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Dances for road and stage
The dance project began in Berlin in autumn 2008 at the Gustav-Falke- primary school with a 10-member girls dance AG.
It quickly became clear that she wants to dance to the end of the pilot project on. Withthe support of the district finanziellne Management (QM) Brunnenviertel-field routecould be secured to the continuation of the school year end 2009. Parallel beganINFORM (financed by QM Richard Square South) in two primary schools in Neukölln,at the Richard Court (Richard and dandelion-primary school), and in theHannah-Höch Elementary School in Reinickendorf and the Protestant school inPankow. Instructed by Susan Kirch tree and Carlos da Silva(www.locomotiva-do-frevo.de) was.
In addition to the students of the 5 / 6 Class were in the Linden Elementary School inBerlin-Tempelhof children of 3 and 4 Class (and particularly in this context: evenguys) trained. In the first year dancing for the first joint appearances as the World Dance Day, the 04.29.2010 at the Chapel of Reconciliation on 60 Berlin students at Pentecost 2009 at the Costume Carnival of Cultures.
The project will continue until the summer 2011kontinuierlich in Neukölln. Production at the Gustav-Falke-primary school is secured to the end of 2010 and now there are 3(Afro-) Brazilian dance-AG `s. With other, interested schools we are in conversation.
1) Afro-Brazilian
This dance is full of expression, strength and elegance and is shown in typicalcostumes and is suitable for street performances and stage presentations.
The choreographies are from Salvador da Bahia, the city of the Afro- Brazilian culture.The rousing rhythm of the dances has established itself as a style element of modernBrazilian music and is a part of the rich Brazilian culture. The best-known bands andsingers are Olodum, Timbalada, Carlinhos Brown, Ara Ketu, Ivete Sangalo andDaniela Mercury.
Originally, the dance is a development of sacred rites and dances of African slaves.These dances are danced in religious ceremonies. Every believer worships a deity,any deity associated with certain steps. Especially the black Brazilian dance with aesthetic and artistic movements have added. Afro-Brazilian dance reflects thehistory and the lives of Afro-Brazilians and the horizontal force in their faith.
2) a) Cross-cultural projects and violence prevention
A) More specifically, are called the cross-cultural competence as a personalprerequisite for high-quality cross-cultural arts projects, specifically the followingfeatures:
social skills (sensitivity, empathy, communication skills, conflict resolution skills),
(teachers) attitudes (openness, mutual respect and recognition / appreciation, tolerance of ambiguity, bias, solidarity),
target group-specific knowledge (origin, cultural and social contexts,
youth culturalpreferences).
Also important is the participation and reflection
2) b)
Violence prevention is the prevention of violence, so that this occurs the first place.
Young people are trained to violent action. Shows you how to handle their feelings,they can work around lead to violence and learn to process these feelingsdifferently.
You win by dancing more self-confident. They also get to know their bodies better.Also, concentration and stamina to be strengthened. The young people are disciplined and you learn to respect opposite. Experience and joy and positive experiences with the dance (with others).
Self-awareness:
Self-awareness means being that we are aware of our strengths and weaknesses. It should be noted also the weaknesses.
Respect:
Respect means recognizing and respecting other people. Respect is important to every relationship in order to succeed. Respect is reciprocal and does respect and appreciation. Much more important is that respect is violent and can not be earned by violence.
3) Teacher training
to Afro-Brazilian dances, and Erabeitung of choreography or dance on request.
4) Project Management
Complete organizational management of a project - on request
5) Dance Theatre
The Dance Theatre seeks and finds unusual ways to dance statement. Usedeveryday movements, everyday and unusual objects and ordinary clothing to becontent to tell.
Most important representative is Pina Bausch, their form of dance theater is thestarting point for further development by, for example Reinhild Hoffmann, SusanneLinke, Henrietta Horn Sasha Waltz, Gerhard Bohner, Rui Horta, Johann Kresnik.
Important features for the Dance Company are the fragmentary sounding mosaic-likestructure of a piece that does not necessarily follow an obvious logic must the imageslike the interplay of movement, implementation of everyday movements into a danceconsensus, including language, props, and the strong focus on the personality of each individual dancer / dancer.
The strong emotional connection with gestures, movement and incurred must also be considered.
In the design as a competitive review, it is important to note that: Dance Theater has no linear narrative form and is not bound to any style.
For the expression of dance theater is developing its own movement language withassociative and / or musikorientiertem character. Requirement for a dance theater piece, high quality of motion, careful planning in the implementation of the reality of the stage, as well as clear, real, specific and unusualstage situations. Unconditional honesty and presence are essential in the creationand design of the pieces.
The dance theater is tied to no musical rules and may use language in different waysand unusual objects and materials.
6 Agencies ...
If interested and need mediation with colleagues from the network