Ballet, the polish National ballet in Warsaw and the Corpo di Ballo del Teatro alla Scala in Milan.

Zwoisy Mears-Clarke

Zwoisy Mears-Clarke is a choreographer of the encounter. He uses the expanding potential of dance and choreography to confront mechanisms of oppression, like racism and ableism, that sabotage human interaction on both a structural and interpersonal level. Zwoisy holds a Bachelor (B.S.) in Biomedical Engineering from Columbia University, USA and a Bachelor (B.A.) in Engineering and Dance from Oberlin College, USA. Currently, Zwoisy is based in Rösrath, Germany. www.zwoisymearsclarke.com

John Neumeier

Born in Milwaukee/Wisconsin in 1939, John Neumeier studied in his native city as well as in Chicago, Copenhagen and London. In 1963 John Cranko invited him to join Stuttgart Ballet. After four years as Director of Ballet Frankfurt, he was appointed Director and Chief Choreographer of the Hamburg Ballet in 1973. Under his direction, the Hamburg Ballet became one of the leading ballet companies on the German dance scene.

As a choreographer, Mr. Neumeier has continually focused on the preservation of ballet tradition, while giving his works a modern dramatic framework. His ballets range from new versions of full-length story ballets to musicals and symphonic ballets as well as choreographies to sacred music. His latest creations for the Hamburg Ballet: “The Glass Menagerie” (2019), “Beethoven-Project” (2018) and “Anna Karenina” (2017). In addition to his great commitment to the Hamburg Ballet, he regularly works as guest choreographer with the most renowned international ballet companies.

Brontez Purnell

Brontez Purnell is a zinester, writer, dancer, and musician who lives in Oakland, California. Originally from Triana, Alabama, Purnell has been publishing, performing, and curating in the Bay Area for over 17 years. Brontez has written for various publications, including Cakeboy, San Francisco Weekly, Maximum Rock & Roll and Harpers. He is the author of »Fag School«, »The Cruising Diaries«, and »Johnny Would You Love Me If . . . (My Dick Were Bigger)«. He is a 2018 Whiting Award winner in fiction for his book »Since I Laid My Burden Down«. He is the front man for the band The Younger Lovers and cofounder with Sophia Wang of the Brontez Purnell Dance Company (BPDC). Composed of movers and artists of all disciplines, the company builds works that combine punk rock subversion and free jazz improvisation. He has also created several works for dance on video.

Matthias Quabbe

Matthias Quabbe is a theatre scholar, dance dramaturge, and production manager. He studied at the Institute for Applied Theatre Studies of the University of Giessen and at Tokyo Gaikokugo University as well as Senshú University Kanagawa (philosophy and research on Kabuki, Bunraku, Butoh). He worked as a freelance dramaturge, production manager, and director in different projects in Düsseldorf before he became part of the Kampnagel dramaturgy from 2005 to 2007. 2007 to 2019, he was dramaturge and production manager at K3 | Tanzplan Hamburg, where he was responsible for the residency programme, international cooperation, support of local artists, and special projects concerning contemporary dance. As artistic project manager, he executed the Tanzfonds Erbe project “HEUTE: volkstanzen”, which based on a continuous interest in collective movement in work and art. Since 2009, he has been in different symposia on concepts of artistic collaboration and production as well as in career management of emerging artists. In 2011, 2014 and 2017 he was a jury member of the promotion of excellence of Tanz NRW as well as part of the jury of Körber Studio Junge Regie in 2014. As freelance dramaturge, he works with Jee-Ae Lim, Frikar (Hallgrim Hansegard), Reut Shemesh et al.

Omar Rajeh

Omar Rajeh is the artistic director of Maqamat, founder of BIPOD and founder and artistic director of Citerne Beirut. He is a critically acclaimed choreographer and dancer as well as a leading figure of contemporary dance in the Arab World. Based in Beirut, Omar Rajeh | Maqamat has performed over 19 choreographic works in major European, regional and international theatres and festivals.

Bea Carolina Remark

Bea Carolina Remark is a dance teacher, performer, creative dance and movement therapist, body therapist, dance and theatre practitioner, poet and alternative practitioner (HP). Spastically paralyzed since birth, she is an expert in her own field.

She has worked for years with choreographers, dance and theatre professionals, therapists, colleges, universities and other institutions and gives workshops at home and abroad. The development of diversity in cultural and political education, the development of equivalence in the world, but also the development of peace processes – in the sense of reflecting on and changing the view of the normal ideal of a society – is a major concern of hers.

Her curiosity is especially directed towards a constant examination and encounter with the foreign, the other, nature and life itself. Movement must be found, is always new. A pendulum between attention and devotion. After each deep encounter, we are no longer who we were, each encounter transforms us.

Numerous further education and training courses in the fields of dance, theatre, bodywork, body therapy, trauma therapy, systemic therapy, yoga.

Tim Reuscher

Tim Reuscher is working at zine production and distribution outfit Sternstunden des Kapitalismus, where he has more or less regularly published poetry/illustration zine Pareidolia since 2008 while also illustrating and printing various zines and publications. Currently Tim is also running the nachladen riso studio/zineshop/recordstore in Hamburg.

David Russo

David Russo teaches since 2010 ballet and contemporary dance at the Ballet Academy of the Hochschule für Musik und Theater München. He has been a member of the collective satellit produktion since 2013. After completing his training at the John Cranko School in Stuttgart, he danced as a soloist at the Saarländische Staatstheater and at the Staatstheater am Gärtnerplatz under the direction of Philip Taylor. Russo choreographs his own pieces, organises events in Munich’s freelance scene and collaborates with artists such as Jasmine Morand from Cie Prototype Status and Nina Radelfahr. He is founder of the dancer initiative TanzQuelle, a new space for creation and exchange in the free scene of Munich.

Christian Schön

Christian Schön is from Hamburg and successfully completed his training at the School of the Hamburg Ballet. As a dancer he was part of the Dortmund Ballet, the Bonn Opera and the Ballet Theater Hagen. After his education as a ballet teacher in Toronto at Canada‘s National Ballet School, he worked in Maastricht, Netherlands. Since 2003 he has been teaching the elementary and intermediate boys and the Theatre Class boys, as well as pas de deux in the School of the Hamburg Ballet.. He was a guest teacher at the Palucca Hochschule für Tanz Dresden.

Yohan Stegli

Yohan Stegli, born in Aix-en-Provence/France, studied at the Mireille Marin Dance School in Trets and at the School of The Hamburg Ballet. In 1999 he became a member of the Company of The Hamburg Ballet, where he was promoted to Soloist in 2004. He danced solo roles in several of John Neumeier’s ballets, among them “Third Symphony of Gustav Mahler”, “Winter Ways”, “Saint Matthew Passion” and “Opus 100”. He was a guest dancer in Tokyo, Osaka and Luxemburg as well as in Toronto at Canada’s National Ballet School and at the School of the Paris Opera, where he also staged John Neumeier’s ballet “Yondering”. In 1998 he received the Prix Espèces at the Prix de Lausanne and in 1999 the first prize at the eight’s Eurovision contest for young dancers. Yohan Stegli has repeatedly worked as a choreographer. In Hamburg, in April 2011, he organized the performances of the “Young Choreographers”. In 2011 he officially ended his stage career. Yohan Stegli was Deputy of the Artistic Director of the German National Youth Ballet from its foundation until the end of season 2016/2017. After that, he became Managing Director.

Natsuko Tezuka

Natsuko Tezuka is a dancer and choreographer born in Yokohama Japan. She started her career as a solo dancer in 1995 and worked with themes of exploring her own style that does not employ conventional techniques. She produced her Anatomical Experiment series with the theme of body observation in 2001. She is living and working in Berlin since April 2018.

Susanne Triebel

Susanne Triebel has been an assistant in the education department for contemporary and classical dance at the ZuKT and the coordinator of the internationally oriented Masters Degree in Contemporary Dance Education (MA CoDE) since 2011. She received her formal dance training at the John Cranko School in Stuttgart and the Rheinischen Musikhochschule in Cologne. In 2009 she graduated from the MA program in Contemporary Dance Education at the University for Music and Performing Arts Frankfurt am Main. Between finishing her diploma and her masters degree, she danced for several years at Städtischen Bühnen Münster, Staatstheater Mainz, Staatstheater Darmstadt and Tanztheater Gießen. She has been teaching for the BA in Dance Management and supervising projects and demonstration lessons for the MA CoDE since 2012. Susanne Triebel is a current spokesperson for the AK|T.

Anna Urban

Anna Urban (Polikarpova) was born in Tomsk, Russia and studied at the Vaganova Academy in St. Petersburg. In 1988 she joined the Mariinsky Ballet and became a soloist in 1989. In 1992 she joined the Hamburg Ballet as a Soloist and was promoted to Principal in 1994. John Neumeier created numerous roles and soli for her including Penelope in »Odyssee«, Ophelia in »Hamlet«, Romola Nijinska in »Nijinsky« and Arkadina in »The Seagull«. The Swedish choreographer Mats Ek created for her »Meinungslose Weiden« and Gold Fairy in »The Sleeping Beauty«. She also danced a wide-ranging repertory. After her education as a ballet teacher in Toronto at the Canada‘s National Ballet School under the supervision of Mavis Staines, Anna Urban teaches classical dance at the School of the Hamburg Ballet since the 2014/15 season.

Melanie Zimmermann

After working for film and television, Melanie Zimmermann studied Cultural Studies and Dance in Frankfurt on the Oder and in Paris. She was Press and Public Relations Assistant for the Forsythe Company and studied dramaturgy with Hans-Thies Lehmann in Frankfurt on the Main and in Brussels; in 2010, she was on a danceWEB scholarship. Then she began working as a freelance dance and theatre dramaturge, e.g. for Wanda Golonka, Peeping Tom, Sebastian Matthias, Laurent Chétouane and was project manager of the MAMAZA collective. Since 2010, she works as dance dramaturge and curator at Kampnagel.