Programme
Today | 20:00
Tomi Paasonen
Pas de Q
Tomi Paasonen-final-15
December 03 | 20.00
December 04 | 18.00
Tickets
Dance
Festsaal | 15/10 €

Pas de Q enters the classical ballet world to turn choreographic forms and traditions upside down and reinvent them. A queer ensemble of male and non-binary dancers
pushes movement, dance and queer aesthetics to the extreme. In a utopian science fiction world, the team fuses drag art and pointe dance into a labyrinth of imaginative perversions, beyond morality and shame. 

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Enad Marouf
In My Hand a Word
8U4A4888 landscape
December 09 10 | 20.00
December 10 | 17.00
December 11 | 18.00
Tickets
Hochzeitssaal | 15/10 €

In the scenic adaptation of his own text, the Syrian-German performance and video artist Enad Marouf deals with loss from a queer perspective: the loss of family, home and relationships, but also that of meaning and language. The audience enters a place where fragments overlap. Two figures move through scenes whose internal coherence continues to unravel through memories, anecdotes, and associative references.

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Melanie Jame Wolf
The Creep
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December 17 18 | 16.00
Performance

The Creep at feldfünf is the first in a series of installations by Berlin based choreographer and visual artist, Melanie Jame Wolf, in which she will enact her ongoing creep studies. It is a choreography between two figures – a cowboy and a mountain – embodying a poetic meditation on violence and storytelling.

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Jelena Stefanoska & Saša Asentić
Жизела / Giselle
PM_Sasa Asentic_Giselle_Foto_Marija Erdelji_4026
December 17 18 | 18.00
Tickets
Festsaal | 15/10 €

Жизела / Giselle uses dance and language to explore the similarities and differences between the artist Jelena Stefanoska and the tragic ballet character Giselle. The piece tells of the need to love and be loved – and, above all, of the desire and feeling to live a life with dignity.

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Specials
Festival
Tanztage Berlin 2023
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© Jan Grygoriew

JANUAR 05 – 21

Hey, why do you look so tired? "Urgency culture" expects us to be connected and responsive constantly. There is little to no time left to imagine the world otherwise. Tanztage Berlin – a yearly festival highlighting the work of the city's emerging dance makers – is back to diagnose the present and predict the future. Its 32nd edition investigates our daily overstimulation and chronic fatigue by reflecting on how we move to the rhythm of today's high-speed, social media-driven reality and its challenges.

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Company Christoph Winkler We are going to Mars

  • We are Going to Mars_c_HP
    Jeff Musoke
  • We are Going to Mars_c_HP 2
    Jeff Musoke
  • We are Going to Mars_c_HP 3
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Film/Video
2021 November 22 | 18.00
2021 November 23-30
Online
Few to no language

We are Going to Mars uses international video works to explore the history of the first African space program and how the reception of this story has changed over the past fifty years. In 1960, Edward Mukuka Nkoloso founded the Zambia National Academy of Science, Space Research and Philosophy. The goal: an African space program of its own to join the "Space Race" between the United States and the Soviet Union. On a remote farm, the "Afronauts" trained on homemade equipment. Together they created a rocket out of sheet metal and wanted to launch it into space on October 24, 1964. The rocket was to be piloted by 17-year-old Matha Mwambwa, the only woman on the team. The attempt to launch an African space program was taken anything but seriously by the international press. But hardly anyone thought of the project as a satirical commentary on the megalomania and absurdity of an imperialist show of strength like the Space Race. Until a video of the training surfaced ten years ago and triggered a change in perspective. To this day, it is not certain whether the project was a serious scientific endeavor, a joke at the expense of the colonial powers, or even a cover for a training camp for independence fighters. Either way, the term Afronauts stands today for a new self-confidence of black people, visible in the videos from the 60s.

Originally planned as a stage play, the company changed the concept and produced video works together with local artists in Uganda and the USA, which set very different accents. The Ugandan contribution, created with choreographer Robert Ssempijja among others, celebrates the spirit of optimism associated with the Space program and locates Mars in its own homeland. In contrast, Mourning [A] BLKstar and Symara Johnson's We are Going to Mars Suite is a fever dream that opens us up to new fantasies of space travel across formal boundaries.

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CHRISTOPH WINKLER is one of Germany's most distinguished and versatile choreographers. His work covers a wide spectrum of formats and ranges from very personal to political themes. Under the umbrella of the "Company Christoph Winkler" he brings together dancers from all over the world to work together as temporary collectives on a broad spectrum of content. Since 1996, he has created more than 80 dance pieces as a freelance artist. In 2014 Das Wahre Gesicht won the FAUST Prize of the German Stage Association in the category "Best Choreography". In 2016, the FAUST Prize was awarded again to one of his productions when Aloalii Tapu was named "Best Dancer" for the solo Urban Soul Café. Winkler was also the initiator and curator of The Witch Dance Project and the FanFic Festival. In recent years, he has performed several musically inspired productions with great success, including Ernest Berk - The Complete Expressionist, Julius Eastman - Speak Boldly or We Are Going to Mars. In 2020 Christoph Winkler was awarded a George Tabori award, and in May 2022 he received the German Dance Award.

PART I 

DANCERS Robert Ssempijja, Denis Magezi, Lydia Kasirye Nanozi, Shane Munina, Stuart Etou, Davis Ahimbisibwe, Herbert Jovan Simbwa, Denis Lule, Dance Theatre Uganda, Umar Kareregga, Fausta Nakasujja, Joana Mbabazi, Joan Nakawombe, Shafic Walusimbi, Ian Elijah Ssenkungu, Richard Kasosi, Edward Jjombwe, Salama Natabi, Sosolya Undugu Dance Academy, Intare Performers, Walter Ruva, Moses Mukalazi, Anna Tracy Aguti, Martha Naggita, Prisca Atite, Noah Bemuka, Bosco Kitabira, Joel Kakande, Godfrey Natuhwera, Julius Musenze, Edison Musanje, Mario William Mayega, Edison Musanje, Richard Tamale MUSIC HHY & The Kampala Unit, Arsenal COSTUME GC Fashion Artistic Kampala Crew/ GRAPHICS, WEB DESIGN Anthony Okiria VISUAL ARTIST Joel Kateeba Uganda VIDEO PRODUCTION Teflon Film DIRECTOR, EDITING Teflon Moses FIRST CAMERAMAN Kino Musoke SECOND CAMERAMAN Mugera Spin Godfrey CAMERA ASSISTANT Ivan Clark Niwamanya PHOTOGRAPHER Jeff Musoke DRONE PILOT Asaph Kasujja SOUND ENGINEER Brian Kisembo Delon Digital Imaging Technician Eric Mukalazi PRODUCTION ASSISTANT Ark Martin Kyaligamba Kisiti SET RUNNER Habib Mbogo  

 

PART II

Director Symara Johnson Direction and Concept Symara Johnson, Christoph Winkler Executive Producer Symara Johnson Assistant Producer Kalliope Piersol Director of Photography Yasmin Josiah Editor Yasmin Josiah Music composed and performed by Mourning [A] BLKstar Starring Symara Johnson, Angel Glasby, Dava Huesca with Mourning [A] BLKstar Vocals James Long, Latoya Kent, Kyle Kidd Drums Dante Foley Trumpet Theresa May Trombone William Washington Guitar/Keys Pete Saudek Samplers/Bass RA Washington Costume Director(Brooklyn,NY) Stanley Gambucci Costume Director(Cleveland,OH) Mourning[A] BLKstar Production Manager Laura Biagioni Songs used in order of use Epilogue, Indoctrination, Terrain Discovery, We stayin, Celestial Bodies  Super 8mm processed & scanned by NEGATIVEFILMLAND

A production of Company Christoph Winkler in co-production with SOPHIENSÆLE, supported by the Hauptstadtkulturfonds and the Senate Department for Culture and Europe. Media partner: taz.die tageszeitung.