About the Sommerfest.ival

Three questions to Isabelle Schad about the idea of the Sommerfest.ival

Tanzhalle Wiesenburg and the Humboldthain – venues of the festival together with the Werkhalle Wiesenburg – have been a home and a refuge during the pandemic. How have you inhabited them in the past months?

Very soon after the second lockdown began, I started to invite members of my team – dancers, light and sound designers, anyone who wanted – to join me in the park at Humboldthain for regular training sessions in the morning.
It’s been a way of staying together: for oneself inside the pandemic, during which distance v. contact has become the central change, and among ourselves as a team and people who like one another.
It’s become a regular practice in which we learn new techniques derived from aikido with the stick and the sword, and it’s been a strong factor in as much it began to change the depth of the/my work in the field of performance, movement, dance …
On the other hand our own space, the Tanzhalle Wiesenburg, has been a refugee for us as a team: we restructured the space, did building work, had a place for gathering during the winter time and worked on small formats, respecting the rules for staying safe and healthy …
So the whole area around Humboldthain in Wedding has become a central point of meeting, and we developed our own ‘liveliness’ and home over there during that time, which has left good traces.

And now with this festival you’re sharing your work and practice with the public. What is the inspiration and intention behind it during this (still) special time?

The idea was to share some of that liveliness with an audience, or simply with a larger group of people, with friends.
The notion of being and doing things together is a central point. What can sharing be?
How does it feel doing the warm-up practice together in the park and then to witness another type of practice that can become an (invisible) performance – open-air, but at the same time worked for the theatre and now stripped of all possible theatrical signs (of representation)?
How can it be seen in its most essential presentness?
How can the material be looked at as a symbiosis of relationships between us as persons, as human beings and nature?
Relationships between culture and nature, inside and outside, self and other? How is it then to travel back to Wiesenburg, where installations happen indoors and concerts outdoors, where ‘doing things’ meets the notion of ‘seeing things’, ‘hearing things’, being together, relaxing and enjoying together.

The festival presents existing works in new forms and newly adapted versions. But there is also a thematic fil rouge around the idea of infinite movements.

The notion of infinite movement – movement that has no beginning and no ending, like all movements of life: walking, flying, climbing, etc. – has been a focus in my work for a long time. Weight shift and its movement patterns that repeat themselves but are continually new and different is the core material I’m dealing with.
That’s why the training and movement practice is so central to my work. When the looping and repetitive patterns are made visible they can become a living sculptural entity. In the working process I observe the places where things become visible and start to form … form the formless and leave the form again … alive material that is life itself: everything is vibrant movement.

Published 18 September 2021

Teaching for SOLID GROUND in Munich

Working with a wonderful group of students coming from different European universities within the dance academy camp SOLID GROUND at Tanzwerkstatt Europa Munich.

Within the workshop we first dedicate ourselves to a daily training. Based on movement principles deriving from ’somatics’ and from Asian techniques such as Aikido, Shiatsu, stretching and breathing techniques, the choreographic practice unfolds: It becomes materiality that can be sculpted in space and time. Here we develop sketches and elements that are part of the research of some of my recent group works or that simply stand for themselves. The central question here is the notion of subjectivity within a collective moving body that can only function as a whole: how can we perceive ourselves as part of a larger whole, and what does that mean as a choreographic practice, as well as a stance to take?

Grateful to Joint Adventures for making this joyful and intense experience possible.
See the whole program here

pic. by Isabelle Schad, all rights reserved

Published 30 July

Bea Kiesslinger

Bea Kiesslinger
09.02.1964 - 31.05.2022

Wir trauern und halten inne.
Für unsere geliebte Bea.

Liebe Bea,

Ich wollte Dir sagen, wie froh ich bin, daß wir uns kennenlernen durften und wie dankbar ich Dir bin. Dein Wesen, Deine mitreißende Energie, Dein genaues Hinschauen auf die Dinge, Deine Freude beim Tanzen oder beim Zusehen haben mich immer mitgenommen und fasziniert.
Wir beide haben viele tolle Zeiten und Momente miteinander gelebt, die ich nie vergessen werde: Wie wir zusammen Schwatzen und Tratschen waren in dem einen oder anderen Restaurant, wie wir Politik im Allgemeinen und für den Tanz im Besonderen diskutiert haben, wie wir Pläne geschmiedet haben, was es zu bewegen, verändern oder einfach zu TUN gibt. Wie Du zu der einen oder anderen Feier in die Wiesenburg kamst und Dich so sehr gefreut hast - über die Stimmung im Garten, die Musik und alles…einmal standen wir da, Arm in Arm beim Blues Konzert am Ende eines Abends - es war, als wären wir alle verzaubert gewesen.
Aber auch wie wir in den Kontakt durch tiefe Berührung gegangen sind beim Shiatsu, sowie die kleinen Abenteuer bei den POSITIONEN TANZ in Essen im Rahmen der Tanz-Preisverleihung.
Ich werde diese wertvollen Erfahrungen, die vielen, schönen Begegnungen nicht vergessen.
Ich weiß noch, wie Du meine kleine Danksagung zum Anlass der Tanz-Preisverleihung im Vorfeld gelesen hattest und mir sagtest: ‘da kann aber noch mehr rein. Du hast doch auch etwas in der Gesellschaft bewegt und verändert durch Deine Arbeit, kann das nicht irgendwie rein?’
Ich habe daraufhin alles nochmals umgeschrieben, dann warst Du erst zufrieden.
Liebe Bea, jetzt danke ich DIR von ganzem Herzen. Du hast unfassbar viel für mich und uns alle getan: für unsere kleine Tanz Community, die vielleicht doch nicht so klein ist, und die von dort aus etwas in unserem kollektiven Bewusstsein - und somit im Bewusstsein der heutigen Zeit dieser Welt - bewegt.
Dieses Bewusstsein wird in den vielen Verbindungen, die Du mit Deiner Art Bewegung in die Dinge zu bringen geschaffen hast weiterleben und weiter danach drängen, positive Entwicklungen zu durchleben.

In Liebe und Dankbarkeit,
Isabelle

Published 22 June

Wiesenburg Sommerfest.ival 2022, 1-3 July CHECK THE PROGRAMME!

Wiesenburg Sommerfest.ival 2022 will take place July 1-3 at Tanzhalle and Werkhalle Wiesenburg.
Among others The Shift of Focus by Isabelle Schad will be presented.

Have a look at the programme here.

All events are for free. A donation of 5-10 € is welcome. Limited places available for The Shift of Focus
Please register at: info@isabelle-schad.net

Looking forward to see you at the Wiesenburg and celebrate summer together.

pic. Isabelle Schad, all rights reserved

See online : Tanzhalle Wiesenburg

Published 16 June

New article about Reflection

Happy to share a new review about Reflection by Bettina Schulte, appeared in the Badische Zeitung. Read here.

Published 3 June

Harvest at PURPLE Festival

Harvest is to be seen these days in the frame of PURPLE International Dance Festival for a Young Audience Berlin.

Few tickets still available!

1 / 2 JUNE - 10 a.m.
4 JUNE - 11 a.m. + 3 p.m.
Tanzhalle Wiesenburg

Info and Details:
https://purple-tanzfestival.de/de/

Pic. by Dieter Hartwig, all rights reserved

Published 2 June

28.05: REFLECTION at Theater Freiburg for PERFORMING DEMOCRACY

Reflection will be presented in the frame of Performing Democracy, an exciting festival of the "Theater Freiburg".

When: 28.05.2022 at 7:30
More info and details here: https://www.freiburgfestival.de

pic. by Dieter Hartwig, all rights reserved

Published 27 May