NAH DRAN is a performance series for Berlin based emerging choreographers. It provides an opportunity to present new pieces (probably for the first time) to an audience. NAH DRAN has its focus on dance pieces (20-25 minutes) but is also open to multidisciplinary works. It assembles 3 pieces by different young artists in one performance evening. NAH DRAN ("close to") means that there is literally no gap between performers and audience what offers a chance to meet on an equal footing.
Camille Käse: infinite cavalier unfinished
Over the course of the last century, the cowboy has become an archetype of white cis masculinity - straight and gay. One could say it stands as one of the mythical figures of modern and contemporary western civilization. A figure that embodies the power of death as much as the power of sexuality. An incarnation of virility, freedom and romance from a white colonial, patriarchal perspective. With my ongoing performative research project “infinite cavalier unfinished” I am interested in revisiting this archetype from my queer trans feminist perspective. I see this work process as a social experiment through which I am able to test, undo and define the contours of my own gender, over and over again. Neither a fixed drag character nor an abstraction, I am constantly negotiating with myself and through my relationship with spectators what it means and does to me to embody that figure from the standpoint of my white, queer, non-binary trans bodily identities. My hope is that through taking on this archetype I can activate a space of political ambiguity from which stems potential for transformation of the dominant narrative. What happens when the cowboi is hosting the show?
Dan Su: On an attempt of a chicken soup
On a Sunday morning, the thought experiment of attempting a chicken soup evoked my reflection on the process of making itself. Aiming at a chicken soup, I am afraid of getting deeply stuck in the egg. Can one aim something yet produce nothing, or intend nothing but produce anything? What dances between the desire and fear, between the fight and hurt, and between the construction and destruction? If it is not the chicken soup itself that matters, then perhaps it’s our varied projection of that image, floating on the water of the lucid moments that drive one in and out of dreams. At the end, what lives on? No end.
Geoffrey Watson: Geoffrey's Corpse
'Here we have a vision of the nude: not necessarily the one that we want, but certainly the one we deserve'
This work attempts to understand the impulse behind Amé Bourdon; favourite anatomist to the Surrealists and inspiration to this day. Amé Bourdon, who opened up the torsos of his illustrative models to display their inner workings, yet preserved their modesty through the careful placement of a fig leaf, or a hand miraculously guided hand from shoulder to inner thigh.
It’s about a devotion, and the removal of the object of devotion from the picture in order to preserve its sanctity.
It’s about the sacrum, the house of procreation and waste, the centre of gravity. Standing in a balletic second position, staring at it, dopey eyed, like a baby, praying for a meaningful response.
Geoffrey Watson is a Melbourne-based practitioner. He is the winner of the 2019 Tanja Liedtke Fellowship. The Tanja Liedtke Foundation was established in 2008 to honour the dancer and choreographer Tanja Liedtke. Geoffrey is the fourth winner of this renowned scholarship, who resides at ada studio. His work is rooted in dance, and has branches in wearable design, text, lighting, robotics and sculpture. Through their work, Geoffrey advocates for productive new forms of confusion in the already confounding landscape of art, identity and the mindbody.