Collaboration

PERMANENTE BEUNRUHIGUNG VOL. II -AN INTERDISCIPLINARY ENCOUNTER

Berlin. 30.03.2017

Do eras of turmoil exist? Times in which the divisions in a society become more obvious. Times in which distrust and rejection fragment the discourses. How does this affect us, how do we deal with it? Withdrawing in order to find peace is one option. For whom? Regaining one’s balance becomes a task. Or the beginning of a choreography: who is actually agitating whom?

Without agitation there is no art for us, that is to say, without doubting society and without the delight of baffling the audience.

Artists at Ballhaus Naunynstraße expose themselves to these questions. For two days they work together in new constellations, interdisciplinary, full of action. And then: show. The audience may experience the beginning of a future collective. But possibly “merely” an excellent night of performances full of attracting and repulsing energy. Not knowing this is quite agitating.

 

Bishop Black
(Performer)
Fritz Helder
(Performer & Musician)
Mmakgosi Kgabi
(Performer & Dancer)
Dusty Whistles
(posthuman Drag Queen & Performer)

 

A production by Kultursprünge at Ballhaus Naunynstraße, 

Berlin 2017

Photo: Wagner Carvalho
Photo: Wagner Carvalho


Eternal Return: a reading meditation in IV acts

Berlin. 06.08.2016

Resist the politico-spiritual matrix of imperialism and overthrow the cosmic order of financial capitalism through a vibrational reading of sacred and profane economic texts. Accelerate the always imminent collapse of the colonial world order though a fractal sharing of ancient knowledge and revolt against the cult of the internal rate of return (IRR), capital growth and foreign direct investment.

 

This is a participatory event. Participants must be able to read, recite and listen.


FOREIGN AFFAIRS FESTIVAL

Berlin. 14.07.2016

With their performance “Ubu Never Loved Us”, The Brother Moves On react to “Ubu Tells the Truth” by William Kentridge. The lack of an effective offer of reconciliation by the South African Truth and Reconciliation Commission (TRC) has left a deep sense of trauma in South African society. The Brother Moves On celebrate the TRC as a “Total Refreshment Centre”, a feel-good area. The set-up includes cushions, a masseuse and ice cream, water melons, snacks and drinks for the audience as well as music from the Apartheid era, played by a young generation of artists. The South African band’'s “Songs of Death” are inter-generational love messages from Johannesburg to Berlin.

 

Mit ihrer Performance „Ubu Never Loved Us“ reagieren The Brother Moves On auf den Film „Ubu Tells the Truth” von William Kentridge. Das Ausbleiben eines tatsächlichen Versöhnungsangebots durch die Wahrheits- und Versöhnungskommission (Truth and Reconciliation Commission, TRC) hat in der südafrikanischen Gesellschaft ein tiefes Trauma hinterlassen. The Brother Moves On feiern die TRC als ein „Total Refreshment Centre“, eine Wohlfühloase. Zum Service gehören Kissen, eine Masseurin, Eis, Wassermelonen, Snacks, Getränke und Musik aus der Zeit der Apartheid, gespielt von einer jungen Genera-tion von Künstler*innen. Die „Songs of Death“ der südafrikanischen Band sind generationenübergreifende Liebesbotschaften von Johannesburg nach Berlin.

 

 

THE BROTHER MOVES ON

SIMPHIWE TSHABALALA Drums, Vocals

AYANDA ZALEKILE Bass, Vocals 

ZELIZWE MTHEMBU Guitar, Vocals 

ITANI THALEFI Guitar, Vocals 

SIYABONGA MTHEMBU VOCALS

NOLAN DENNIS Visuals 

MMAKGOSI KGABI Stage Manager

 

 

Photo: Lenya Kgabi-Berge
Photo: Lenya Kgabi-Berge

SHE IS NOT A GIRL, SHE IS NOT A BOY

Berlin. 01.03.2014

“She is not a girl, she is not a boy” will question the interstices between the public space of performativity and the intimacy of the body’s inner perceptions. What remains once ambiguity has exploded all categories? An exploration of the significance or in-significance of words and movement. A language within language haunting us back, as the fantom of what it should and should not had been.

 

A performance by Mmakgosi Kgabi and Juliana Piquero

Photo: Thomas Aurin
Photo: Thomas Aurin