Dance! Copy! Right? - TV Program Kulturzeit
Dance! Copy! Right? - Kulturzeit
From what point on is a movement really mine and when does this movement become art?
The law only protects movement phrases, but what about the context or if no one is dancing?
What could be the smallest building block of a movement phrase?
Is a single movement comparable to a single note?
Is a true copy at all possible in dance?
How does one and the same movement differ if performed by different dancers?
And what does music have that we don’t have?
The piece is in English and German.
Source : Christopher Winkler
More information : www.christoph-winkler.com/
Christoph Winkler is one of the most versatile choreographers in Germany. His work covers a wide range of formats and deals with topics both of a very personal nature as well as highly political contributions to current social discourse.
Born in Torgau in the former GDR, he was a multiple Spartakiad winner in the disciplines weightlifting and judo as a teenager. He then studied martial arts and breakdance, before being accepted at the National Ballet School in Berlin. After the fall of the wall, he danced in video productions for MTV and worked as a bodyguard and construction worker. In the early 1990’s, he performed in underground techno clubs. Then he studied choreography for four years at the prestigious School for Drama “Ernst Busch“ and founded Klangkrieg Productions, a platform for experimental music. Under this label, he produce work by numerous acclaimed musicians such as the Venetian Snares or Current Value. At the same time, he also curated the festival AvantPop and organized parties and concerts e.g. for the Fuckparade.
After graduating from the Ernst Busch in 1998, he consciously chose to continue working as an independent choreographer in Berlin. Right from the start, he received much critical acclaim and numerous invitations to festivals for his innovative dance style and minimalist, rigorously composed, discursive dance dramas.
In 2007, he founded the agency BERLIN GOGOS with "ehrliche arbeit – freelance office for culture” as a way to commercially market contemporary dance and address the economic situation of contemporary dancers today.
His works consistently deal with topics that reference issues currently discussed in society at large, but that also directly pertain to and affect the art form of dance.
Recent works are: “Dance! Copy! Right?” (2012) about copyright in art, especially in dance, “RechtsRadikal” about neo-Nazi women and “The True Face – Dance Is Not Enough”, an entertaining overview of protest art forms, both 2013. The solo “Baader – A Choreography of Radicalisation” was invited to the German Dance Platform in 2012 and dancer Martin Hansen was named Dance of the Year by the German leading dance journal “tanz” that same year for his role in the piece. In 2014, Winkler produced the solo “Hauptrolle” with Ahmed Soura from Burkina Faso about the role of people of color on German stages, as well as the dance heritage Tanzfonds Erbe piece “Abendliche Tänze” about the subjective process of memory. That same year “The True Face” won the FAUST Prize of the Deutsche Bühnenverein in the category “Best Choreography”; it was the first time that this prize was awarded to a piece produced entirely outside the German municipal and state theater system.
In spring 2015, he created the very intimate solo “La Fille- Portrait of a Child” together with Emma Daniel, in which Christoph Winkler reflected on his relationship with his own daughter, followed by “Golden Stars on Blue” about the European comunity and its symbolism. In 2016, he produced a series of shorter pieces entitled „Studies on Postcolonialism“ questions white dominance in an art form that prides itself in its internationalism. That same year, he was once again present at the FAUST awards, when Aloalii Tapu was named „Best Dancer“ for the solo „Urban Sou Café“ . In addition, he also initiated a co-curated „The Witch Dance Project“ with Franziska Werner/Sophiensaele. In 2017, within three months, he premiered five new pieces: an ensemble project, two new solos, his first work for younger audiences, and his first collaboration with the Cantus Domus Chor. For CTM 2018, he will present the wide-ranging project „The Complete Expressionist“, a tribute in music and dance to the multifaceted pioneer and pedagogue Ernest Berk.
In the last years he has performed with great success some musically inspired productions such as “Julius Eastman – Speak Boldly” or “We Are Going To Mars”.
In 2020 Christoph Winkler was awarded one of the Tabori and in 2022 he received the Deutschen Tanzpreis.
In May 2022 he received the German Dance Award, the highest award for dance professionals in Germany.
Dance! Copy! Right? - Emission Kulturzeit
Artistic direction / Conception : Christoph Winkler
Interpretation : Chris Daftsios, Luke Garwood, Katharina Meves, Nicola Schössler
Lights : André Schulz
Costumes : Bianca Karaula
Production / Coproduction of the choreographic work : Christoph Winkler, Ehrliche arbeit – Bureau culturel indépendant, Sophiensaele Berlin, Fondation Heinrich-Böll
Production / Coproduction of the video work : 3 SAT Kulturzeit
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