Dancing thru the dark


I have to admit that 2016 was very abundant in terms of the art I saw: the exhibitions that made me think and the concerts I’ve attended. I do think a special focus for me is anything surpassing the boundaries in the contemporary art, with a focus on interpreting the classics and referring to the current musical trends.

I am not a professional dancer not an artist myself, but I do love exploring both (if this was not clear by the content of this blog yet). Here in Berlin I make sure to track especially anything by Sascha Waltz und Guests (from ‘Travelogue’, ‘Romeo and Juliet’ to ‘Le Sacre du Printemps’ and ‘Koerper’). This dance company has been showcased this year at Radialsystem V, Berliner Festspiele and Deutsche Oper.

Another highlight of 2016 was definitely the exhibition of Pina Bausch‘s works and deep dive into the history of her dance company, accompanied by the ‘Palermo, Palermo’ show only this month.

What I find special about the dance theater, is not only the physical, but also symbolic expression and freedom it brings. I have already confessed that for me personally letting go through dance is liberating and simply making me stronger, even if these cold and dark months have been exhausting.

Just like in the ‘Seasons’ march’ by Pina Bausch, there is a rhythm, which everyone has to find on its own, and at the end of the day, all the movements may feel similar. The work around repetition and symbols was one of the typical approaches in her Tanztheater, and I think it caries some universal truth. ‘Everything I do, I do as a dancer, everything, everything’ she said once. And I believe that dancing not only through the night/the season/and the darkness but also through the whole live can be a very good idea.



Another interesting week has passed in the Augenblick, as would Germans poetically call ‘the moment’. As I am happy enough to live just between the most interesting spots of Friedrichshein, Mitte and Kreuzberg, I decided to visit the mysteriously-named Radialsystem V. This former water pumping station turned in 2006 to a ‘creative space for arts and ideas’.


Yesterday I went to one of the Um:Laut sessions – dedicated to experimental music with the presence of British pianist Tom Hodge and producer Max Cooper. In the first part they both presented works from the ‘Piano Interrupted’ and ‘Fragmented Self’ EPs, and in the second part, Max Cooper debuted with his world premiere of the ‘Emergence’ visual performance. While the first part was full of experimental piano-electronic klang, the second part was a 90 minutes DJ & VJ set. Even though I’d probably cut out all of the dubstep-ish parts from the ‘Emergence’, I have to admit I was struck by the logic, story and musical vs. visual diversity. The logic of the visual was representing the chemical participles as a part of the universe, cities and human bodies, that eventually coexist and create one living mechanism.




The radiant-looking Radialsystem V last night seemed to perfectly match its surroundings: Spree river, the moon and the first spring time night in the city. As far as I am concerned, Radialsystem V is famous for hosting multiple pieces of the renowned dancing company from Berlin: Sasha Waltz and Guests but also, various workshops dedicated to the contemporary dance and expression.