{"id":428,"date":"2014-07-18T16:42:07","date_gmt":"2014-07-18T16:42:07","guid":{"rendered":"http:\/\/heikealbrecht.net\/ha\/?p=428"},"modified":"2018-02-25T10:19:33","modified_gmt":"2018-02-25T10:19:33","slug":"features-of-folklore-transgressing-regional-dances","status":"publish","type":"post","link":"http:\/\/heikealbrecht.net\/ha\/2014\/07\/18\/features-of-folklore-transgressing-regional-dances\/","title":{"rendered":"Features of Folklore: Transgressing Regional Dances"},"content":{"rendered":"<p><strong> 18. and 19.07.2014<\/strong><br \/>\n<strong> Salon with in preparation of the 8th Tanznacht Berlin 2014 in the frame of Open Spaces\u00a0#1-2014<\/strong> <strong>Tanzfabrik &#8211; Wedding<br \/>\n<\/strong><\/p>\n<p>The Tanznacht Berlin festival 2014 wants to explore the complex relations of contemporary dance to its origins and traditions. Choreographers from many regions of the world are active in Berlin. Their backgrounds, influences, aesthetics are marked by diverse cultural experience. Increasingly, questions of history and origin are formulated within the field of contemporary dance making. This includes aspects of specificity: national, regional and local forms seem to contest the universal and delocalizing discourse of The Contemporary.<\/p>\n<p>However, the contemporary seemingly can gain its power only by integrating a specific understanding of that which preceded its global thrust. Berlin\u2019s self-understanding as an \u2018international melting pot\u2019, however, is itself marked by three major developments on local, regional and national levels. They can be identified as the parallel heritage of dance culture from East-Germany and West-Germany the presence of migrant cultures and their social functions<br \/>\nthe claim of \u2018Urban Dance\u2019 to subvert history and formulate a new, truly popular dance.<\/p>\n<p>As an introduction to the Tanznacht Berlin 2014 edition, a Salon invites researchers and artists to discuss aspects of folklore from various perspectives: geographic, historic, and current. Which traditions can be identified in the context of Berlin, and where do they gain visibility? How are folk dances passed on to other contexts? Is \u201corigin\u201d a useful notion, and if so, how are origins represented?<br \/>\nEncountering the impact of \u201corigins\u201d also means to position artistic work towards the current times, or else the Contemporary. It is this performative notion of \u201corigin\u201d that we call Folklore. Questions of social impact, political manipulations, potentials for resistance or counter-national implications will be raised and evaluated with the public.<\/p>\n<h5>with<br \/>\nJens Richard Giersdorf (Marymount Manhattan College, New York )<br \/>\nBerna Kurt (Bosporus-Universit\u00e4t, Istanbul)<br \/>\nReferenten k\u00fcnstlerische Praxis<br \/>\nRaphael Hillebrand (Berlin)<br \/>\nJochen Roller (Berlin<br \/>\nJasmin Ihra\u00e7 (Berlin)<br \/>\nChristoph Winkler (Berlin)<br \/>\n<a href=\"http:\/\/www.gintersdorferklassen.org\/\" target=\"_blank\">Gintersdorfer\/Kla\u00dfen<\/a> (Berlin\/Abidjan) mit Logobi #4 Jochen Roller und Franck Edmond Yao alias Gadoukou la Star<\/h5>\n<h5><em>Introduction and moderation<\/em> Franz Anton Cramer (Berlin)<br \/>\n<em>Idea and concept <\/em>Heike Albrecht (Artistic Director 8. Tanznacht Berlin) and Franz Anton Cramer (Dance Scientist, Publicist)<\/h5>\n<h5>www.tanznacht-berlin.de<\/h5>\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>Salon with lectures, talks, performance in preparation of the 8th Tanznacht Berlin 2014. The 8th Tanznacht Berlin festival wants to explore the complex relations of contemporary dance to its origins and traditions. Choreo-graphers from many regions of the world are active in Berlin. Their backgrounds, influences, aesthetics are marked by diverse cultural experience. What are the traditions in the context of Berlin, and where do they gain visibility?<\/p>\n","protected":false},"author":2,"featured_media":430,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"","_FSMCFIC_featured_image_hide":""},"categories":[5],"tags":[],"_links":{"self":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/428"}],"collection":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/comments?post=428"}],"version-history":[{"count":15,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/428\/revisions"}],"predecessor-version":[{"id":1010,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/posts\/428\/revisions\/1010"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/media\/430"}],"wp:attachment":[{"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/media?parent=428"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/categories?post=428"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/heikealbrecht.net\/ha\/wp-json\/wp\/v2\/tags?post=428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}