Tanzfabrik
Berlin
Stage
Stage

R.E.D. Residency Artists

2022

Makisig Akin

Makisig Akin (They/Them) is a choreographer, dancer, artist, activist, transgender Filipino born and raised in the Philippines. Akin is currently living and working in Berlin, Germany. Akin’s artistic work focuses on strengthening the recognition of intersectional identities, reconnecting with their ancestry, and decentralizing Western ideologies in dance making. They are interested in reimagining the process of making-dances, how can the process serve the dancers as they continue to have agency in directing the trajectory of the work? How can they create a community that functions beyond identity while honoring identity? Akin holds a Bachelor’s Degree in both Cognitive Science w/ Specialization in Neuroscience and Dance at University of California San Diego, California, USA and recently finished their Master’s of Fine Art in Dance Choreography in the program World Arts and Cultures/Dance at University of California Los Angeles, USA in June 2019. Akin’s physical dance background includes but is not limited to: Filipino Traditional Dance, Contact Improvisation, Kung Fu, Improvisation, walking meditation, Authentic Movement, Bouldering/Climbing and Contemporary Dance.

Performance ↪ Emerging Change: Give me your heart. No, the real one.

Adrian Marie Blount aka GodXXX Noirphiles

GodXXX Noirphiles (Adrian Marie Blount)- Parent to Chance Aijuka/ Non Binary Femme Boi/Founder/Organizer/ Curator/DJ- Is based in Berlin by way of San Diego, CA. After attending San Francisco State to obtain their BA in theatre, they performed in New York, traveled across the country with a touring theatre troupe, then moved to Rhode Island to perform with various Brown University programs including the Center for Slavery and Justice, Brown/ Trinity and Trinity Repertory theatre. Since being in Berlin, Adrian has taught anti-racist and collective healing workshops with various organizations such as Dice Festival and Conference and AfriVenir, dj’d internationally, performed at München Kammerspiele, Volksbühne, Gorki, Sophiensaele, Ballhaus Naunynstrasse and English Theatre Berlin (and others) and is the founder and lead organizer of the drag collective House of Living Colors for exclusively queer and trans BIPoC.

Performance ↪  Emerging Change: Power Tower Pishiboro

2021

Jee Chan

Since 2015, I have been developing a series of work based on my body’s relationship to various other bodies of water. The contexts within which this series is located and the compulsions behind it are diverse, yet collectively resonate from my maternal grandmother’s experience of undertaking a sea-crossing, fleeing from a Japanese invasion of her home in Guangzhou to Singapore. My current practice is concerned with re-imagining the world through ocean-based perspectives which detach from a static understanding of post-colonial identities and territories. During my residency at Tanzfabrik, I will extend my research into orality and embodied knowledge in Southeast Asian contexts through the development of two choreographic projects in parallel — bendungan and sea flights (every one of them landed on a beach like this). I will be doing so in relation with individuals who hold diasporic histories, as well as with specific sites in and around Berlin.

Biography Jee Chan

Interview Jee Chan

Carrie McILwain

The Pile and the Pyre.
 
The figure of the witch offers my practice crystal thinking, many faceted and slick for symbolic projection. In my research this year I have been busy with the historic victims and their trials (accusation, interrogation, execution) as recorded in: court documents, theological debates (Malleus Maleficarum) and in woodcuts (from 1300-1800). These documents are starting points for a practice of speculative feminism (Donna Haraway) of somatic fantasy that searches for the knowledge that was situated in the witch’s body and in the wood that was placed alongside her*.
 
I will be joined this August in the studio by Josephine Brinkmann, Suvi Kemppainen, Johanna Ackva, a pile of wood (Totholz) recovered from Tegeler Forest and together we will move - thinking through textual offerings from Silvia Federici, Jane Bennett and the others mentioned here throughout.  We will invite wooden materiality and give attention to agencies, voices, bodies and the gravity of being together as we stack, carry, lean - piling up. The witch offers a character that can move between binaries or realms, situated in cyclical wisdom - phase existence, intersectional and inclusive. A figure that practices power-within rather than power-over (Starhawk) and was condemned because of wielding an illegitimate (access to) power.  If this power was not achieved through the acceptable means of inherited privilege, accumulation in capitalist enterprise, or seized through violent force, it is a knowledge, an agency that our contemporary world urgently needs to imagine or re-discover.
 
The pile is an inclusive and chaotic mass. It is full of spiders, insects, rotting material, freshly cut wood, mold, bacteria, things fallen, things forgotten. The pyre a rearrangement, an ordering of these agents for the purpose of punishment within human culture. With the inclusion of the human subject, it makes for a penultimate collaboration of human and non-human elements. When the flames finish their performance, a pile appears once more this time containing ash, memories in the bones and branches that did not burn away, dust settles and new agents flourish. Through performance we will explore these forms searching for the choreography of the pile and an aesthetic action of reclaiming.

Biography Carrie McILwain

Interview Carrie McILwain

Roger Sala Reyner

In the short essay “The Carrier Bag Theory of Fiction” Ursula K. Le Guin beautifully writes about Elizabeth Fisher’s Carrier Bag Theory of human evolution. In her book “Woman’s Creation: Sexual Evolution and the Shaping of Society” Fisher tells: “The first cultural device was probably a recipient (…) a container to hold gathered products (…)”. And Le Guin elaborates: “A leaf a gourd a shell a net a bag a sling a sack a bottle a pot a box a container. A holder. A recipient.”

I have invited 4 collaborators with whom I’ve engaged in the past and with whom I have an ongoing working-affective-collaborative relationship to fill up the bag with me. I’ve asked every one of them, all of us, to take on ourselves the task to respectively curate a week for each other, 5 times 5 days of exchange that others will join. And on the 6th week we’ll gather again to look together at what has been collected. Instead of being a sharp tool to carve a production, through our incongruent/quirky generosity toward one another, this residency should hopefully become a soft container, a caring and carrying bag wide enough to receive and make available anything that we are willing to share and find on the way. In it, we will joyfully confuse our roles and playfully mix the un-mixable to the point where, hopefully, something beautiful will spring out of the womb of our unexpected co-creation.

Litó Walkey 

Developing collaboratively through circuits of transversal interdisciplinary processes my work operates with language and writing as a mediating device that nourishes collective processes to compress, translate, disrupt and displace location, sense-making and intention. This residency will support the development of my long-term research project ‘Critical Ecologies in Choreographic Practices’, that addresses alternative modes of disseminating creative processes. The project aims to create public spaces for critical thinking and experimentation unbound by single authorship, discipline or terminus.
Discursive and practical exchange with Berlin-based colleagues will consider how publishing, curating and audio recording practices could enhance participatory engagement. This will be complimented by dialogue with writer/artist/ publisher Renee Gladman, musician/composer Boris Hauf and visual artist/set designer Nadia Lauro.

Biography Litó Walkey

Interview Litó Walkey