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Before we go to visit a place we imagine it. One could say before we actually and physically go to a place we go there in imagination. Our imagination is fed by all sorts of things - a story someone told us about that place or a picture we have seen, a movie that was shot there as well as by other things that we might not even connect directly with this place or even consciously know where they derive from. Imagining is such an interesting practice as it tells more about us than about the thing we are imagining. It’s like going out and inside at the same time, trying to flee and being thrown back 


Imagine you are going to Lagos
Imagine you are going to Beirut
Imagine you are going to Buenos Aires
Imagine you are going to Delhi…


What comes to your mind thinking of these places?   

What do these cities look like, what soundscape do they have, how does it feel to move through them? Take a moment to follow your imagination … and then welcome to Rehearsing for an Encounter. 

Chapter 1: On being a Guest and being a Host
Chapter 3: On Mobility and Climate
Chapter 5: On Aesthetic Forms, Conventions and Hegemonies
Chapter 7: On Fictional Institutions

TASK 4 - A Written Dialogue (In 7 Chapters)



Task 4 is a written dialogue. Isabelle Zinsmaier and Maxi Menja Lehmann opened the written dialogue by sharing some of the experiences and questions they had related to international artistic exchanges. Those are connected to a partnership both have with the Bangladesh Institute of Theatre Arts (BITA) that lasts for more than 10 years now and was shaped by Isabelle and Maxi doing internships at BITA and later inviting artists from BITA to visit art institutions in Germany. Members of BITA were also involved in the artistic research that Isabelle and Maxi carried out in the frame of the HTA Postgraduate Fund. The dialogue invited the Frankfurt Moves! Artist to think and exchange about aspects that might accompany international artistic exchanges. We started the dialogue around four different themes but as the dialogue made further topics appear it has become a written dialogue in six chapters. The aspect that it is written also means it is less prompt than an oral dialogue. Someone might take an aspect and carry it elsewhere where it’s picked up by another person. Someone might misunderstand what someone else wrote. Following this dialogue might be like coming to a room and joining a dialogue that has already been going for a while. You missed the beginning, are thrown right in.

With our partners from BITA we made a curious observation. While during our stays in Bangladesh sometimes we sought silence and loneliness, the possibility of being alone, our friends from BITA at the end of their stay confessed that they had sometimes felt lonely during their stay, even though we had tried our best to welcome them. We noticed that there was also a difference in how the institutions embodied their role as hosts. While the members of BITA very naturally took us along to family events (be it weddings, funerals or birthdays) and made us part of their daily lives in the city, we realised that members of the German institutions had somehow a more strict division between their “private” and “professional” lives.

In a traditional Yoruba background that I am from, as a host you must make people feel at home. I recently had a guest collaborator from Berlin and it’s her first time in Africa, so I said to myself this must not look boring to her apart from our creative research process and project. We need to engage the city together, teaching her our language, music and lifestyle, take her to party’s, introduce her to many spaces and create some interesting conversations, there are many ways to host. After her six weeks of stay in Lagos, she said to me, Femi, I wish I can relocate to Lagos.


I know as an artist we are always conscious of the time for work, research, creative process and so on. That is a good idea, but we should always create time to enjoy the new space and new place. Making the guest explore the lifestyle and environment is key. I also experienced a little boring moments in Berlin. After work you go to your apartment, read some book, sleep, eat, sleep - after one week I was like “I can’t continue this way”. I had to move out myself, meet new friends, go to places and engage new spaces, historical places like Alexander Platz etc. - I found this more interesting and educative.


[...]


As a host you must be smart enough in identifying the right space to direct your guest to. Apart from the project or collaboration process and creations, from experience, you should always create an unforgettable memory for each other, this goes a long way.


I think it depends on the background and ideology. I believe life is more interesting than being strict in your private and professional lives. Normally you might want to have your private time to think or focus on some other task or research [...] but when you are hosting people, you should give them options of what they can do in a new space you invited them too.


Whoever can make/break their own conventions is definitely going to be willing to connect and hence more hostile and welcoming. Most of the time family and friends are the only support we do have and hence we’re always ready to be host and guest for each other. The social security concept for citizens in these countries is like an alien concept. We do survive because of these warm gestures of sharing time, space, etc. with each other.

Resonating with Maxi’s experience of being welcomed by artists from Bangladesh (what could be the reason?) I would love to add here that it could be the language. India, Pakistan and Bangladesh before partition were ruled by the British and the language English remained here as a colonial hangover till today.


For the last few months I have been thinking and reflecting upon this so-called ‘language’ a lot and have many questions like can only a language make someone colonial or postcolonial? If I speak English, will I be recognised as a colonial person? And if I use my native language then will I be a post colonial?


I was criticised by many artist friends for speaking English in my first solo performance which I chose reasonably as most people in South India can’t understand the language that is being spoken in my region. So I opted for the so-called common language ‘English’. And I myself didn’t see any problem in that, as I was communicating with people around in English only on an everyday basis. And I used spoken English in the performance instead of speaking proper English as my need and intention was to communicate what I was trying to say through performance.


Most of my friends are from urban metro cities and they have no problem with English as such but in performing a performer must opt to speak his/her so called mother tongue as it makes a performer strong. [...] I don’t believe in mother tongue as every language is learnt, to me mother tongue means no language, just touch and sounds that is primitive before evolution of any language and it is universal, on the name of so called mother tongue we all are supposed to speak defined languages, according to me it must be then also called as father tongue. Is it language that makes a performer strong or intense? Performing Language is not just words but a combination of so many other things.


[...]


But yes when a foreign artist comes to India, Bangladesh or Pakistan, it doesn’t matter which language they perform. As we are accustomed to respect their language and English as well. There will never be a question especially in contemporary performing fields of urban institutions, performing places that artists perform in English. Even if it’s a colonial hangover, it helps the artists here to grow and learn, especially those who are curious and make/break their own notions and conventions (while interacting with other state’s) . And also it helps foreign artists to connect, perform and hence definitely helps opening up more possibilities to them.


I was surprised to know from a few artist friends from Europe that it is difficult for us to perform when we were looking for the possibilities of performing the same piece, which will be evolved after one month residency at Frankfurt, at few other places in Europe, and one reason was the language (not many people understand English).


Reading Savita’s text, I started thinking about the use of English in Argentina for performances. The predominant language - Spanish - is already a colonizer’s tongue; but still most people would find it incredibly weird to do a performance here in English, after a hardcore history of translating rock music during dictadorships to Spanish -eventhough there have been bands performing in English, somewhat underground - and I would even say pride in the language (?). Most of my performances have been in English, due to the two years living in Europe, because for me it was important, that what I was saying was somewhat understood. Sometimes Spanglish as well. I really enjoy the idea of mother tongue as not a language but a tongue, touch and so on.


It is really interesting to me, to read what you wrote about the languages used in performances and different (historical) connotations coming along with that. In Berlin, where I live, and where I go more often to places of the “Freie Szene” I have the feeling that English and German exist quite equally. But maybe somebody who speaks no German would disagree with this impression. The problem for me with language is that each joice brings exclusion apart. German excludes many international artists living here in Berlin and possibily other non-German speaking visitors (but in my perception visitors of the “Freie Szene” theaters mostly are (international or local) artists themselves anyway) and English excludes the non-English speaking parts of the audience. So I think it is important that the theatres work on translation, be it with surtitles, or be it, like Sophiensaele, a theatre in Berlin, that comes to my mind in this context, does, also with audiodescriptions of things happening on stage for blind people.


For the context I come from, language is fraught with complications that are not easily negotiable. Within the context of my own country the English language can be enabling for certain people or in certain contexts. It is also, as Savita points out, often a common language for people from different regions of the country who do not speak each other’s language.


I have been to international trainings in the "first world" where British students have remarked on how fluently I spoke "their" language, unabashedly unaware of the colonial context of how and why I spoke English at all. Sometimes I ache for more space and understanding of each other's context in intercultural spaces. I suppose this space can only be created when we allow ourselves to listen, learn and make room for change in how we do things.

In our research this spring we came across a written exchange between the Mexican film and theatre artist Lázaro Gabino Rodríguez and the French choreographer Jérôme Bel. Whilst Bel took the decision to stop flying in professional as well as private contexts due to global warming and made this public on different occasions, Rodríguez reacted to Bel's attempt with some critical questions deriving from a postcolonial perspective. This was followed by an answer by Bel. You can read their statements, when you open the following links:


OPEN LETTER Lázaro Gabino Rodríguez/Jérôme Bel
https://e-tcetera.be/open-letter-to-jerome-bel/


AN ANSWER by Jérôme Bel to Lázaro Gabino Rodríguez (if you scroll down):
http://www.tea-tron.com/txalotoloza/blog/2021/02/25/de-lazaro-rodriguez-a-jerome-bel-carta-abierta/


How do you perceive these questions about mobility and global warming, locality and international exchange, future (that Bel highlights) and the past and present (that Rodríguez reminds of) ? Where do they meet with experiences you made?


As is evident from this very interesting exchange, the idea of "artists of the future" and not contemporary is relevant to those who have certain privileges available to them. To impose one common solution that works for all of us, is completely ignoring the post- as well as neo-colonial context. The assumption that one size fits all is simply not a workable or just solution. And we cannot all be expected to restrict ourselves to local artistic interactions. There is virtue to local communities, as it is to international community building, which helps us share our context and artistic practices.

Out of the same perspective on mobility accompanying artistic work, that takes place internationally, it is interesting to question the different visa procedures for people with different citizenship accompanying international exchanges. During our exchanges with the Bangladesh Insitute of Theatre Arts in Chittagoing we faced quite intense visa procedures in both directions, though often it is especially the so called Global North that requires strong proves for visa for people applying from the so called Global South. There is a statement by the Kenyan writer and performance artist Ogutu Muraya, who decided to give up his status out of solidarity with other artists facing the restrictional visa procedures of Europe. In our research this spring we read his statement, which you can read about here:


OPEN LETTER by Ogutu Muraya
https://www.spielart.org/en/program/all/on-thin-ice


What does the procedure of getting a visa to different places include and entail for you?


I don’t remember any experience of difficulty in getting visa as mostly I have gone through either institutional procedure or then directly was applying for tourist visa on an individual basis but yes, one thing I always felt is that it is unnecessarily complicated, it can be actually a very simple procedure, but that I feel in each and everything - including the educational, health centres, banks etc. - that the unnecessarily complicated procedures make one physically and mentally exhausted.


Argentina has a three month tourist thing as long as you have a return ticket, so that is not necessarily the problem. At least for me, most issues are surrounding securing flights, paying health insurance that is in USD or EUR, due to the exchange rate and the taxes in Argentina for people using those divisas. I agree with the person before (Savita?) in how certain, not only visa applications but applications as a whole for scholarships and so on, are unnecessarily complicated so people don’t even think of applying -this is something I hear a lot of great Argentinian friends and artists. During my student’s visa application for Switzerland I did encounter some microaggression by the people working at the Swiss embassy in Argentina in terms of telling me I would not get it and that I was lying the first time I went to ask questions, though I would have to agree the bureaucrats in the Argentinean system were not a delight either. I find it funny that a lot of my reactions are coming from such an emotional place, the stress of going to do paperwork is a lot - I cannot remember what I was asked, but it was some days of doing ques, hurrying from one building to another. It is intensified if the people in charge of those things are actively trying to be unhelpful or even hurtful. This does not mean that structural issues can be compensated through niceness, it does make me think about the formalities of bureaucracy, paperwork and so on, the buildings they take place in. In essence the material aspect of it, that contributes to this hostility.


Concerning the experience of getting a visa, this is so very much challenging in Lagos till date, it is really crazy. After many travel histories on a passport, on my recents visa process to Germany in april I was denied visa ( why - I might run away from the German territory ) after I was denied the visa, I did an appeal then I was granted the visa. This looks really disappointing for me, after I have been given a visa so many times to travel and I have all of the documents required, I think they like to play on people's emotions by denying visas and making the visa issues hard for artists from the African continent.


Post pandemic it has become more difficult to get Visa especially since Europe seems to be dealing with a backlog of visa applications that couldn’t go through because of the pandemic, but also the changing dynamic of what was the European Union is perhaps affecting this. We had difficulty getting a visa appointment initially. Though an email to the German consulate by Jenny fast-tracked our process. Which made me wonder about those who did not have institutional backing to be able to help with the process.

In our first Zoom meeting with Savita, Manjari and Femi we started to talk about theatre conventions that we had experienced in our local and international theatre practice.

We asked ourselves what are the conventions we know or were shaped by when we started to see and later make theatre, dance and performing arts? What is our position towards these conventions? Are conventions narrowing possible forms or can we use the term in a positive way if we reinvent conventions with our own practice? How are we confronted with aesthetic hegemonies, as not transparent but influental rules on what "good" or "interesting" art is? Where do we encounter such hegemonies if so? What is the relationship between non-professional and professional practices? How are they valued?


I think few questions are reflected in my last response, like thinking about the conventions of language. Definitely conventions are narrowing possible forms like I said earlier, thinking of just speaking your regional/national languages or speaking english language. Both can be narrowing if one follows the conventions of so-called language, but the moment one understands this convention then can break away from the conventions of speaking whatever language, it will not then be defined by only on the behalf of any spoken languages.


And then similar things apply to the conventions thought like good or bad art (superior/inferior language), again conventions behind professional and non professional practices, actually professional as a word is valued more as we are conditioned to hear it all the time “be professional!be professional” but if one tries to understand what is professional, it doesn’t necessarily mean that one has formally studied, rather it is about being committed, dedicated, disciplined with passion, open and flexible, inclusive, inventive, clarity etc and it has nothing to do with if one has studied formally or informally. So in art/life practices we have to come out of the conventions of these binary conventions especially. Either this or that. Maybe both or neither, or maybe somewhere in between a truer sense appears.


[...]


I enjoy Savita’s idea of professionalism and what I interpret as ‘work-around’ conventions, considering as well that we are standing in long histories of different theatre, dance, performance ‘currents’ as well as video games, cinema conventions, that intertwine to create new conventions. I am quite interested in how things come to be, the structure behind them and sometimes working with conventions makes them more visible, while other times, especially if one is unaware that conventions are just that, they can become quite suffocating. I wonder what specifically means convention in this question. I do think that conventions can, if applied by institutions mostly, become an hegemonizing force- this happens with themes, even disciplines sometimes. It might be then important to harness spaces of long -in terms of time- experimentations, like laboratories of practices.


In my opinion conventions of performance can be interesting ways to approach practice and training. Many path-breaking performance practices have emerged from a study of conventions. It gives a structure, especially to artists in training or wanting to be rooted to form. The study of conventions, however, cannot be done, in my opinion, without a critical perspective towards how they are executed. For instance the study of a lot of traditional dance styles in India is accompanied by the oppressive practice of the Guru-Shishya parampara (engl.: teacher-student tradition), wherein the teacher is put at a pedestal, has absolute power in training spaces which often percolates into the personal lives of students. The question is how to understand what is cultural appropriation in the context of convention, what are ways that ensure psychic and physical safety within conventions and what are the ways to break and challenge conventions. I find conventions useful as long as they are porous and are able to accommodate for a fluidity that allows for people of varied abilities to be able to follow the conventions. When the conventional is held up to be the only possibility of expression or merely mimicking the message of those in power, it becomes limiting and oppressive.

During our work with the Bengali Theatre Institute BITA occurred a number of challenges that lead back to the institutional and structural frames, within which our encounters took place. In our HTA postgraduate research this spring we tried to reflect critically on these and pose the following questions: What challenges did we face, that can be lead back to institutional, funding or other structural aspects in general and especially within a Global South/Global North - and thereby postcolonial - context?


It often occurs to me that German (European?) funds and institutions follow certain trends in their choice of international partners. For example artists from countries that face a current political crisis, which is rather a lot reported about here, or who work with aesthetics that are close to the already known and currently liked, but still bring up something considered as ‘new’ or ‘different’. The Russian artist Ada Mukhína did an interesting piece in this context in 2019:
https://www.deutschestheater.de/en/programme/whats-on/premieres/how-to-sell-yourself-to-the-west/5439/


Similar mechanisms of course work in the funding of performance arts also apart from a transnational perspective, and in the context of this encounter or other transnational cooperations as well as my own work, it is interesting for me to think about, when can such ‘trends’ in arts assemble things in a positive way and when do they promote alignment or pretence? And I think pretence in order to find funding for things one wants to do is not a bad thing in itself, but I just sometimes don´t like how much time it takes and how dull it makes me feel to assume what others might want to hear (who probably also receive a feeling of dullness when reading things, partly made up for them, later).


I lived two years in Switzerland during my MA with a Scholarship. I did find [...] a lot of expectations of being able to ‘teach’ certain aspects of my country that I don't have the responsibility or even the right knowledge to impart. There was also this lingering feeling of … paternalism? maybe, as if one should be grateful not for the opportunity - I mean, I am as I am from a lot of opportunities that I decided to engage with from the get go- as if one was charity. In Argentina, or at least at the University I studied before, it is quite common to speak up if a professor or even a director is saying something you don’t agree with, so for me it was quite shocking to see other students, and even teachers who also felt uncomfortable not speaking up. [...] Even if there was a lot of courses around notions of decoloniality, queer studies and so on, this theoretical knowledge didn’t apply to praxis. I think this contributed to the initial defensiveness or skepticism I had regarding this project here as well, and I understand the difficulties in being able to engage without emotionally taxing others- or understanding how/why/what to share without emotionally taxing yourself.


The question we must ask of Institutions is why they must take on roles of 'thought police' (George Orwell)? The very role of art in society is to critique the normative, to keep checking those in power. For freelance artists, institutions are perhaps one of only a few sources of funding, thus the need for institutions to be free of interference by the government is extremely important. Often institutions, in an outward display to be progressive, critical and relevant publish curatorial notes that are in direct contradiction to the very way in which artists from the countries hailed from who might be the very subject of their exhibition/conference/festival. There is a need for us to include critical thinking, not just in our grant proposals/concept notes but in the process of how we imagine the art making process itself.

May the institution be a house at the second floor, that ignores the absence of the floor below, and yet remains suspended, up in the air.


One might say that the art institution is that which often hosts fiction within its frame and border; the question that I would like to raise is more: what is the possibility for the institution not to host fiction, but rather to be fictional? (Daniel Blanga-Gubbay)


In our research we were inspired by Daniel Blanga-Gubbay’s text on fictional institutions. You can read it, when you open the following link:
https://www.kunsten.be/en/now-in-the-arts/the-mo%CC%88bius-strip-on-fictional-institutions/



His proposal to use the notion of fiction in order to imagine an institution that does not yet exist provided an opportunity to imagine the institution that could perfectly host a project like ours with BITA or a residency like yours at LAB…So this, as a final step, is an invitation to imagine an institution What does it need and what does it provide? What does it look like, what spaces does it have and what infrastructure? What imaginaries does it exercise? What could this imaginary institution as a formal one learn from the practices and knowledge of informal institutions?


The institution: What does it need and what does it provide?


The institution needs to be looking into the future, carrying with it the wisdom of the ancestors. The Artistic institution must provide a safe space for the artist to be able to express themselves, space to reflect upon their practice. It must play the role of the protector of the Artist, the “non-essential” workers who must do the essential work of imagining and hoping for a better future for humanity.


What does it look like, what spaces does it have and what infrastructure? Institutional spaces must be inclusive in a real way that does not look at inclusion as merely something as an inclusion in a diversity quota, paying lip service to certain regulations is not enough. The infrastructure must include spaces that are accessible for people of all abilities. Often institutions get associated with a building thus a fixed structure. Institutions must find ways of being perpetitic, of allowing for itself to have limbs that can float/ fly and re-integrate/ continue to exist away from it. Another very important role that I see for the institution is to share their privilege of human and non- human infrastructure with those that do not directly come under the purview of beneficiaries of the institution. Thus art institutes could interact and benefit from the learnings from individuals indulging in non-artistic pursuits.


What imaginaries does it exercise? An ideal institution Exercises imaginaries that are able to be porous and borderless. - Are queer in their imagination- fluid and dynamic, constantly reviewing their constitution. - Engaging in the act of listening as an act of care-giving and holding space for individuals who may be voicing difference or need of - Strictly steering clear of being spokespersons of the government/ those in power. - Giving room to voices of dissent. - Allowing for reviews and changes in their policies, constitution and mandates when needed. - Not stagnating in terms of who the decision making bodies within the institutions are.


What could this imaginary institution as a formal one learn from the practices and knowledge of informal institutions?


The formal could learn from the informal: the ability to organize around tinier resources pools. non-hierarchical systems / bodies that contribute to the running of the institution. interactions with the local environment


For some reason, after reading this part I stayed thinking about what is legal, and what is illegal, and how it is possible to do certain things informally since they are not inside of the legality of things. I assume a lot of institutions do take into consideration what they can do on the legal side, and what legal forms, bureaucratic forms can be used in favour of the institutions and the artists in them. During the call, we talked about this notion of how we are all following specific pulsations and interests, in a myriad of forms. Perhaps those are the imaginaries, in the sense of an institution that actively tries to bring forth the specificities of each individual/collective artist, without trying to homogenise its curatorialship let’s say. Maybe it is not only a question of space, but also of the time required by artists? the balance between collective sharing, intensities, relaxation, alone-ness.


For the first time when I read this document and reached this chapter, I was not able to relate and understand in depth and I just left it. In our last zoom meeting while having a dialogue, listening to each other on all the chapters including fictional institutions, I could relate more. What is an institution? To me an institution is already a great mix of reality and fiction. In other words it is a system. Everything is organised in a system, whether it is defined or undefined. And here I feel that because an institution is a system and each system is an evolutionary process. It needs to be open, flexible, accommodating, adopting etc. whatever the basic principles apply on life applies on each and everything.


Imagination or fiction is mostly triggered from what we say as reality. According to me, imagination means that one sees something in reality that raises some curiosity, questions, and one feels to make the current scenario (situation as part of a system, it is time, space and context specific) better, find possibilities and at the end the reality returns, only in terms of an institutional structure.


It helps me in understanding the things in interconnections and even without literally seeing, touching, tasting, hearing, reading etc I can still experience something totally unknown. And I would love to articulate it as being visionary. To me a visionary is not only who is able to see when everything is smooth, ideal or perfect, rather a visionary is who can see when there is chaos, dust, darkness etc.


But to conclude I would say, every existing institution was somebody’s imagination or fiction to either propagate the existing system or to change and make that better. There is a very strong connection between the reality, fiction and system (formal/informal institutions). The only difference is the orientation.


I was born in 1981, in the last few years I could experience a cold, mechanical, restrictive behaviour at different places: structures like airports, big malls - and even in the behaviour of artists from big cities. I would say that in the last few years I could see a drastic change in people's behaviour. A specific kind of space structure, and the imposed pattern of behaviour actually changes the reality.


Twenty years before, people may have not be wearing branded clothes, not occupying themselves all the time with something, may not have been looking so called civilised and sophisticated, may not have talked with each other without dropping a broad smile on their faces even for a second, but they were able to see each other that time as their reality was not hijacked or the market was not able to invent the thousands of devices to steal one’s own time and space which it has done now.

Chapter 2: On Language
Chapter 4: On Mobility and Visa
Chapter 6: On Institutions

Rehearsing for an Encounter is an encounter between the Frankfurt Moves! resident artists who will work on different artistic projects at Frankfurt LAB this summer and two grantees of HTA Postgraduate Grants for Artistic Research 2021, who conducted an artistic research associated with Frankfurt LAB during spring 2022. Rehearsing for an Encounter is a dialogue that evolved between May and June 2022 via email and video calls and materializes itself in different forms. The resident artists were invited to do different tasks and to enter into a written dialogue on questions that might accompany international artistic exchanges and residencies.


Frankfurt LAB Residency Programme Frankfurt Moves!

Since 2014 the Frankfurt LAB has been hosting an annual residency programme, to offer emerging artists space and time for the development of artistic work. This has brought many interesting artistic positions to Frankfurt and created sustainable synergies between the artists in residence and Frankfurt LABs partner institutions. Since 2021 the residency programme has become more international, as part of Frankfurt Moves!, a joint programme with the KfW Stiftung. The Frankfurt LAB is happy to host four artist residencies in 2022. The programme wishes to promote up-and-coming international artists from the performing arts, who were trained in Africa, Asia, Latin America or the MENA region. From 19. July to 19. August 2022 the artists in residence will be able to use the professional rehearsal spaces of the Frankfurt LAB to work on a new project or conduct research. The benefits include a fee, costs for documentation, expenses for travel and accommodation as well as networking opportunities. At the end of the residency, it will be possible to present the results of the work publicly.


„Frankfurt Moves!“ is an initiative of the foundation KfW Stiftung in cooperation with the Frankfurt LAB aimed at promoting up-and-coming international artists in the performing arts sector.


HTA Postgraduate Grants for Artistic Research

The Frankfurt LAB – Space and Time for Contemporary Production – awards scholarships for artistic projects that are committed to artistic research. Thus, Frankfurt LAB wishes to support alumni of Hessian Theatre Academy with innovative projects, which cannot be easily produced within the traditional theater and funding system. Five scholarships of 5000 € each will be awarded. The grants are open to alumni holding BA, MA or PhD-Degrees from any of the HTA programs (Acting, Applied Theatre Studies, Choreography and Performance, Classical Voice/Music Theatre, Contemporary Dance Education, Dance, Directing in Theatre, Dramaturgy/Comparative Dramaturgy and Performance Research, Performing Arts and Music Management, Stage Design/Scenic Space). Currently enrolled students are not eligible to apply.


A Frankfurt LAB promotion programme for graduates of the Hessische Theaterakademie, made possible by the Hessische Ministerium für Wissenschaft und Kunst.

Rehearsing for an Encounter

A Dialogue…

by and with: Carla Tapparo, Femi Adebajo, Manjari Kaul, Priiya, Savita Rani, Stéphanie Kayal
hosted by: Isabelle Zinsmaier and Maxi Menja Lehmann
coded & designed by: Pablo Lapettina









Carla Tapparo dwells in the relation, interaction and unison of perceived dichotomies such as material-digital, body-mind, inside-outside, to name a few. Her current research is related to the body, as a biopolitical entity, under the notions of abjection and disidentification as well as how certain appreciations made of the individual body can extend to the collective body. She holds a BA and Professor degree in Fine Arts with drawing orientation, (UNLP, Arg); MA Arts in the Public Sphere (École de Design et Haute École d’Art du Valais, CH) summa cum laude through the Hans Boerg Wyss Scholarship. She was a mentee at NIME (New Interfaces for Musical Expression). She works as Art Director for Piuke Productions, being awarded and recognized by institutions such as INCAA (National Institute for Audiovisual Arts), and her work has been exhibited and performed in Argentina, Ireland, Switzerland and Germany.

Femi Adebajo is a multidisciplinary artist from Nigeria, with focus on exploring movement as a medium of connection to the human mind. As a choreographer, he carefully researches a particular style before creating patterned movements with musical accompaniment. He is adept at creating radical dance movements to express himself in ways that speak to people all over the world. Femi Adebajo has attended series of workshop and mentorship programmes under professor Wole Soyinka, Segun Adefila, Seun Awobajo, Qudus Onikeku, Sunday Israel, Akpan, Adedayo Liadi (Ijodee) Sahar Rahimi, Isioma Williams, Stine Hertel, Alice Ferl, Tairu Ajibode, Abel Utuedor, Haracio Macuacua etc. He has worked with global brands such as Adidas, Theatre der Welt, Monster Truck, Company Christoph Winkler, Hektomeron Theatre Festival (Romania), Irineu Nogueira Dance Program (Munich), Sanskar Virtual Dance.

Isabelle Zinsmaier works as performance artist, cultural mediator and researcher in the field of theatre studies. She studied Applied Theatre Science at JGU Gießen and ‘Theaterpädagogik’ at UdK Berlin. As assistant researcher at Johannes Gutenberg-Universität Mainz she is currently writing her PhD on transnational memory and witnessing in contemporary theatre. She is part of the Frankfurt based group Zaungäste Kollektiv, with whom she has been developing and showing a number of performances at Mousonturm Frankfurt, Schwankhalle Bremen and Landestheater Marburg among others. Together with Corina Liechti she is conducting theatre projects and workshops with children, adolescents and adults in various contexts. She is part of Atelier Izola a project space of interdisciplinary female artists in Berlin.

Manjari Kaul is a Delhi based performer, director and teacher. She is a graduate of the DUENDE School of Ensemble Physical Theatre (2015) and holds a master’s degree from The School of Arts & Aesthetics, Jawaharlal Nehru University. She recently performed and conceptualized a digital show titled “Firefly Women,” supported by ReFrame Arts Genderalities 2.0. The work is based on letters written from jail by two women wrongfully incarcerated under a draconian law. As a grantee of ThinkArts grant 2022 she is currently developing new work for children with Aagaaz Theatre Trust. She has taught at DUENDE School (India), Srishti School of Art, Design & Technology as a guest faculty and co-directed a show with second year students at The National School of Drama. Her solo piece, “Chronicle of a Death Foretold,” based on the novella by Gabriel Garcia Marquez, commissioned by Instituto Cervantes, has travelled to London, Athens, Delhi, Bangalore and Lucknow.Manjari Kauls’ work is dedicated to exploring the incongruous disruptive and off key in live performance. Gender, sexuality and memory have been subjects that she has been particularly preoccupied with in her work.

Maxi Menja Lehmann works in various contexts and constellations as a theatre maker, artistic collaborator and dramaturg. She studied Cultural Studies at the European University Viadrina and University College London and later Staging of the Arts and Media at the University of Hildesheim. Together with Anta Helena Recke and Anna Froelicher, she is responsible for the concept of the production "Die Kränkungen der Menschheit", which premiered at the Münchner Kammerspiele in autumn 2019 and was invited to the Theatertreffen and the radikal jung Festival at the Münchner Volkstheater in 2020. She has an ongoing collaboration with director Romeo Castellucci, with whom she works as a collaborator in opera productions. Maxi Menja Lehmann regularly gives theatre and writing workshops for children and young people. She is a founding member of Atelier Izola, a project space for interdisciplinary female artists in Berlin.

Priiya is a performer, mover and video artist currently based in Berlin, Germany. Recent graduate with an MA in Movement Direction from University of London, they have been on a journey of finding roots in the moving body. They like to re-imagine ways of organizing body and space where multiple languages, fictions, memories, and identities can fluidly morph.

Savita Rani is a graduate of National School of Drama (NSD), New Delhi (2008), with specialization in acting. Working as a researcher and practitioner as an actor, director, actor’s trainer in theatre. Recently she has completed her Ph.D. from the Department of Performing Arts, Pondicherry University on title “A Study on Devised Solo Theatre in India.” She has been trained in martial arts like Kalari and Tai chi. Savita Rani has worked with eminent theatre personalities like Anuradha Kapur, Anamika Haksar, Tripurari Sharma, K. S. Rajendran, Abhilash Pillai, Amitesh Grover, Suresh Anagali, Harish Khanna, Vivan Sundram, Roysten Abel, Khalid Tyabji, Jyoti Dogra etc. Her work has given her opportunity to travel to countries like Peru, Pakistan, China, Nepal, Austria, Bangladesh, Japan, Thailand, and England. During her research work, she devised a solo theatre piece “RIP: Restlessness in Pieces” and traveled with it all over India and abroad. Currently she is working on newly devised solo themed “Notions” which has been supported by Serendipity arts festival 2020.

Stephanie Kayal is a performance artist, dancer, and choreographer based in Beirut. She is currently developing her second creation, to be premiered at NEXT festival - Kortrijk 2022, a performance that echoes the end-of-times situation in Lebanon right now and is a loosely connected sequel to her debut work “Evidence of Things Not Seen" (2021), a performance about a family haunted by dance and its own past.

as well as

Abed Kobeissy is an electro-acoustic musician and composer based in Beirut. Having been performed in over 18 countries, his work holds a strong local identity, without claiming any traditional or ethnic representation. Ranging from solo projects, to collaborations, to music for film, theater, and dance, his projects rely on the local urban soundscape as the main generator of its language, often tackling subjects related to family and home.

Emmanuel Ndefo is a movement artist, curator and researcher at the Center for Contemporary Art Lagos. He is interested in the critical display of the body within architectural and alternative spaces, not excluding museums, galleries, archives etc. Using the body and interactive performances as a tool to understand the relationship between art, audience and space, he believes that a well curated experience of the body moving within spaces can serve as a way of engineering thought, stirring up memories, and challenging narratives.
X



About the Project
Credits
START HERE
Subject: Rehearsing for an Encounter
TASK 4
Join the Dialogue

TASK 2
Shoot a video of a way that you take regularly and know very well. The way to your studio or a studio where you sometimes practice or rehearse, the way to work or to your favourite café…

TASK 1
Take a picture of yourself in which you are not or only barely visible… because you are hiding, the picture is blurry, only a fragment of you is visible…

TASK 3
Make a voice recording of max 5 minutes in which you imagine the way from your flat in Frankfurt to the LAB studio.

Dear Resident Artists…



Von: Hanke Wilsmann wilsmann@frankfurt-lab.de
Gesendet: Mittwoch, 18. Mai 2022 15:00
An: Prethora swapn.priiya@gmail.com; ranisavita463@gmail.com; Manjari Kaul kaul.manjari@gmail.com; Femi Adebajo adebajofemi1@gmail.com; Emmanuel Ndefo eb92715@gmail.com; sophie t sophiecarlatapparo@gmail.com; Stephanie Kayal stephanie.kayal@gmail.com; a.kobeissy@icloud.com
Cc: isazin@web.de; Maxi Menja Lehmann maximenja.lehmann@googlemail.com; Jenny Flügge fluegge@frankfurt-lab.de
Betreff: Frankfurt Moves! meets postgraduate research


Dear Resident Artists,
this is Hanke Wilsmann writing to you - together with Jenny Flügge, with whom you all already have an intensive exchange […]
I would also like to congratulate you all and look forward to welcoming you to the LAB this summer!
Furthermore, I am happy to introduce Isabelle Zinsmaier and Maxi Menja Lehmann. Together with these two women we are planning a small digital installation format, which will be presented at our festival F°LAB Festival for Performing Arts (https://flabfestival.com) this summer. In this format we would like to link the current research and mediation work of Isabelle Zinsmaier and Maxi Menja Lehmann with you, the residents of this year's edition of Frankfurt Moves!. We hope that you are interested in an exchange with them and us in this context.
[…]
Very warm greetings from Frankfurt
Hanke


Dear Residence Artists of LAB,
dear Stephanie & Abed,
dear Emanuel & Femi,
dear Manjari, dear Priiya, dear Savita,
dear Carla,

our names are Isabelle Zinsmaier and Maxi Menja Lehmann, and we are both theatre artists based in Germany. Following an idea of Hanke Wilsmann and Jenny Flügge from Frankfurt LAB to connect different artists associated with the Frankfurt LAB, we are writing to you today to propose an digital encounter preceding your residencies. In the frame of a postgraduate research grant by Frankfurt LAB we have worked on a project called “Rehearsing for an Encounter''. […]
In the project we posed questions on international artistic exchanges. In our research we worked on the richness and potentials, but also on the institutional and structural constraints that international artistic exchanges sometimes have to tackle. Inspired by a text by Daniel Blanga-Gubbay on fictional institutions we raised the question what institutions and structures would actually be needed to host international exchanges. And we worked on practices of imagination that can enable us to stay connected and practice artistic exchange, even while not being in the same physical space.
Going further from this, we would like to invite you into a dialogue with us and among yourselves, since you will soon meet in Frankfurt during your residencies at the Frankfurt LAB. […]
The idea is that some of the material that we generate together will be presented in a small installation to the audience of the F°LAB Festival that will take place at the beginning of July. […] Within the upcoming days we will be in touch again to organise two online meetings with you in the period between the 25th of May and the 10th of June. And also to give you some more insight into the project. For now, we hope this sparked your interest and are looking forward to hearing back from you if you are up to joining the project.
We are very excited to meet you.
All the best and see you soon!
Isabelle and Maxi



Hello Jenny, Hanke, Isabelle and Maxi…



--------- Forwarded message ---------

Von: Manjari Kaul xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 18. Mai 2022 18:10
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Frankfurt Moves! meets postgraduate research


Hello Jenny, Hanke, Isabelle and Maxi,

This sounds lovely. Priiya, Savita and I will be keen to join, our schedules permitting. Hope to hear more from you.:)

Best,
Manjari



--------- Forwarded message ---------

Von: Savita Rani xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 18. Mai 2022 18:45
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Frankfurt Moves! meets postgraduate research

Dear Jenny and Hanke

Thank you so much for connecting us with each other.
Dear Isabelle and Maxi
I am very keen to learn and know about your project more. Also of Your thoughts behind posed questions regarding collaboration and artistic exchange especially within institutional framework. It will be great to hear from you. Yes we can do video call between the dates you mentioned. But is it possible to do it on google meet or zoom instead Skype as I don’t use it?
Hope to hear from you soon!

Warm regards
Savita



--------- Forwarded message ---------

Von: Prethora xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 19. Mai 2022 11:05
An: xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Frankfurt Moves! meets postgraduate research

Hello everyone,

Hope you are well. I hereby confirm that my interest has definitely been sparked. Very excited.

Looking forward to the meetings.

Warmly,
Priiya



--------- Forwarded message ---------

Von: Femi Adebajo xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 18. Mai 2022 18:45
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Aw: Frankfurt Moves! meets postgraduate research

Hello Hanke, Isabelle, max
Hope this finds you well

I am very keen to learn and collaborate.

Would be glad to know more about your project, Also about Your thoughts behind Project

Yes we can do a video call between the dates you mentioned. But is it possible to do it on google meet or zoom , this is better from my end.

Hope to hear from you soon!



--------- Forwarded message ---------

Von: Stephanie Kayal xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 22. Mai 2022 20:27
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Frankfurt Moves! meets postgraduate research

Dear all,

Hope you are well and we look forward to meeting you all in July and to exchange in person! Thank you Hanke, Isabelle, and Maxi, for the introduction, for all the info, and for inviting us to take part in this proposed exchange, and apologize for our late reply. We find the idea quite interesting and we would be happy if we could make it together, however, Abed and I are committed to different projects separately and tours and are already facing overlapping issues due to some schedule changes and trying to find solutions. […] We looked at our schedule and it seems impossible to fit in further activities before the 15th of June. If you think it won't be too late to organize an additional last meeting on June 15 or 16 or 17, please let us know, we would be happy to do it. […] Excited to begin our journey in Frankfurt Lab!

Warm wishes from Beirut,
Stephanie and Abed



--------- Forwarded message ---------

Von: xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 19. Mai 2022 15:52
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Zoom : Frankfurt Moves! / Rehearsing for an Encounter

Dear all,

after the kind introduction by Hanke and the first positive replies from your side, we are happy to send you some more details and dates. It would be great if you could write to us, if and when you´d be available for two gatherings via Zoom. [...] To have the best chances to catch you all awake we decided for different optional days and 3pm central european summer time, which should be 10 am in Merlo, 2pm in Lagos, 4pm in Rabweh and 6:30pm in Delhi.

Zoom 1: option a) 25.05. 3pm (mez) / option b) 30.05. 3pm (mez) / option c) 02.06. 3pm (mez)
Zoom 2: option a) 10.06. 3pm (mez) / option b) 13.06. 3pm (mez) option c) 14.06. 3pm (mez)

Can we ask your feedback by Sunday, 22nd of May so we can then announce the meetings? [...]

Thank you for your reply and many greetings to Merlo, Lagos, Rabweh and Delhi

Maxi and Isabelle



On Wed, May 25, 2022, 4:35 PM xxxxxx@web.de wrote:

Dear Stephanie, dear Abed,

thanks a lot for your reply, while you are just in the middle of busy times!
[…]
If you like we could send you the three small “tasks” that we will send the other participants after our first Zoom Meeting. You could then fell the decision if at all and in which of them you would like to participate - and this could be also decided and communicated sponteanously around June 15th.
[…]
On the other hand, we really understand, that your are in a hectic period and do not want to cause any stress for you. So just make your mind, if you would like to join in this form after the 15th of June or if you prefer to rather skip this small project and start your journey with Frankfurt LAB, when your residency starts. [...]
We look forward to hear from you, whenever it fits!
All the best
Isabelle





Von: Stephanie Kayal xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 22. Mai 2022 11:30
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Dear Isabelle

Thank you for your email.
Great! Yes please do send us the tasks after your first meeting.
Also, it would be nice if you could record the zoom meetings, or maybe send us some notes by email, in this way we can be all on the same page. But if the recording is complicated then it’s fine.
We’ll be in touch again soon :)

Best wishes,
Stephanie and Abed



On Fri, 27 May 2022 at 09:49 xxxxxx@web.de wrote:

Dear Stephanie,

great, so we will just keep you informed about the tasks and stay in touch in the beginning of next week after our first meeting.

All the best to you
Isabelle





Von: xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 27. Mai 2022 09:49
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Frankfurt Moves!/Rehearsing for an encounter

Hello!

2nd of June 10 am is good for me! I am assuming is my 10 am (Buenos Aires)
See you next week!

Cheers
Carla



Von: xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 27. Mai 2022 09:32
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Great, so we look forward to meet you 2nd of June and yes… 10 am in Buenos Aires 😊

Cheers
Isabelle



Von: Maxi Menja Lehmann xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 24. Mai 2022 17:25
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Dear Manjari, dear Savita and dear Priiya,

many thanks for your reply.

As we are trying to find a date that suits all of you, we have one question, could the Zoom 1 on the 30th of May also happen an hour later, so at 7.30pm your time?

Thanks for your feedback!

All the best
Isabelle & Maxi



Von: Manjari Kaul xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 25. Mai 2022 09:10
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Hi,

If this is the timing that is working best for everyone else, we will try to make it.
Though I am not sure if all of us will be able to make it but one of the three of us will definitely be there.

Warmly,
Manjari on behalf of Team Firefly Women



Von: Maxi Menja Lehmann xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 24. Mai 2022 18:02
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Isabelle Zinsmaier xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Dear Femi and dear Emmanuel,


we just wanted to check in with you regarding your possible participation in the Zoom meetings.
At the moment and according to the feedback of the other resident artists it looks like these dates could be realised - would they suit you ?

Zoom 1 30th of May at 3pm in Lagos
Zoom 2 10th of June at 2pm in Lagos

Many thanks for your feedback!

All the best
Isabelle & Maxi



Von: Femi Adebajo xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 24. Mai 2022 20:35
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Aw: Frankfurt Moves! meets postgraduate research - dates and details

Hello maxi

This time works for me

Best
F



Getting in touch



Von: Isabelle Zinsmaier xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 25. Mai 2022 17:40
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Dear Carla, dear Manjari, Savita and Priiya, dear Femi and Emmanuel, due to your feedback we figured out May 30th at 11am in Merlo, 3pm in Lagos, 4 pm in Berlin and 7:30pm in Delhi as a possible date for our first zoom. @Manjari, Savita and Priiya, it is no problem if not all of your team can join and there is also the option to join in later, if that is helpful for one of you. As spot for the second Zoom we are planning 10th of June 10 am Merlo / 2pm Lagos /3 pm Berlin /6:30 pm in Delhi I hereby send you the link for our meeting room and we look a lot forward to meet you there next monday: Join Zoom-Meeting: https://us04web.zoom.us/j/8274523698?pwd=cHNRUlVqNE03OHVDanJvWGt5ZzBSUT09 Meeting-ID: 827 452 3698 Kenncode: 8pujas All the best Isabelle and Maxi



Rehearsing 1



Von: Maxi Menja Lehmann xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 1. Juni 2022 18:56
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Isabelle Zinsmaier xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Dear all,

attached you find our letter to you that introduces the project, formulates some tasks and has a link to a shared document.

We are very much looking forward to your replies!

All the best
Isabelle & Maxi




Dear Femi and Emmanuel, dear Carla,
dear Manjari, Priiya and Savita, dear Stephanie and Abed,

with some of you we have met via Zoom during the last days. For those of you, we could not meet - and also as a support for all our memories - we´ll start here with a little introduction of the project and how it came along.

[...]

On the following pages we invite you to three different tasks. Task 1, 2 and 3 play with the projections and expectations that may accompany an artistic exchange and residency abroad - and this both from the audience in the residency place as well as the visiting artists.

In task 4 we try to open up the opportunity for some reflection and (critical) exchange about aesthetic forms and conventions as well as structural and institutional frameworks (and your own experiences with them) within which artistic residencies and exchanges like Frankfurt Moves! or our cooperation with BITA take place. We try to give you some insight in a few texts that were crucial for us during our research and in some experiences we made that brought these questions up for us.

Our “Rehearsing for an Encounter” will take the chance to introduce you a little bit to the LAB audience that will participate in the LAB festival from 30th of June till the 3rd of July and to invite the audience to think along with us in our dialogue. In collaboration with the designer Pablo Lapettina we will present the material that we generate together on a website that is a kind of virtual installation both accessible via a Screen at LAB and online.

We are very much looking forward to your responses, notes and thoughts in the document!
And don’t hesitate to get in touch if you have questions or doubts.

Warmly,
Maxi and Isabelle



Von: Manjari Kaul xxxxxxxx@rehearsing.com
Gesendet: Donnerstag, 2. Juni 2022 10:21
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Hi,

As I forgot to copy the email to the others, resending this email...

Thank you for sending in the questions. Savita, Priiya and I would like to respond to the photo and audio tasks together as we are working together as a creative team. Hope this is not a problem.

Thank you,

Warm regards,
Manjari



Getting together



Von: Maxi Menja Lehmann xxxxxxxx@rehearsing.com
Gesendet: Mittwoch, 08. Juni 2022 15:13
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; Isabelle Zinsmaier xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Zoom: Frankfurt Moves!/ Rehearsing for an Encounter

Dear all,

below you find the link for our Zoom meeting on Friday.
10th of June at 10 am Buenos Aires / 2 pm Lagos / 3 pm Berlin / 6:30 pm New Delhi

We are looking forward to meeting you!

All the best
Isabelle & Maxi

Maxi Menja Lehmann lädt Sie zu einem geplanten Zoom-Meeting ein.

Thema: Rehearsing for an Encounter Second Meeting
Uhrzeit: 10.Juni 2022 03:00 PM Amsterdam, Berlin, Rom, Stockholm, Wien

Zoom-Meeting beitreten
https://us02web.zoom.us/j/83004454854?pwd=R0kyUnpRM3o5REV1M0dwTjdUSmhXUT09

Meeting-ID: 830 0445 4854
Kenncode: 483191
Schnelleinwahl mobil
+12532158782,,83004454854#,,,,*483191# Vereinigte Staaten (Tacoma)
+13017158592,,83004454854#,,,,*483191# Vereinigte Staaten (Washington DC)

Einwahl nach aktuellem Standort
+1 253 215 8782 Vereinigte Staaten (Tacoma)
+1 301 715 8592 Vereinigte Staaten (Washington DC)
+1 312 626 6799 Vereinigte Staaten (Chicago)
+1 346 248 7799 Vereinigte Staaten (Houston)
+1 669 900 6833 Vereinigte Staaten (San Jose)
+1 929 205 6099 Vereinigte Staaten (New York)

Meeting-ID: 830 0445 4854
Kenncode: 483191
Ortseinwahl suchen: https://us02web.zoom.us/u/km53mLJ4w



Rehearsing 2



Von: Savita Rani xxxxxxxx@rehearsing.com
Gesendet: Sonntag, 19. Juni 2022 15:49
An: Isabelle Zinsmaier xxxxxxxx@rehearsing.com;
Cc:
Betreff: Voice Task

Dear Isabelle & Maxi

I thought a lot about this imagining the way from my apartment to studio.

I felt difficulty in doing this task, other tasks I enjoyed as I was very much able to understand and relate with but this one I still can’t figure out for myself.

I took so much time but still didn’t get. But I just thought to give it a try and here it is. It is done literally as a task :)

Warm regards
Savita Rani



Von: Stephanie Kayal xxxxxxxx@rehearsing.com
Gesendet: Donnerstag, 17. Juni 2022 22:50
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Manjari Kaul xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Dear Isabelle, Dear Maxi,

I hope you are well :)

Kindly find the photo, video, and voice recording sent by WhatsApp. I'm back in Beirut and the internet is very slow in Lebanon, that is why I'm using WhatsApp to send the tasks.

Given the fact that I'm joining late, please feel free to include the material or not.

Looking forward to seeing the outcome!

Best wishes,
Stephanie



Von: Manjari Kaul xxxxxxxx@rehearsing.com
Gesendet: Samstag, 18. Juni 2022 17:25
An: Prethora xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Stephanie Kayal xxxxxxxx@rehearsing.com; Femi Adebajo xxxxxxxx@rehearsing.com; Emmanuel Ndefo xxxxxxxx@rehearsing.com; sophie t xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com
Cc: xxxxxxxx@rehearsing.com; xxxxxxxx@rehearsing.com; Jenny Flügge xxxxxxxx@rehearsing.com
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Hi,

Will it be possible to keep the document open for another 2 days?

I will have some time over the weekend to write my thoughts down. If its not possible, I totally understand that you may need to go ahead with consolidating all the material.

Warm regards,
Manjari



Von: Maxi Menja Lehmann xxxxxxxx@rehearsing.com
Gesendet: Samstag, 18. Juni 2022 19:01
An: Manjari Kaul xxxxxxxx@rehearsing.com;
Cc: Isabelle Zinsmaier xxxxxxxx@rehearsing.com;
Betreff: Re: Re: Frankfurt Moves! meets postgraduate research

Dear Manjari,

the pad will be open and we are happy if you find the time and want to add further thoughts!

All the best
Maxi



Von: Manjari Kaul xxxxxxxx@rehearsing.com
Gesendet: Sonntag, 19. Juni 2022 17:56
An: Isabelle Zinsmaier xxxxxxxx@rehearsing.com; Maxi Menja Lehmann xxxxxxxx@rehearsing.com;
Cc:
Betreff: Link to tasks

Hi,

Here is the link to our tasks.

https://drive.google.com/drive/folders/1U8QX4W1YJkhQA4a47JMBMQYFvdhHFUwd?usp=sharing

Warmly,

Manjari
[ she/ her ]
www.manjarikaul.com



Hope to see you in Frankfurt



Von: Hanke Wilsmann wilsmann@frankfurt-lab.de
Gesendet: Mittwoch, 18. Mai 2022 15:00
An: Prethora swapn.priiya@gmail.com; ranisavita463@gmail.com; Manjari Kaul kaul.manjari@gmail.com; Femi Adebajo adebajofemi1@gmail.com; Emmanuel Ndefo eb92715@gmail.com; sophie t sophiecarlatapparo@gmail.com; Stephanie Kayal stephanie.kayal@gmail.com; a.kobeissy@icloud.com
Cc: isazin@web.de; Maxi Menja Lehmann maximenja.lehmann@googlemail.com; Jenny Flügge fluegge@frankfurt-lab.de
Betreff: Frankfurt Moves! meets postgraduate research

Dear Residence Artists of LAB,

dear Stephanie, dear Femi, dear Carla,

dear Manjari, dear Priiya, dear Savita,

thank you so much for the lively exchange of the last weeks. For taking us on walks, for sharing your ideas and imaginations about Frankfurt and for (not) showing us yourselves on pictures and for the thoughts, questions and experiences you contributed to the questions we were bringing along from our own experience with an international /South-North / post- (or is it) decolonial artistic exchange.

(The last line with its slashes (/) shows that the raised questions bring new questions apart and we hope that your time in Frankfurt brings further occasions for getting in touch and exchange.)

To close our little encounter, preceding your time as resident artists at LAB, we are happy to present to you the installation/website, that came out of our Zooms, shared Pads, Emails and a lot of bandwidth, that was spent on transferring video and audio data from one place to another.

It would be great if you could take a look at it if anyhow possible until tomorrow Tuesday 28th evening, as the festival will already open this Thursday evening. Many sorry for being so short term, but the work on the website just took us until today.

Please feedback us, if you are fine with the outcome or if there are parts that you would rather prefer not to be published.

[...]

https://rehearsingforanencounter.com/

The website will be installed at F°LAB Festival starting this week on Thursday evening and be accessible for the audience present as well as everyone using the link within the next three month.

We look forward to your feedback and hope to see you in Frankfurt!

Maxi and Isabelle

Ps. Attached you find a little response to Task 1 from our team (Maxi, Isabelle and Pablo) here in Germany.