Author Archive Judith Brückmann

Foto: Anke Jacob
ByJudith Brückmann

Sabine Trautwein

Sabine Trautwein studied German literature, art history and political science in Trier and at the Freie Universität Berlin. She freelanced as a research assistant and event organiser in the field “information society/ new technologies” for the Lucent-Alcatel-Stiftung, the Berlin Stiftungsverbundkolleg (1989-2004) and various conferences on smartcard technology (1994-1998). Since 1996 she has been working in the administration and organisation of numerous projects in the area of culture and cultural education; since 1998 as the project director of  ESF-supported projects. Since 2006 Sabine Trautwein has been responsible for the administration of the Inter-University Centre for Dance Berlin, since June 2013 she is the administration manager of the Centre.

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ByJudith Brückmann

Interview towards new horizons

The biennial conference, “Matters of Engagement” is about the relationship between dance and politics and above all about the shifts in social and institutional frameworks.

Interview: Elena Philipp

A conference is usually programmed as part of the Dance Education Biennial but the choice of theme and configuration is up to the host organisation. In the following interview, curator Florian Malzacher, Nik Haffner, artistic director of the HZT and artistic associate Britta Wirthmüller explain why and in which ways they have reconfigured the format for 2018.



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ByJudith Brückmann

Moved by the political discourse

Im Hebbel am Ufer beginnt die 6. »Biennale Tanzausbildung« – mit Gastspielen auch aus Iran und Ägypten | Von Volkmar Draeger

“Und doch gibt es Neues. Das Hochschulübergreifende Zentrum Tanz als Veranstalter hat das Treffen unter das Motto »Dancing in the Street. Was bewegt Tanz?« gestellt und fragt nach den gesellschaftspolitischen Themen, die den Tanz beschäftigen und sich in ihm spiegeln.”

Published on Reading length: 4 Min. / In German

Also published on



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ByJudith Brückmann

Dance Education Biennial – Education and job perspectives for dancers

Length 04:50 Minuten in German, Author Kemna, Verena
Feature Campus & Karriere, Audio file Mediatheklink

Online until  8. September 2018 – 15:53 hours

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ByJudith Brückmann


Ticket prices:
HAU1: 20 or 15 Euro (reduced 10 Euro), with Tanzcard: 10 Euro
+10% booking fees will be charged by service provider Reservix: Zum Online Ticketverkauf

Main box office at HAU2
Hallesches Ufer 32, 10963 Berlin
Phone +49 30.259 004-27

Opening hours
Monday to Saturday from 3 p.m. until one hour before the performance begins, on days without a performance from 3 to 7 p.m. Closed Sundays and holidays.

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Foto: Hikaru Suzuki
ByJudith Brückmann

Judith Brückmann

Judith Brückmann is the editor-in-chief of Berlin Bühnen, the online portal for the schedules of the Berlins theatres and opera houses. She studied Theatre Studies and General and Comparative Literature Studies at the Free University Berlin. She works in the field of cultural communications for festivals and cultural and educational institutions, as well as a dance history teacher. She has been a lecturer in applied communications at HZT Berlin since 2016. She is the head of communications and public relations for the 6th Dance Education Biennial.

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Foto: Paul Lecliare
ByJudith Brückmann

One Hundred Twists & Turns | Program Evening 2 | HAU1

Folkwang Universität der Künste, Essen
Extracts from Frame[d] | Choreography: Sidi Larbi Cherkaoui & Damien Jalet

Invisible Center of Contemporary Dance, Teheran
Extramission Theory | Choreography: Aria Delphani & Sahar Mactabi

Ballett-Akademie der Hochschule für Musik und Theater München
AGAIN(ST) | Choreography: David Russo

University of the Arts School of Dance, Philadelphia
Sis Minor: The Preliminary Studies | Choreography: Niall Jones


Staatliche Hochschule für Musik und Darstellende Kunst Mannheim / Akademie des Tanzes
Die Therapie | Choreography: Valbona Bushkola
Protest | Choreography & Dance: Alexandra Dreyer
Salamander | Choreography: Kaito Takahashi
Les Bourgeois | Choreography: Ben van Cauwenbergh

École des Sables, Toubab Dialaw
Modern Jail | Choreography: Serge Arthur DODO

Zentrum für Zeitgenössischen Tanz, HfMT Köln
MOMENTUM xsamples | Choreography: Rafaële Giovanola/CocoonDance

The evening will be hosted by Celine and Renana.


HAU1: regular 20,00 or 15,00 Euro / reduced 10,00 Euro / with Tanzcard 10,00 Euro
Online +10% booking fees will be charged by service provider Reservix > TICKETS

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Foto Paul Leclaire
ByJudith Brückmann

One Hundred Twists & Turns | Program Evening 1 | HAU1

Download EVENING PROGRAM 6th Dance Education Biennial 2018

Palucca Hochschule für Tanz Dresden
Cupid’s Gun | Choreography: Ihsan Rustem

Hochschulübergreifendes Zentrum Tanz Berlin
6 Encounters | Direction: Felix Berner

Cairo Contemporary Dance Center
Mirrors of the Mundane | Choreographie: Mona El Husseini and Islam El Arabi


Hochschule für Musik und Darstellende Kunst Frankfurt am Main
Urban Spotter | Concept & Direction: Stephanie Thiersch

P.A.R.T.S., Brüssel
Helix 1.0 | Choreography: Cassandre Cantillon & Némo Flouret

Staatliche Ballettschule Berlin
FAR (excerpt) | Choreography: Wayne McGregor

The evening will be hosted by Celine and Renana.


HAU1: regular 20,00 or 15,00 Euro / reduced 10,00 Euro / with Tanzcard 10,00 Euro
Online +10% booking fees will be charged by service provider Reservix

Read More

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ByJudith Brückmann

Interview – Towards new horizons

The biennial conference, “Matters of Engagement” is about the relationship between dance and politics and above all about the shifts in social and institutional frameworks. A conference is usually programmed as part of the Dance Education Biennial but the choice of theme and configuration is up to the host organisation. In the following interview, curator Florian Malzacher, Nik Haffner, artistic director of the HZT and artistic associate Britta Wirthmüller explain why and in which ways they have reconfigured the format for 2018.

Interview: Elena Philipp

For this biennial conference, yourselves and the participating students will examine the relationship between art and politics, dancers and society. What made you choose this topic?

Britta Wirthmüller (BW): We wanted to choose a topic that is relevant to the HZT and we are really engaged with. A topic we also  have questions about ourselves but which isn’t so specific that it only works for the HZT and one which could potentially occupy all students and teachers and towards which all educational institutions have a position. The starting point was what links the things we do in our institutions every day with what goes on in the world around us?

The conference is not structured as a series of talks but as an excursion with space for reflection. What was the reason for this unusual format?

Nik Haffner (NH): We found it more exciting to demonstrate possibilities for action and making suggestions rather than producing knowledge and hope that the students could take and use these as soon as they join companies after their studies or work as independent artists. A conference can all too easily become academic, eluding the interests and needs of most students. We did not want the conference to just be a prestige event for the HZT, for which we invited lots of external people. It is directed towards the group of students and teachers taking part in the educational biennial.

BW: The shared experience is important to us. This plays a big part in dance, whether in dance classes, rehearsals or workshops. At academic conferences there is a coming and going, the participants say to themselves ‘I’ll come back when the big names are speaking’. At “Matters of Engagement”, we’ll stay as a group from 11 in the morning till 9 at night.

Florian Malzacher (FM): In recent years, the view of political art has changed somewhat. It now plays a major role in biennials such as at Venice and the last documenta. On the other hand, a stronger resistance is forming that is asking whether or not this is art at all – as can also be seen in the discussions around documenta. At this conference however, we are more interested in which forms of artistic activity engage with real political events and above all, which concrete groups and initiatives have been established here in Berlin. And this raises the question of what can be negotiated in what way, what one is allowed to do artistically – for example in relation to politics of identity and postcolonial problems.

The opening talk of the conference is a performance. In “Situation with Doppengänger”, Oliver Zahn and Julian Warner deal with postcolonial appropriation in dance – which movement material can I use? Do I have a right as a white person or not? These questions occupy and also unsettle many artists at the moment – one is suddenly questioned in a certain way or even attacked for something one hadn’t thought of before.

When I show students older performances on video, I sometimes notice very clearly that our perceptions have changed. Some things (hopefully) wouldn’t be made in that way again and other things should simply not be done any more. Of course there is a fine line between this and self censorship. Questions such as these effect students very much at the moment – they should be more informed about them. On the other hand it is often the younger generation that knows about these issues already and it is the older ones who still need to be sensitised towards them.

How does the conference programme concretely reflect these changes?

FM: Very real initiatives form the focus of the conference. You could say that they are examples of best practice that will be questioned. In this way a whole spectrum of artistic/political practices will be outlined, from postcolonial studies to gentrification to migration to artistic activism. The idea is to use Berlin as the biennial’s location – and through ten excursions, to involve a range of speakers which wouldn’t be possible in a normal conference. It is a sort of curated walk through the city visiting different initiatives founded by or at least involving artists: the Neue Nachbarschaft Moabit (Moabit New Neighbourhood) initiated by Marina Naprushkina or the *foundationClass at the Weißensee Academy of Art Berlin established by Ulf Aminde, the artist activists of the Peng! Collective or the Zentrum für Politische Schönheit (Center for Political Beauty) as well as locations for artistic exchange such as Savvy Contemporary or groups in Kreuzberg who fight gentrification in and around Kottbusser Tor.

Using these examples as a starting point, we identify three types of action: the repeated action (Re-enacting), acting in the present (Acting) and anticipatory action (Pre-enacting). The political scientist Oliver Marchart who recently published a book about pre-enacting, addresses how art anticipates political gestures or events in his talk. One of his central examples is the work of the Israeli group Public Movement who will also take part in the conference.

It’s actually also about choreographic questions of course, such as the one posed by Judith Butler during her speech at Occupy Wall Street: What does it mean when living bodies come together? How does a movement form from a collective body? There are links between dance and politics of course but sometimes you do not even see what tools and what knowledge you might have, or you don’t know how to use it. As a snapshot of social relationships, the conference could perhaps address that.

Britta and Nik, what is the urgency of this approach for you?

BW: This certainly has an urgency in relation to dance and dance education for me. It was not that easy to find examples in dance that respond to real political situations. I find that symptomatic. In dance education as I see it and have experienced myself, there is still a very strong emphasis on the self – even if this has changed somewhat – and on your own body: How well do I conform to a certain standard? In technical training especially the idealised image of a dancer is still very strongly defined. The teachers’ assessments count a lot and I see that students are little motivated to ask themselves what sort of dancer they want to be. It would be important to always ask at such moments, when do I dare to disagree? When do I dare to ask, “OK, I could do that, but can you tell me why I should?” The structures are quite patronising. In this environment, at least as I see it, students shy away from questions of political consciousness and rather say, ‘politics doesn’t have anything to do with me’. In this way, from my perspective, every dance class actually raises fundamental political and social questions.

NH: Yes, the political has small beginnings: How do I participate in things as a student, how do I behave in everyday situations? At the biennial, for example, we offer a workshop in which a mentor is available but there is no ‘teacher’. We trust the students – they bring plenty with them to shape an exciting week. The dance training conference was immediately open to this idea too, there is a great willingness to try something new.

It sounds as if a paradigm shift is necessary in dance education – or perhaps it is already in progress?

NK: Yes, it’s already begun. In many training courses its almost unavoidable to focus very much and to sort of put on blinkers. But we have a duty as teachers, the students are usually very young and, in all sectors, international. Are we really able to say, in a political situation such as today’s, that we don’t have time to deal with such fundamental questions, because we’ve got to prepare for the next contest? The biennial offers an opportunity for us all to pause once more. Ideally, it will be an experience that moves something in the participants and that will come up again later and that they can use. That’s why we have purposely broadened our horizons. We haven’t just invited our partner universities with whom we already have affiliations through our exchange programme or whose training systems resemble ours, but we have also invited three guests from whom I hope we can learn a lot: Karima Mansour from the Cairo Contemporary Dance Center, Mohamad Abbasi from the Invisible Center of Contemporary Dance in Tehran and Alesandra Seutin from the École de Sables in Senegal. They all work under completely different conditions to us, not only financially but in terms of space – what does it mean in a country like Iran to dance at all?

BW: Ideally it will reflect how dance education has functioned for us for decades. For me it is also about sensitising the students to what could be ‘political’ for them. There should be certain things that are just not acceptable any more in training, which five or ten years ago were seen as totally matter of course. In my opinion, that is, or would be, an important challenge.

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Foto: Musikhochschule Mannheim
ByJudith Brückmann

Mannheim University of Music and Performing Arts / Academy of Dance

The Academy of Dance at the Mannheim University of Music and Performing Arts in an educational institution rich in tradition for dancers in Germany. Its roots date back to the shimmering times of the Ballet Mannheim in the 18th Century under Elector Carl Theodor.  Professor Brigit Keil has been leading the Academy of Dance Mannheim since 1997. Under the direction of the internationally acclaimed former ballerina of Stuttgart Ballet, the academy has further cemented and built upon its exceptional reputation. Countless graduates of the institute are currently dancing in major companies both in Germany and abroad. We consider it crucial that the students don’t only master the technical aspects of dance, but rather have the opportunity to discover and develop their own sense of artististry and artistic voices through the study of classical-academic repertoire and collaboration with contemporary choreographers. Only in this way will they be prepared to meet the manifold requirements of classical and modern techniques in ballet and theatre ensembles in Germany and around the world. From their first year of studying, regular performances and opportunities as guest artists both in Germany and abroad give students the stage practice that is so vital to their training, as it gives them the opportunity to experience the variety and vibrancy of difference dance styles. > MORE

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