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DTSTART;TZID=Europe/Berlin:20220224T180000
DTEND;TZID=Europe/Berlin:20220224T180000
DTSTAMP:20260520T181014
CREATED:20220208T185757Z
LAST-MODIFIED:20220210T160459Z
UID:19570-1645725600-1645725600@oyoun.de
SUMMARY:QueeЯevolutions (screening + discussion) in Birmingham
DESCRIPTION:During the LGBT History Month UK\, Berlin based Lebanese multidisciplinary performer and social artist Ahmad BaBa will present a plethora of his bodies of work in collaboration with SHOUT Festival and Midlands Arts Centre. His work focuses on claiming more visibility for underrepresented communities such as the LGBT+ refugee community in Berlin\, and creating dance/storytelling projects. \nQueeЯevolutions is a short film by Ahmad BaBa that rethinks queerness as a colonising tool\, shaped by its Western\, mainstream vision. Ahmad investigates often misinterpreted queer identities from the SWANA region (South-West Asia and North Africa)\, disrupting the notion of singular and one-dimensional queerness. It´s about questions like: When do we get a chance to investigate and express our queerness in our own way? How can we develop a language to speak about our complex identities? Why do we identify with a supposed „Pride“ that we haven’t achieved ourselves? These and other questions were raised by the participating artists\, who each seek in different ways within their practices to revolt against the normalising process of a one-dimensional „queerness“\, looking for ways to express\, explore\, and share unheard voices and unknown histories\, and who come together in struggle. \nThe project took place as a series of collective workshops „for us by us“ with a wide range of artists presenting themselves on their own terms. Able to represent themselves outside the white gaze\, the artists approached the experimental space of the project as a laboratory for sharing and reflecting on their experiences and ideas and as an occasion to develop collaborations with other QBIPOC individuals. \n \nQueeЯevolutions from Ahmad BaBa on Vimeo. \n→ The event is free of charge\, but registration is required. \nAbout Ahmad BaBa \nAhmad BaBa is a Lebanese visual and performance artist based in Berlin. His work is rooted in critical interdisciplinarity and anti-oppressive practices. With a performing arts background and currently working towards his MA in Dance and Movement Therapy\, Ahmad focuses on developing embodied arts and therapeutic processes. As conventional pedagogies around body work reproduce systemic oppression in institutions\, he works against viewing the effect of oppression as political mediums and complexities that fall outside of the “norm”. Ahmad's practice works to centralise lived experiences as the core element for collective transformations through approaches based on a " by us\, for us” framework\, the rewriting of bodies' stories through dance\, and redefining trauma-related oppression(s). Some of his previous projects and workshops include “Manuscripts of Foreign Body(s)”\, “Deconstructing Aesthetics of Embodiment” and “ QueeЯevolutions”. His visual performances approach identity from a critical and collective archivist perspective that revolve around understanding Queerness in relation to the multilayered Arab*Muslim identity(s). This has shown through in his work “ Ilk علق“\, which is an investigation into how queerness has become a form of colonialism\, erasing and homogenising many identities and ways of being that don’t necessarily fit under "Queer" as an umbrella term." \nInstagram // Facebook \nAbout Mansur Ajang \nMansur Ajang\, Ahmad's assistant director\, is a performer\, director and coach working with marginalised communities in Berlin. One focus of his work is theatre productions with long-term unemployed people that unleash the potential of people in social and economic circumstances through artistic creativity. He was trained at the Elisabethbühne of the Schauspielhaus in Salzburg. First engagements followed at the Theatre of the Young World in Leipzig\, Staatstheater Darmstadt and Ballhaus Ost Berlin. He is a member of the ensemble of the Magdeburg Theatre since 2022. Ilk is his second production with the performance artist Ahmad BaBa. \nFacebook \nAbout the residency \nAhmad BaBa is setting a ground for investigating identities on the level of bodies. The 10-day residency\, as part of SHOUT festival’s programme for LGBT History Month in collaboration with Midlands Arts Centre\, will combine the dual disciplines that Ahmad is engaged in: performing arts and dance therapy. His work focuses on claiming more visibility for underrepresented communities such as the LGBT+ refugee community in Berlin\, and creating dance/storytelling projects. \nAhmad BaBa’s residency with SHOUT Festival & Midlands Arts Centre (MAC) is part of the the ongoing research\, exhibition and performance project "Embodied Temporalities - tracing the memories our bodies hold" by Oyoun cultural centre (Berlin\, GER). \nWhat memories do our bodies hold? What can our bodies tell us about ourselves\, pasts\, and futures? Through Embodied Temporalities – Tracing the memories our bodies hold\, cultural practitioners explore identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives. It offers a community-centred approach for participants finding expression of experiences through movement while paving the way for collective healing. Embodied Temporalities is a research\, archiving\, exhibition and performance project under the artistic direction of Madhumita Nandi. \nArtistic-Director: Madhumita Nandi // Instagram \nThe touring of Embodied Temporalities is realised in partnership with SHOUT Festival\, Liv’in Festival\, Play Perform Learn Grow and Live Green. \n\nThis international collaboration is made possible by Perform Europe. Perform Europe is an EU-funded project aiming to rethink how performing arts works are presented across borders in a more inclusive\, sustainable and balanced way by testing new touring and distribution practices and providing policy recommendations for a future EU support scheme. This 18-month journey includes a research phase\, launching a digital platform\, testing a support scheme\, and designing policy recommendations. \n\nPerform Europe is funded by the Creative Europe Programme of the European Union and co-managed by a Consortium of 5 organisations: IETM – International network for contemporary performing arts\, the European Festivals Association (EFA)\, Circostrada\, EDN – European Dancehouse Network\, and IDEA Consult. \nMAC Birmingham: Website // Instagram \nSHOUT/Birmingham LGBT: Website // Instagram \n\nPerform Europe: Facebook // Instagram \n 
URL:https://oyoun.de/event/queerrevolutions-screening-discussion-in-birmingham/
LOCATION:MAC – HEXAGON THEATRE\, Cannon Hill Park\, Birmingham\, Birmingham\, 12049\, Großbritannien (Vereinigtes Königreich)
CATEGORIES:Bewegungen / Movements,Embodied Arts Festival,Performance,Workshop
ATTACH;FMTTYPE=image/png:https://oyoun.de/files/2022/02/32.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220222T180000
DTEND;TZID=Europe/Berlin:20220223T210000
DTSTAMP:20260520T181014
CREATED:20220207T150013Z
LAST-MODIFIED:20220210T161554Z
UID:19516-1645552800-1645650000@oyoun.de
SUMMARY:Deconstructing the Aesthetics of Embodiment (workshops) in Birmingham
DESCRIPTION:During the LGBT History Month UK\, Berlin based Lebanese multidisciplinary performer and social artist Ahmad BaBa will present a plethora of his bodies of work in collaboration with SHOUT Festival and Midlands Arts Centre. His work focuses on claiming more visibility for underrepresented communities such as the LGBT+ refugee community in Berlin\, and creating dance/storytelling projects. \nOur embodiment experiences differ due to gender\, race\, class\, ability and sexual orientation. Somatics and body oriented therapies/practices\, want to see all bodies as one object. However\, oppression(s) experienced by QTBIPOC\, Queer and Trans bodies of colour shape who they are. We must emphasise more on understanding oppression(s) as a form of traumas that live in the bodies\, and build toward anti-oppressive critical practices that centre lived experiences as a core witness of being in the world. Therefore\, aiming for transformation processes\, through allowing our bodies to speak for themselves\, and have spaces that aren’t titled ONLY as “safe” but to achieve safety through a collective consciousness that arises from our experiences that are often perceived as foreign. \nIn this workshops\, we will process\, using dance and movement interventions\, how we can deconstruct the ONE standardised way of having a body and being present in it\, and allowing those bodies to go beyond and bring forward the stories they hold within. The workshops will last 3 hours; including an opening circle\, several interventions and a closure/reflection round ending the session. You don't need to have dance experience. \n \nManuscript of AHMAD from Michalina on Vimeo. \n→ The event is free of charge\, but registration is required. \nAbout Ahmad BaBa \nAhmad BaBa is a Lebanese visual and performance artist based in Berlin. His work is rooted in critical interdisciplinarity and anti-oppressive practices. With a performing arts background and currently working towards his MA in Dance and Movement Therapy\, Ahmad focuses on developing embodied arts and therapeutic processes. As conventional pedagogies around body work reproduce systemic oppression in institutions\, he works against viewing the effect of oppression as political mediums and complexities that fall outside of the “norm”. Ahmad's practice works to centralise lived experiences as the core element for collective transformations through approaches based on a " by us\, for us” framework\, the rewriting of bodies' stories through dance\, and redefining trauma-related oppression(s). Some of his previous projects and workshops include “Manuscripts of Foreign Body(s)”\, “Deconstructing Aesthetics of Embodiment” and “ QueeЯevolutions”. His visual performances approach identity from a critical and collective archivist perspective that revolve around understanding Queerness in relation to the multilayered Arab*Muslim identity(s). This has shown through in his work “ Ilk علق“\, which is an investigation into how queerness has become a form of colonialism\, erasing and homogenising many identities and ways of being that don’t necessarily fit under "Queer" as an umbrella term." \nInstagram // Facebook \nAbout Assistant Director Mansur Ajang \nMansur Ajang\, Ahmad's assistant director\, is a performer\, director and coach working with marginalised communities in Berlin. One focus of his work is theatre productions with long-term unemployed people that unleash the potential of people in social and economic circumstances through artistic creativity. He was trained at the Elisabethbühne of the Schauspielhaus in Salzburg. First engagements followed at the Theatre of the Young World in Leipzig\, Staatstheater Darmstadt and Ballhaus Ost Berlin. He is a member of the ensemble of the Magdeburg Theatre since 2022. Ilk is his second production with the performance artist Ahmad Baba. \nFacebook \nAbout the residency \nAhmad BaBa is setting a ground for investigating identities on the level of bodies. The 10-day residency\, as part of SHOUT festival’s programme for LGBT History Month in collaboration with Midlands Arts Centre\, will combine the dual disciplines that Ahmad is engaged in: performing arts and dance therapy. His work focuses on claiming more visibility for underrepresented communities such as the LGBT+ refugee community in Berlin\, and creating dance/storytelling projects. \nAhmad Baba’s residency with SHOUT Festival & Midlands Arts Centre (MAC) is part of the curatorial production Embodied Temporalities by Oyoun cultural centre in Berlin\, Germany. \nWhat memories do our bodies hold? What can our bodies tell us about ourselves\, pasts\, and futures? Through Embodied Temporalities – Tracing the memories our bodies hold\, cultural practitioners explore identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives. It offers a community-centred approach for participants finding expression of experiences through movement while paving the way for collective healing. Embodied Temporalities is a research\, archiving\, exhibition and performance project under the artistic direction of Madhumita Nandi. \nArtistic-Director: Madhumita Nandi // Instagram \nThe touring of Embodied Temporalities is realised in partnership with SHOUT Festival\, Liv’in Festival\, Play Perform Learn Grow and Live Green. \n\nThis international collaboration is made possible by Perform Europe. Perform Europe is an EU-funded project aiming to rethink how performing arts works are presented across borders in a more inclusive\, sustainable and balanced way by testing new touring and distribution practices and providing policy recommendations for a future EU support scheme. This 18-month journey includes a research phase\, launching a digital platform\, testing a support scheme\, and designing policy recommendations. \n\nPerform Europe is funded by the Creative Europe Programme of the European Union and co-managed by a Consortium of 5 organisations: IETM – International network for contemporary performing arts\, the European Festivals Association (EFA)\, Circostrada\, EDN – European Dancehouse Network\, and IDEA Consult. \n  \nMAC Birmingham: Website // Instagram \nSHOUT/Birmingham LGBT: Website // Instagram \n 
URL:https://oyoun.de/event/deconstructing-the-aesthetics/
LOCATION:MAC – HEXAGON THEATRE\, Cannon Hill Park\, Birmingham\, Birmingham\, 12049\, Großbritannien (Vereinigtes Königreich)
CATEGORIES:Bewegungen / Movements,Embodied Arts Festival,Performance,Workshop
ATTACH;FMTTYPE=image/png:https://oyoun.de/files/2022/02/33.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220221T180000
DTEND;TZID=Europe/Berlin:20220221T180000
DTSTAMP:20260520T181014
CREATED:20220208T175002Z
LAST-MODIFIED:20220210T163456Z
UID:19545-1645466400-1645466400@oyoun.de
SUMMARY:Manuscripts of Foreign Body(s) (screening + discussion) in Birmingham
DESCRIPTION:During the LGBT History Month UK\, Berlin based Lebanese multidisciplinary performer and social artist Ahmad BaBa will present a plethora of his bodies of work in collaboration with SHOUT Festival and Midlands Arts Centre. His work focuses on claiming more visibility for underrepresented communities such as the LGBT+ refugee community in Berlin\, and creating dance/storytelling projects. \nManuscripts of Foreign Body(s) is a documentation film of performance workshops by Ahmad BaBa and Michalina Mrozek that focuses on TLGBQIA+ bodies of colour. The bodies here are seen in their continuous duality; both as a sites of oppression and resilience. This collective workshop invited artists from different disciplines to come together and create a safe(r) space(s)\, for investigating bodies on different levels\, and bring forward narratives that speak to their own personal stories. \nAhmad BaBa collaborates with Michalina Mrozek\, a filmmaker and film educator who has been working as an independent filmmaker in Berlin since the beginning of 2013. She has many years of experience in educational work with youth and young adults as a project manager and filmmaker. For the past four years\, she has increasingly realised projects with LGBTQ+ communities that aim for more visibility and tolerance. \nAhmad is accompanied in Birmingham by his assistant director Mansur Ajang. \n \nManuscripts of Foreign Body(s) Trailer 2021 from Ahmad BaBa on Vimeo. \n→ The event is free of charge\, but registration is required. \nAbout Ahmad BaBa \nAhmad BaBa is a Lebanese visual and performance artist based in Berlin. His work is rooted in critical interdisciplinarity and anti-oppressive practices. With a performing arts background and currently working towards his MA in Dance and Movement Therapy\, Ahmad focuses on developing embodied arts and therapeutic processes. As conventional pedagogies around body work reproduce systemic oppression in institutions\, he works against viewing the effect of oppression as political mediums and complexities that fall outside of the “norm”. Ahmad's practice works to centralise lived experiences as the core element for collective transformations through approaches based on a " by us\, for us” framework\, the rewriting of bodies' stories through dance\, and redefining trauma-related oppression(s). Some of his previous projects and workshops include “Manuscripts of Foreign Body(s)”\, “Deconstructing Aesthetics of Embodiment” and “ QueeЯevolutions”. His visual performances approach identity from a critical and collective archivist perspective that revolve around understanding Queerness in relation to the multilayered Arab*Muslim identity(s). This has shown through in his work “ Ilk علق“\, which is an investigation into how queerness has become a form of colonialism\, erasing and homogenising many identities and ways of being that don’t necessarily fit under "Queer" as an umbrella term." \nInstagram // Facebook \nAbout Mansur Ajang \nMansur Ajang is a performer\, director and coach working with marginalised communities in Berlin. One focus of his work is theatre productions with long-term unemployed people that unleash the potential of people in social and economic circumstances through artistic creativity. He was trained at the Elisabethbühne of the Schauspielhaus in Salzburg. First engagements followed at the Theatre of the Young World in Leipzig\, Staatstheater Darmstadt and Ballhaus Ost Berlin. He is a member of the ensemble of the Magdeburg Theatre since 2022. Ilk is his second production with the performance artist Ahmad BaBa. \nAssistant Director: Mansur Ajang // Facebook \nAbout the residency \nAhmad BaBa’s residency with SHOUT Festival & Midlands Arts Centre (MAC) is part of the the ongoing research\, exhibition and performance project "Embodied Temporalities - tracing the memories our bodies hold" by Oyoun. \nWhat memories do our bodies hold? What can our bodies tell us about ourselves\, pasts\, and futures? Through Embodied Temporalities – Tracing the memories our bodies hold\, cultural practitioners explore identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives. It offers a community-centred approach for participants finding expression of experiences through movement while paving the way for collective healing. Embodied Temporalities is a research\, archiving\, exhibition and performance project under the artistic direction of Madhumita Nandi. \nArtistic-Director: Madhumita Nandi // Instagram \nThe touring of Embodied Temporalities is realised in partnership with SHOUT Festival\, Liv’in Festival\, Play Perform Learn Grow and Live Green. \n\nThis international collaboration is made possible by Perform Europe. Perform Europe is an EU-funded project aiming to rethink how performing arts works are presented across borders in a more inclusive\, sustainable and balanced way by testing new touring and distribution practices and providing policy recommendations for a future EU support scheme. This 18-month journey includes a research phase\, launching a digital platform\, testing a support scheme\, and designing policy recommendations. \n\nPerform Europe is funded by the Creative Europe Programme of the European Union and co-managed by a Consortium of 5 organisations: IETM – International network for contemporary performing arts\, the European Festivals Association (EFA)\, Circostrada\, EDN – European Dancehouse Network\, and IDEA Consult. \nMAC Birmingham: Website // Instagram \nSHOUT/Birmingham LGBT: Website // Instagram \n 
URL:https://oyoun.de/event/manuscripts-of-foreign-bodys-in-birmingham/
LOCATION:MAC – HEXAGON THEATRE\, Cannon Hill Park\, Birmingham\, Birmingham\, 12049\, Großbritannien (Vereinigtes Königreich)
CATEGORIES:Bewegungen / Movements,Embodied Arts Festival,Performance,Workshop
ATTACH;FMTTYPE=image/png:https://oyoun.de/files/2022/02/31.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210418T200000
DTEND;TZID=Europe/Berlin:20210418T210000
DTSTAMP:20260520T181014
CREATED:20210322T132150Z
LAST-MODIFIED:20210322T132201Z
UID:14560-1618776000-1618779600@oyoun.de
SUMMARY:Closing Ceremony | Embodied Arts Festival
DESCRIPTION:It is within the intersections of body memory and history that our bodies are potentially at their most revealing. Memories interrupt history and open up another possibility of embodied living\, one that spatialises time and temporalises space. Hence\, treating the body as memory and discussing the role of the body in witnessing authoritarian capitalism\, memorialising the torture carried out by dominant socio-political structures\, thus resisting the narrative erasure reproduced by the imperialism at national and global levels. Oyoun's first curatorial focus EMBODIED TEMPORALITIES offered a community-centered approach as a framework for participants to voice their experiences of ancestry\, rituals\, trauma\, death\, loss\, and finding expression for experiences that are otherwise un-shareable\, and often stigmatised in mainstream public discourses while paving the way for collective healing. \nThe EMBODIED ARTS FESTIVAL will present and celebrate the outcomes of this body of work. Join us for the closing ceremony on 18th April. \nThis event will be streamed online. Direct links will follow! \n 
URL:https://oyoun.de/event/closing-ceremony-embodied-arts-festival/
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/embodied-arts-festival-oyoun-berlin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210418T180000
DTEND;TZID=Europe/Berlin:20210418T193000
DTSTAMP:20260520T181014
CREATED:20210408T115716Z
LAST-MODIFIED:20210417T164336Z
UID:15143-1618768800-1618774200@oyoun.de
SUMMARY:THE BODY IS: A MAP\, A CAGE\, A KEY: Embodied practice as research methodologies
DESCRIPTION:Join us for some embodied reflections during the last event of Oyoun's EMBODIED ARTS FESTIVAL before the closing ceremony:\nA panel discussion about embodied and body-based practice as a generative tool for excavation and research and its potential pitfalls of reductionism and the re-application of oppressive body politics. Moderated by Kopano Maroga. \nThrough the diverse practices of Dr. Maiada Aboud\, Ahmad Hijazi (Cyclomorphosis) and Gugulethu 'Dumama' Duma we will investigate the ways in which embodied and body based practices can serve as tools for excavation and research while also posing potential pitfalls of reductionism and the re-application of oppressive body political lenses. When is the body a map\, when is it a key\, when is it a cage? \nThis event will stream on YouTube\, Vimeo & Facebook \n--- \nAhmad Hijazi (Cyclomorphosis)\,  is a Lebanese Multidisciplinary performer\, a social artist \, and a Masters student of Dance Movement Therapy\, based in Berlin . With an academic background in performing Arts from Beirut\, he’s been focusing his work on claiming more visibility for underrepresented communities such as the LGBT+ refugees community in Berlin\, and creating dance/storytelling projects such as “10/01 Q-Nights : de-orientalized edition “ and QueeЯevolutions a Collective based workshops investigating the concept of queerness as modern colonial discourse on people from SWANA. Ahmad’s performances are movement\,theatrical and digital pieces\, proposing materials\, such as old arabic manuscripts based performances\, different rooted traditions\,rituals\,terminologies\, breaking the stereotype image of what a queer arab performer must and is allowed to offer in the west. From 2017 on\, he’s been walking balls as part of the berlin ballroom scene and since 2019 is a member of "Queer Arab Barty" collective and ASDIQA اصدقاء mentoring program. He performed and produced his own production in Staatstheater Darmstadt \, performed in Heimathafen Neukölln \, Acud Theater\, Tak Theater \, Oyoun\, Uferstudios \, Replika theater.  \nDumama\, born Gugulethu Duma\, is a South African future folk performing artist\, songwriter and cultural researcher. Inspired by issues around inequality and displacement\, she is concerned with projects exploring cultural preservation\, presence and contemplations on futurity. Her interests intersect as practice based performance research\, and interdisciplinary\, collaborative bodies of work centred around political-poetic imaginations. Reimagining folk music of ancestors\, living and deceased\, Dumama works with the voice\, live loops\, hand-made bow instruments\, glitches and distortions. Fascinated by sound’s power\, the tonal emergence and decay in certain frequencies and emotions evoked within these frequencies\, Dumama passionately explores sound as a tool for social transformation and healing. \nDr. Maiada Aboud‘s work deals with ways that social and religious structures interconnect and influence the individual.Using endurance art\, her interest in social\, political\, and religious issues draws on a unique and personal perspective. Born in Palestine (Arab Israeli)\, graduated from Haifa University\, and received her education in the UK: Masters at Coventry University\, and Ph.D. at Sheffield Hallam University. Her studies attempt to connect the social-cultural analysis to the individual‘s experience by way of using performance and relating it to cultural and social life. The intention is to investigate cultural identity using endurance art with the objectives to establish if these performances are linked to collective identities. \nKopano Maroga (they/them) is a performance artist\, writer\, cultural worker and co-founding director of the arts organization ANY BODY ZINE. They are currently living in Brussels\, Belgium and working as a curator and guest-dramaturge at Kunstencentrum Vooruit in Ghent\, Belgium. Their debut anthology of poetry Jesus Thesis and Other Critical Fabulations was released in 2020 through uHlanga Press. They very much believe in the power of love as a weapon of mass construction.
URL:https://oyoun.de/event/the-body-is-a-map-a-cage-a-key/
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/04/the-body-is-a-map-a-cage-a-key.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210418T160000
DTEND;TZID=Europe/Berlin:20210418T173000
DTSTAMP:20260520T181014
CREATED:20210319T170928Z
LAST-MODIFIED:20210411T110200Z
UID:14547-1618761600-1618767000@oyoun.de
SUMMARY:The Body Undone Q&A - "Let My Body Speak" & "No Crying at the Dinner Table"
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nFor this Q&A event\, Sana Rizvi will be talking to Let My Body Speak director: Madonna Adib and No Crying at the Dinner Table director: Carol Nguyen. You are invited to join in the conversation.  \nThis event will take place on zoom\, you can register here. Please note the zoom discussion will also be live-streamed on Oyoun's online platforms - Youtube\, Vimeo and Facebook. \n  \nThe films will be available for 24 hours starting at 14:00 on 17th April. \nContact us at hallo@oyoun.de to get sent the link and password to view this film. (This is limited to people in Germany)  \n  \n"Inspired by the poetry of Meena Kandasamy\, the writings of Christina Crosby and Balbir Krishan’s art\, I began my reflections on embodied memories connected to loss and grief. Their work helped me map new areas of inquiry and pose questions away from a more conventional outlook on the linear notions of loss’s predestined path\, in a culture frantic for resolution. And instead\, look at loss as holding social\, political\, and aesthetic implications for the body. A loss that doesn’t rely on linearity but that is profoundly intimate\, from the deep space and time of the self. One that is birthed from the deepest parts of our bodies and times. Moreover\, from this position of embodied knowing\, could (re) engaging with loss generate sites for memory and history\, rewriting of the past and reimagining the future? And could this engagement with loss: the irrecoverable\, become\, paradoxically\, the condition of a new anti-colonial hope and agency." - Sana Rizvi \n  \nLet My Body Speak\nMadonna Adib\n10” | UK/ Lebanon | 2020 | Arabic with English subtitles \n \n“'When I left Syria\, my body became my only land. It is the only thing I own.” \nThis documentary is a personal and intimate journey exploring the repression experienced by the filmmaker during her childhood when she faced sexual control in a Damascus also experiencing a growing socio-political repression in the late 80s early 90s. Through the creative use of family archive in Damascus mixed with current footage of her body she reconstructs the pain of the past absorbed by her body. \nIndependent filmmaker and artist\, Madonna Adib was born in Damascus\, Syria\, in 1986. She has received her B.A. in Fine Arts from the University of Damascus and went on to study Film Animation at Concordia University. She created experimental documentaries and experimental short drama films that were screened in film festivals and contemporary art museums across the world. She is one of the six founders and a photographer in the project Syrian Eyes of The World. She currently lives in Beirut\, Lebanon. \nDirector: Madonna Adib\nProduction: Noe Mendelle for Scottish Documentary Institute\nCinematography: Elsy Hajjar\nEditing: Sandra Fatte \n  \nNo Crying at the Dinner Table\nCarol Nguyen\n2019 | Canada | 15 min | Vietnamese\, English with English subtitles \n \nFilmmaker Carol Nguyen interviews her own family to craft an emotionally complex and meticulously composed portrait of intergenerational trauma\, grief\, and secrets in this cathartic documentary about things left unsaid. \n\nCarol Nguyen is a Vietnamese Canadian filmmaker based in Toronto and Montreal. Her films often explore the subjects of cultural identity\, family and memory. Carol is a 2018 Sundance Ignite fellow\, Adobe Creativity Scholar and a TIFF Share Her Journey ambassador\, where she strives to empower diverse voices and women through her own stories and personal experiences in the film industry. Today\, Carol is working towards developing her first documentary feature as well as an animated short. \nDirector: Carol Nguyen \nProducers: Carol Nguyen\, Aziz Zoromba (Concordia Film School)\nCinematographer: Walid Jabri \nEditors: Carol Nguyen and Andrés Solis \nSound Design: Giulio Trejo-Martinez \nMusic Composer: Arie Van de Ven \nCast: Thao Nguyen-Duong\, Ngoc Nguyen\, Michelle Nguyen\, Carol Nguyen \ncarolnguyenfilms.com/no-crying-at-the-dinner-table \nThis short film is also available online here. \n--- \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/talk-let-my-body-speak-no-crying-at-the-dinner-table/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Talk
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/talk-let-my-body-speak-no-crying-on-the-dinner-table.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210417T180000
DTEND;TZID=Europe/Berlin:20210417T193000
DTSTAMP:20260520T181014
CREATED:20210319T164534Z
LAST-MODIFIED:20210417T152127Z
UID:14541-1618682400-1618687800@oyoun.de
SUMMARY:BLACK AS I AM QUEER AS I AM BLACK: A Black Queer Poetics reading session
DESCRIPTION:A journey into black queer poetics through the music\, poetry and performance works of self-identified black and queer artists from around the world. \nKopano Maroga and Maneo Mohale are two black queer cuties who have some questions about what constitutes so called blackness and so called queerness in the realm of poetics. How does identity sometimes operate as a doorway and\, sometimes\, a cliff? Is there a problem with falling? Is the falling The Poetic? And\, most importantly\, isn't all poetry GAY at the end of the day? \nJoin us for this guided reading session of pre-prescribed materials that evoke the poetic as we unpack what it means to us to be this black and this queer at this particular moment in history. \n  \nThis event will take place on zoom - please register with your name\, pronouns and motivations for attending here. \nHere\, you will find your pre-prepared playlist from Kopano and Maneo: Take some time to read the texts and listen to the music in your own time. Perhaps you’ve heard or read these texts before. What do they stir up for you? Where in your body do you feel the stirring? \n  \nAbout Maneo & Kopano\nManeo Refiloe Mohale (they/them) is a South African editor\, feminist writer and poet. Their work has appeared in various local and international publications\, including Jalada\, Prufrock\, The Beautiful Project\, The Mail & Guardian\, spectrum.za\, and others. They’ve served as a contributing editor for The New York Times and i-D\, among others. maneomohale.com \nKopano Maroga (they/them) is a performance artist\, writer\, cultural worker and co-founding director of the arts organization ANY BODY ZINE. They are currently living in Brussels\, Belgium and working as a curator and guest-dramaturge at Kunstencentrum Vooruit in Ghent\, Belgium. Instagram: @kopano.maroga \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \nContact us at hallo (at) oyoun.de if you have any questions.
URL:https://oyoun.de/event/black-as-i-am-queer-as-i-am-black/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Workshop
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/black-as-i-am-queer-as-i-am-black-a-black-queer-poetics-reading-session.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210417T160000
DTEND;TZID=Europe/Berlin:20210418T160000
DTSTAMP:20260520T181014
CREATED:20210408T102837Z
LAST-MODIFIED:20210411T105856Z
UID:15131-1618675200-1618761600@oyoun.de
SUMMARY:The Body Undone Film Screening: "Let My Body Speak"\, "No Crying at the Dinner Table" & "Kaala"
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nEach film is available for a selected timeframe during Oyoun's EMBODIED ARTS FESTIVAL. \nContact us at hallo@oyoun.de to get sent the link and password to view the films. (This is limited to people in Germany)  \nThere is a Q&A event happening with the directors of Let My Body Speak" and "No Crying at the Dinner Table on 18th April at 16:00\, see here for details. \n  \nLet My Body Speak\nMadonna Adib\n10” | UK/ Lebanon | 2020 | Arabic with English subtitles \n \n“'When I left Syria\, my body became my only land. It is the only thing I own.” \nThis documentary is a personal and intimate journey exploring the repression experienced by the filmmaker during her childhood when she faced sexual control in a Damascus also experiencing a growing socio-political repression in the late 80s early 90s. Through the creative use of family archive in Damascus mixed with current footage of her body she reconstructs the pain of the past absorbed by her body. \nIndependent filmmaker and artist\, Madonna Adib was born in Damascus\, Syria\, in 1986. She has received her B.A. in Fine Arts from the University of Damascus and went on to study Film Animation at Concordia University. She created experimental documentaries and experimental short drama films that were screened in film festivals and contemporary art museums across the world. She is one of the six founders and a photographer in the project Syrian Eyes of The World. She currently lives in Beirut\, Lebanon. \nDirector: Madonna Adib\nProduction: Noe Mendelle for Scottish Documentary Institute\nCinematography: Elsy Hajjar\nEditing: Sandra Fatte \n  \nNo Crying at the Dinner Table\nCarol Nguyen\n2019 | Canada | 15 min | Vietnamese\, English with English subtitles \n \nFilmmaker Carol Nguyen interviews her own family to craft an emotionally complex and meticulously composed portrait of intergenerational trauma\, grief\, and secrets in this cathartic documentary about things left unsaid. \nCarol Nguyen is a Vietnamese Canadian filmmaker based in Toronto and Montreal. Her films often explore the subjects of cultural identity\, family and memory. Carol is a 2018 Sundance Ignite fellow\, Adobe Creativity Scholar and a TIFF Share Her Journey ambassador\, where she strives to empower diverse voices and women through her own stories and personal experiences in the film industry. Today\, Carol is working towards developing her first documentary feature as well as an animated short. \nDirector: Carol Nguyen \nProducers: Carol Nguyen\, Aziz Zoromba (Concordia Film School)\nCinematographer: Walid Jabri \nEditors: Carol Nguyen and Andrés Solis \nSound Design: Giulio Trejo-Martinez \nMusic Composer: Arie Van de Ven \nCast: Thao Nguyen-Duong\, Ngoc Nguyen\, Michelle Nguyen\, Carol Nguyen \ncarolnguyenfilms.com/no-crying-at-the-dinner-table \nThis short film is also available online here. \n  \nKaala\nSourav Das\n4.26” | India | 2020 \n \nKaala\, a musical mood piece about a boy finding his liberation from social stigmas. \nSourav Das\, a 23 year old self-taught filmmaker who comes from a very small town in Assam\, India. Das currently resides in Mumbai and makes a living by making films. \nWriter/Director/Cinematographer: Sourav Das\nFeaturing: Ajay Das\, Jeevan Sanyasi\nProducer: Seba Das\nEditor: Mitali Solanki\, Sourav Das\nMusic: Shafer Youssef\nSound: Mitali Solanki\, Sourav Das \nThis short film is also available online here. \n--- \nEMBODIED ARTS FESTIVAL \nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/the-body-undone-film-screening-short-films/
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/04/let-my-body-speak.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210417T160000
DTEND;TZID=Europe/Berlin:20210417T173000
DTSTAMP:20260520T181014
CREATED:20210318T162540Z
LAST-MODIFIED:20210417T100813Z
UID:14472-1618675200-1618680600@oyoun.de
SUMMARY:Untangling the Mirage - Forms of Queerness and Resistance
DESCRIPTION:A conversation along with screenings of “Mirage” and “Untangle” by Avril Stormy Unger \nHow do constructs of time and space shape an artistic expression that traverses several disciplines and socio-cultural contexts? How do we look at interdisciplinarity as a form of queer articulation? How do sexuality and queerness build a dialogue with the public space? In what ways does the artist’s expression of dissent negotiate questions of identity\, agency and form? \nFor this conversation\, Avril Stormy Unger will be joined by her collaborators\, based in India and New York\, to talk about the artistic journey\, their own personal and local contexts as well as socio-political intentions which are manifested in her works “Mirage” and “Untangle”. You are invited to join in the conversation\, share your thoughts with the artists and open up new discourses. \n“Mirage” is a performance intervention at an upmarket mall in Bangalore\, India\, highlighting structural inequalities in accessing basic necessities such as healthcare and clean water. View Mirage here. \n“Untangle”\, a video work\, is based on the redefinition of self and identity\, through the journey of unpacking internalised societal expectations. View Untangle here. \nIn conversation: \n- Avril Stormy Unger\, curator and artist\, India\n- Sonal Giani\, producer\, India\n- Prashansa Gurung\, cinematographer\, India\n- Nabi A.\, editor\, New York\n- Paro\, sound for Untangle\, India \nThe discussion will be moderated by Mandeep Praikhy. \n  \nThis event will take place on zoom\, you can register here. Please note\, the zoom discussion will be live-streamed on Oyoun's online platforms - YouTube\, Vimeo and Facebook. \n  \n  \nABOUT THE ARTIST AND MODERATOR\nAvril Stormy Unger is an interdisciplinary artist whose practice spans across durational performance\, movement art\, public interventions and installations. Her work is heavily informed by the nuances of performance and seeks to challenge accepted social norms and behaviours. Her practice includes folk art and is inherently Indian. The themes explored in her work include gender\, trauma\, sexuality\, religion\, memory and urban living. Avril is also a certified mental health practitioner. avrilstormyunger.com  \nMandeep Raikhy is a dance practitioner with a particular interest in exploring the intersections between dance creation\, performance\, research\, and pedagogy. He trained at Trinity Laban and worked with ShobanaJeyasingh Dance Company\, London\, for several years. Mandeep has created and toured extensively for many of his dance works\, notably Inhabited Geometry (2010)\, a male ant has straight antennae (2013)\, Queen-size (2016)\, Anatomy of Belief (2019) and The Secular Project (2020-21). Since 2009\, Mandeep is Managing Director at Gati Dance Forum\, where he has worked to develop a supportive environment for contemporary dance in the country through projects as diverse as residencies\, festivals\, publications\, and advocacy initiatives. He is currently teaching as an assistant professor at the MA Performance Practice (Dance) at Ambedkar University\, Delhi. This practice-based masters programme in dance is the first of its kind in South Asia. mandeepraikhy.wordpress.com \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \nContact us at hallo@oyoun.de if you have any questions.
URL:https://oyoun.de/event/untangling-the-mirage/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Talk
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/untangling-the-mirage-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210417T130000
DTEND;TZID=Europe/Berlin:20210417T150000
DTSTAMP:20260520T181014
CREATED:20210319T160829Z
LAST-MODIFIED:20210417T100811Z
UID:14534-1618664400-1618671600@oyoun.de
SUMMARY:Hate\, the Ultimate Form of Violence Against the Other?
DESCRIPTION:We invite you to join this panel discussion organised by Artist-Activist Sujatro Ghosh. While opening up the discourses on hate\, violence\, propaganda\, fascism and segregation\, we will revisit the curatorial intentions of his project Geography of Hate as well as the artistic contexts of the different performances presented in the exhibition.  \nGeography of Hate questions hate as a tool for systematic violence and otherisation - it is an exploration of what powers hatred and why — in this case\, hatred directed towards a particular religious community within a specific geographical location: the Indian subcontinent. However\, in many ways\, even as the project is bounded by a certain geopolitical context\, it simultaneously transcends contextual specificities to embrace a global geographical poetics - not least through the participants\, who are from all corners of the world. The project also demonstrates a different kind of unity whereby all participants - despite differences in national\, cultural\, social\, political\, economic\, religious\, racial\, ethnic\, and/or sexual identity - have the same base visceral response to violence. \nThe Geography of Hate exhibition which includes a showcase of objects\, performance videos\, a documentary\, and an immersive projection work was curated by Arijit Bhattacharyya (Artist\, Curator and Activist) and Sujatro Ghosh. It will be on show in Oyoun's tower from the start of the EMBODIED ARTS FESTIVAL for two months. Information about how to visit in person will be available soon.  \n  \nThis event will take place on zoom\, you can register here. The zoom discussion will be live-streamed on Oyoun's online platforms - YouTube\, Vimeo and Facebook. \nContact us at hallo@oyoun.de if you have any questions. \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/discussion-geography-of-hate/
CATEGORIES:Embodied Arts Festival,Talk
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/geography-of-hate-discussion.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210416T190000
DTEND;TZID=Europe/Berlin:20210416T213000
DTSTAMP:20260520T181014
CREATED:20210318T132117Z
LAST-MODIFIED:20210415T104837Z
UID:14443-1618599600-1618608600@oyoun.de
SUMMARY:Taking Root in the Flesh - An Evening of Dialogical Exploration and Performance
DESCRIPTION:Part 1 : Dialogical Exploration\nA discussion with Thokozani Heidi Sincuba\, Jessica Korp\, and Gugulethu ' Dumama' Duma - interpreting the work of Zora Neale Hurston today\, from South African\, Ethiopian-German\, Moroccan and diasporic perspectives. \nThe first part of the evening will be a discursive exploration where we will listen and learn from one another’s diaspora and African based experiences\, interventions\, and disruptions. We will take a short excerpt from Zola Neale Hurston as our departure point to explore the following themes: choreographies and cartographies of belonging\, what taking root in the flesh means to us and how positionalities are informed by where we are at. \nThere is emancipating agency in self-description and naming\, but what and how are we invoking that in our practices? What are the characteristics of our position? What is our work/contribution disrupting within the dominant discourse?  \nJessica Korp will be moderating this panel discussion\, and she is interested in an interrogation of how bodies participate in gendered and radicalised structures of culture and politics\, negotiating the narrative boundaries of racial community and political ideologies. \n  \nPart 2 : Performing Artists\nFor the second part of the evening\, we will present two performances from Gugulethu ' Dumama' Duma and Pure. \nIn her performance\, Dumama will explore sonic archives\, live improvisational composition (working with voice\, glitch\, live loops)\, and digital video work. The performance will explore ritual\, day-to-day\, prismatic identity\, and the tensions present in preservation. The performance also aims to engage with the depth perception experience when working with sound\, working with tonal emergence and deay - honouring the bassline frequency of creation. \n“Time moves rapidly this year and it becomes more intricate and delicate to distinguish between distraction and inspiration. Thoughts float around the body with a vapid kind of intimacy. I wonder why the warm murmurs of strangers speaking unfamiliar languages makes me feel at home? I’m interested in how we express an embodied transience in a world where identity\, history and future can leave you feeling restricted by and in your flesh. I’m interested in moving out of those systemically imposed limitations.” - Dumama \nPure's performance will explore expression as an instrument through which the re-imagination or {un}making of self is accessible as a form of meditation and healing. \n"Existing as a queer person of colour within my own diasporic experiences has shaped my identity over time. Shifting and changing - a constant forward movement towards a purposeful and much more intentional future. Influenced by the weight of my past\, currently navigating through the complexities of my very existence and breathing deeply from the untold stories of my abundant future - there lies this unfathomable strength to dare aspire towards greatness outside of the confines or challenging circumstances of reality. Manifesting my own personal spiritual blueprint that not only liberates but offers profound ancestral healing as I walk this historically drenched territory. This/My embodied experience/identity is layered\, vast\, expansive\, unfolding\, seeking\, wealthy\, ubandent\, timeless\, gentle and free of violent oppression - a privilege historically denied to my people." - Pure \n  \n--- \nThis event will be streamed on Oyoun's Vimeo\, YouTube and Facebook channels. \n  \nBiographies\nGugulethu Duma\, also known as Dumama\, is an artist\, performer and sonic researcher born in South Africa. Their transdisciplinary practice involves consciously deconstructing and critiquing archaic modes of representation of Southern African/African sonic and performance culture. Ritualising modes of togetherness\, Dumama is concerned with the ways in which new forms can organically emerge when collaborations can center in intimacy and openness. Their interests intersect as practice based performance research\, and interdisciplinary\, collaborative bodies of work centered around political-poetic imaginations. dumamamusic.com \nJessica Korp studied Social & Cultural Studies at Goldsmiths College in London and wrote her bachelor thesis on collective melancholy and the empire. In 2019 she co-curated the permanent exhibition "Meshwork of Things - The Collection Showcase of the Humboldt University of Berlin" at the Tieranatomisches Theater\, where she worked as curatorial assistant until 2020. As part of her research residency at Tropez\, Jessica Korp did research on the experience of racism in the Humboldthain swimming pool. Currently she is actively engaged in the areas of anti-racist self-organisation\, empowerment and social engagement in cultural contexts. She is a student of European Ethnology at the Humboldt-Universität zu Berlin and an active member of the Aktivistar Filmkollektiv\, organizer of Sonic In(ter)ventions. \nThokozani Heidi Sincuba is a South African artist and speculative thinker who embodies the erotic as power against violence\, toxicity and erasure. They studied at the University of Cape Town\, Artez Arnhem and hold an MFA from Goldsmiths University of London and are active in several exhibitions\, fairs and conferences yearly. They have exhibited in the Netherlands\, Germany\, the United Kingdom\, United States and South Africa. Their most recent solo exhibition was part of the National Arts Festival in Makhanda. They are currently the Head of Painting at The University Currently Known As Rhodes\, South Africa. \nPure is a multidisciplinary Artist | Mother | Creator | Afrofuturist | Pansexual | Expressionist | Performer | Feminist | Plant Based | Seeker. An evolving and ever-shifting entity\, cultivating her expansive creativity from unmasked shame and long endured implications of existing as a black queer artist. Her body of work forms part of a self-healing meditation\, a process that she describes as delicate and personal. "I'm here to reliving the black experience in honor of my lineage by using my art to dispute oppression and bring focus to black- {re}imagination"  \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries which have come out of the projects will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \n  \n--- \nTaking Root in the Flesh - Ein Abend aus dialogischer Erkundung und Performance\n\nTeil 1 : Dialogische Erkundung\nEine Gespräch mit Thokozani Heidi Sincuba\, Jessica Korp und Gugulethu 'Dumama' Duma - zur Interpretation des Werkes von Zora Neale Hurston heute\, aus südafrikanischer\, äthiopisch-deutscher\, marokkanischer und diasporischer Perspektive. \nDer erste Teil des Abends wird eine diskursive Erkundung sein\, bei der wir uns gegenseitig zuhören und von unseren jeweiligen diasporischen und afrikanischen Erfahrungen\, Interventionen und Brüchen lernen werden. Wir werden einen kurzen Auszug aus Zola Neale Hurstons Werk als Ausgangspunkt nehmen\, um die folgenden Themen zu erforschen: Choreographien und Kartographien der Zugehörigkeit / Was bedeutet es für uns\, Wurzeln im Fleisch zu schlagen / Wie sind Positionierungen dadurch geprägt\, wo wir uns grade befinden. \nIn der Selbstbeschreibung und -benennung liegt eine emanzipatorische Kraft\, aber was und wie rufen wir damit in unseren Praktiken herauf? Was sind die Merkmale unserer Position? Welche Störung ruft unsere Arbeit/unser Beitrag innerhalb des dominanten Diskurses hervor? \nJessica Korp wird dieses Podiumsgespräch moderieren. Sie interessiert sich für die Frage\, wie Körper an vergeschlechtlichten und radikalisierten Strukturen von Kultur und Politik partizipieren und dabei die narrativen Grenzen von ethnischer Gemeinschaft und politischen Ideologien verhandeln. \n  \nTeil 2 : Performance\nIm zweiten Teil des Abends präsentieren wir zwei Performances von Gugulethu 'Dumama' Duma und Pure. \nIn ihrer Performance wird Dumama Klangarchive\, live improvisierte Komposition (mit Stimme\, Störimpulsen und Live-Loops arbeitend) und digitale Videoarbeiten erforschen. Die Performance wird Rituale\, Alltägliches\, prismatische Identität und die Spannungen erforschen\, die bei deren Bewahrung vorhanden sind. Darüber hinaus setzt sich die Performance mit der Erfahrung der Tiefenwahrnehmung bei der Arbeit mit Klang auseinander\, indem sie mit dem Auftauchen und Abklingen von Tönen arbeitet - zu Ehren der Bassfrequenz der Schöpfung. \n"Die Zeit vergeht in diesem Jahr sehr schnell und es wird komplizierter und heikler\, zwischen Ablenkung und Inspiration zu unterscheiden. Die Gedanken schweben mit einer faden Art von Intimität um den Körper herum. Ich frage mich\, warum mir das warme Gemurmel von eine unbekannte Sprache sprechenden Fremden das Gefühl gibt\, zu Hause zu sein? Mich interessiert\, wie wir eine verkörperte Vergänglichkeit in einer Welt ausdrücken\, in der Identität\, Geschichte und Zukunft dazu führen können\, dass man sich von und in seinem Körper eingeschränkt fühlt. Ich versuche mich aus diesen systemisch auferlegten Beschränkungen herauszubewegen." - Dumama \nPures Performance erforscht Ausdruck als Instrument\, das die Re-Imagination\, bzw. die Ent- und Abwicklung des Selbst als Form der Meditation und der Heilung zugänglich macht. \n"Als queere Person of Color innerhalb meiner eigenen diasporischen Erfahrungen zu existieren\, hat meine Identität im Lauf der Zeit stark beeinflusst. Sie verschiebt und verändert sich - ich erkenne eine ständige Vorwärtsbewegung in Richtung einer zielgerichteten und viel bewussteren Zukunft. Beeinflusst von der Last meiner Vergangenheit navigiere ich derzeit durch die Komplexität meiner eigenen Existenz und atme tief die unerzählten Geschichten meiner reichen Zukunft - darin liegt diese unerklärliche Kraft\, es zu wagen\, nach Größe außerhalb der Grenzen\, der schwierigen Umstände der Realität zu streben. Es zu wagen\, meinen eigenen persönlichen spirituellen Entwurf zu verwirklichen\, der mich nicht nur befreit\, sondern tiefgründige Ahnenheilung bietet\, während ich dieses geschichtsträchtige Territorium durchschreite. Diese/meine verkörperte Erfahrung/Identität ist vielschichtig\, weitläufig\, expansiv\, sich entfaltend\, suchend\, wohlhabend\, reichhaltig\, zeitlos\, sanft und frei von gewaltsamer Unterdrückung - ein Privileg\, das meinem Volk historisch verwehrt wurde." - Pure \n  \n--- \n\nDiese Veranstaltung wird auf Oyouns Vimeo\, YouTube und Facebook Kanälen gestreamt. Direkte Links in Kürze! \n  \nBiographien\nGugulethu Duma\, auch bekannt als Dumama\, ist eine in Südafrika geborene Künstlerin\, Performerin und Klangforscherin. In ihrer transdisziplinären Praxis dekonstruiert und kritisiert sie bewusst archaische Repräsentationsformen der (süd-)afrikanischen Klang- und Performancekultur. Ihr Interesse gilt der Verbindung von praxisbasierter Performance-Forschung und interdisziplinären\, kollaborativen Arbeiten\, die sich um politisch-poetische Imaginationen drehen. > dumamamusic.com
URL:https://oyoun.de/event/taking-root-in-the-flesh/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Performance,Talk
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/taking-root-in-the-flesh.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210415T200000
DTEND;TZID=Europe/Berlin:20210415T210000
DTSTAMP:20260520T181014
CREATED:20210405T105710Z
LAST-MODIFIED:20210415T104942Z
UID:14966-1618516800-1618520400@oyoun.de
SUMMARY:Black Trans Futures | Go Find Me
DESCRIPTION:A talk with Danielle Brathwaite-Shirley and Ebun Sodipo dedicated to giving Black Trans people a space to speculate on their present allowing thought of how a Black Trans future could come from the space we are in now. \nDanielle Brathwaite-Shirley is a London- and Berlin-based Black trans artist\, game developer and mother. Through video game aesthetics and technologies\, Danielle aims to bring to the forefront the experiences of Black trans women and\, more generally\, to archive the Black trans experience. \nEbun Sodipo is an artist and writer making work for those who will come after: the black trans people of the future. Their interdisciplinary practice narrates their construction a black trans-feminine self after slavery and colonialism. Through a process of fragmentation\, collage\, and fabulation\, they devise softer\, other-wise ways of imagining and speaking about the body\, desire\, archives\, and the past. Their recent work considers the instinctual\, bodily desires and pulls Sodipo feels as recognitions and readings of an embodied knowledge that connects them physically across space and time to non genetic trans ancestors\, providing an alternate account of ’transness’\, agency\, and the archive. \n  \nYou can register here to take part in the discussion on zoom. Please note this event will also be streaming live on Vimeo\, YouTube & Facebook. \n  \nGo Find Me\nGo Find Me is a digital archive of Black Trans people designed by Danielle Brathwaite-Shirley. Black Trans people have a history of being erased. Archives have failed to collect any first-hand recordings of our histories. Often the way trans people are archived reinforces or centers the violence we experienced whilst living. An archive that holds a Black trans experience needs to be careful about not recreating and centering trauma. Archives created by Trans people for Trans people can enable us to more accurately record our existence. Creating our own archives allows us to use different methods of archiving to more fully record a Trans perspective. \nThe aim of this project was to create an interactive fantasy archive that records conversations around Black trans online spaces\, organising\, bringing trans inclusive spaces offline and care through fiction. Through a series of workshops\, designing avatars to represent those involved\, interviews\, and soundscapes created for the environment. The end project will be an interactive archive that can be hosted both online and physically. Different areas and conversations within the archive will be accessible depending on your identity and choices within it. Not all the archive may be accessible to the viewer at any one time. \nInspired by Online game (MMORPG's) recording the missions and quests Black trans people go through when exploring the internet. : Looking for representation\, looking for Hormones\, looking for their history\, creating groups to hold space for others\, combating trolls\, etc. \n--- \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/black-trans-futures/
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/04/black-trans-futures-go-find-me.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210414T193000
DTEND;TZID=Europe/Berlin:20210414T210000
DTSTAMP:20260520T181014
CREATED:20210305T184355Z
LAST-MODIFIED:20210405T104305Z
UID:13229-1618428600-1618434000@oyoun.de
SUMMARY:Wer werden wir sein\, wenn du uns nicht mehr erzählst? - Ein Performance-Abend mit Cornelia and Kerim Melik Becker
DESCRIPTION:Ein Performance-Abend mit Cornelia and Kerim Melik Becker \nNach zwei Wochen Residency bei Oyoun gehen Cornelia und Kerim Becker auf die Bühne - lesen\, singen\, bewegen und spielen - und verkörpern ihre Fragestellungen und gesuchten Antworten mit lyrischer und musikalischer Sprache. \n“Ein geliebter Mensch stirbt. Wie erleben und verarbeiten seine nächsten Angehörigen – Lebensgefährtin und gemeinsamer Sohn – die Zeit des Sterbens\, des Trauerns? Die Auseinandersetzung führt in diese existentiellen Erfahrungen und sucht mithilfe verschiedener künstlerischer Ansätze nach Antworten\, die trösten und heilen können.” \n\nIm Rahmen des Projekts "Wer werden wir sein\, wenn du uns nicht mehr erzählst?" ist in physischen und digitalen Räumen von Oyoun auch eine Ausstellung mit Projektion von audiovisuellen Collagen zu sehen. \n--- \nEMBODIED ARTS FESTIVAL \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert. Siehe alle Events hier.
URL:https://oyoun.de/event/wer-werden-wir-sein/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Performance
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/wer-werden-wir-sein.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210414T140000
DTEND;TZID=Europe/Berlin:20210415T020000
DTSTAMP:20260520T181014
CREATED:20210322T145003Z
LAST-MODIFIED:20210409T101510Z
UID:14583-1618408800-1618452000@oyoun.de
SUMMARY:The Body Undone Film Screening - "Debut"
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nEach film is available for a selected timeframe during Oyoun's EMBODIED ARTS FESTIVAL.  \nContact us at hallo@oyoun.de to get sent the link and password to view the film. (This is limited to people in Germany)  \n  \nDebut\nAnastasiya Miroshnichenko\n80” | Belarus | 2017 | Russian with English Subtitles \n \nOver 1\,500 women are detained in a Belarus prison as first-time offenders. Eleven incarcerated women have volunteered to take part in a theater play. Whether to break out of their routine in prison\, to undergo some sort of therapeutic treatment or to prepare themselves for the time after their release from jail by role-play\, each partakes in the project for their own reasons. The rehearsals serve as the leitmotif for this balanced portrait that subtly frees these women from the stigma of being criminals. The women talk as mothers\, daughters and wives. Anastasiya Miroshnichenko’s documentary Debut is a rare and intimate glimpse into a seemingly distant world. \nAnastasiya Miroshnichenko studied at the Belarusian State Academy of Arts (Documentary Film Directing department) and the State Academy of Postgraduate Education (Higher School of Advertising). She has been working in television since 2008 as a director of historical\, entertainment and scientific TV programs. Her first documentary Crossroads (2014) won international TV and festivals acclaim\, had a world premiere at Warsaw IFF\, was awarded there with two prizes: Special Mention Jury Award and Audience Award. \nDirector/ Screenplay: Anastasiya Miroshnichenko\nProduction: Viktar Labkovich \nExecutive Producer: Darya Labkovich \nCinematography: Alexander Moroz\nEditor: Varfalamey Kuraga\nSound: Viacheslav Kruk\nMusic: Boris Lankov \nMore information: taskovskifilms.com \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \n  \n--- \nThe Body Undone: In Conversation with Loss ist ein Programm aus Filmvorführungen und Diskussionen\, organisiert von Sana Rizvi für Oyouns EMBODIED ARTS FESTIVAL. Die von Sana Rizvi ausgewählten Filme befassen sich mit verschiedenen Arten von Verlust\, getragen von unterschiedlichen Körpern - mit einem Fokus auf Erzählungen von neuen Stimmen. Der Film\, selbst ein verkörpertes Gedächtnis\, lädt Dich dazu ein\, über die folgende Frage nachzudenken: Können wir neue Möglichkeiten in der Verarbeitung von Verlust und Trauer entdecken\, indem wir Räume zulassen\, in denen diese Gefühle auf verkörperte Weise festgehalten und anerkannt werden? \nJeder Film ist während unseres EMBODIED ARTS FESTIVALS für einen ausgewählten Zeitraum verfügbar.  \nSchriebe uns unter hallo@oyoun.de\, um den Link und das Passwort zum Ansehen des Films zu erhalten. (Dies ist auf Personen in Deutschland beschränkt)  \nDebüt\nAnastasiya Miroshnichenko\n80' | Belarus | 2017 | Russisch mit englischen Untertiteln \nÜber 1.500 Frauen sind als Ersttäterinnen in einem weißrussischen Gefängnis inhaftiert. Elf inhaftierte Frauen haben sich freiwillig für die Mitwirkung an einem Theaterstück gemeldet. Um vorübergehend den Gefängnisalltag hinter sich zu lassen\, um eine Art therapeutische Behandlung zu erfahren\, um sich durch das Rollenspiel auf die Zeit nach der Haftentlassung vorzubereiten - jede nimmt aus ganz eigenen Gründen an dem Projekt teil. Die Proben dienen als Leitmotiv für dieses ausgewogene Porträt\, das die Frauen auf subtile Weise von dem Stigma befreit\, Kriminelle zu sein. Die Frauen sprechen als Mütter\, Töchter und Ehefrauen. Anastasiya Miroshnichenkos Dokumentarfilm-Debüt ist ein seltener und intimer Einblick in eine scheinbar sehr ferne Welt. \nAnastasiya Miroshnichenko studierte Dokumentarfilmregie an der Belarussischen Staatlichen Akademie der Künste und Werbung an der Staatlichen Akademie für Höhere Bildung. Seit 2008 arbeitet sie im Fernsehen als Regisseurin von historischen\, unterhaltsamen und wissenschaftlichen TV-Sendungen. Ihr erster Dokumentarfilm Crossroads (2014) wurde von internationalen Fernsehsendern und Festivals gefeiert\, hatte seine Weltpremiere auf dem Warschauer IFF und wurde dort mit einer Besonderen Erwähnung der Jury und mit dem Preis des Publikums ausgezeichnet. \nRegie/Drehbuch: Anastasiya Miroshnichenko\nProduktion: Viktar Labkovich\nProduktionsleitung: Darya Labkovich\nKamera: Alexander Moroz\nSchnitt: Varfalamey Kuraga\nTon: Viacheslav Kruk\nMusik: Boris Lankov \nWeitere Informationen: taskovskifilms.com \n  \nEMBODIED ARTS FESTIVAL \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert. Siehe alle Events hier.
URL:https://oyoun.de/event/debut/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Talk
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/debut.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210413T190000
DTEND;TZID=Europe/Berlin:20210413T203000
DTSTAMP:20260520T181014
CREATED:20210322T141422Z
LAST-MODIFIED:20210413T133023Z
UID:14573-1618340400-1618345800@oyoun.de
SUMMARY:The Body Undone Q&A - "The Body Remembers When the World Broke Open"
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nFor this Q&A event\, Sana Rizvi will be talking to The Body Remembers When the World Broke Open directors: Elle-Máijá Tailfeathers and Kathleen Hepburn. You are invited to join in the conversation.  \nThis event will take place on zoom\, you can register here. Please note that the zoom discussion will be live-streamed on Oyoun's online platforms - YouTube\, Vimeo and Facebook. \nThe Body Remembers When The World Broke Open will be available for 12 hours starting at 14:00 on 12th April. \nContact us at hallo@oyoun.de to get sent the link and password to view the film. (This is limited to people in Germany)  \n  \n"Inspired by the poetry of Meena Kandasamy\, the writings of Christina Crosby and Balbir Krishan’s art\, I began my reflections on embodied memories connected to loss and grief. Their work helped me map new areas of inquiry and pose questions away from a more conventional outlook on the linear notions of loss’s predestined path\, in a culture frantic for resolution. And instead\, look at loss as holding social\, political\, and aesthetic implications for the body. A loss that doesn’t rely on linearity but that is profoundly intimate\, from the deep space and time of the self. One that is birthed from the deepest parts of our bodies and times. Moreover\, from this position of embodied knowing\, could (re) engaging with loss generate sites for memory and history\, rewriting of the past and reimagining the future? And could this engagement with loss: the irrecoverable\, become\, paradoxically\, the condition of a new anti-colonial hope and agency." - Sana Rizvi \n  \nThe Body Remembers When The World Broke Open\nElle-Máijá Tailfeathers\, Kathleen Hepburn\n105” | Canada/Norway | 2019 | English \n \nTwo Indigenous women from vastly different backgrounds find their worlds colliding as one of them\, Rosie\, is fleeing a violent domestic attack. What begins as an urgent and terrifying escape tentatively expands as the women weave a fragile bond in their short time together while navigating the complexities of motherhood\, class\, race\, and the ongoing legacy of colonialism. \nElle-Máijá Tailfeathers is a filmmaker\, writer\, and actor based in Vancouver\, British Columbia. She is Blackfoot from the Kainai First Nation (Blood Reserve) as well as Sámi from northern Norway. She holds a bachelor’s degree from the University of British Columbia in Indigenous Studies with a Minor in Women's and Gender Studies. Tailfeathers was the 2018 Sundance Institute Merata Mita Film Fellow and is an alumni of the Berlinale Talent Lab\, the Hot Docs Accelerator Lab\, the CFC/NFB/Ford Foundation Open Immersion Virtual Reality Lab\, the Whistler Film Festival Aboriginal Film Fellowship\, and the International Sámi Film Institute Indigenous Film Fellowship. The Body Remembers When The World Broke Open is her debut narrative feature. \nKathleen Hepburn is a Vancouver born writer and director whose debut feature\, Never Stead Never Still\, which Variety Magazine calls a "stoically broken-hearted debut\," premiered at the Toronto International Film Festival in 2017 and was awarded Best Canadian Film and Best Director by the Vancouver Film Critics Circle\, as well as Special Jury Prize at the Dublin International Film Festival.She holds an MFA in Creative Writing\, and a BFA in Film Production from the Universities of Guelph and Simon Fraser respectively. \nDirectors/ Writers: Elle-Máijá Tailfeathers\, Kathleen Hepburn\nProduced by: Tyler Hagan\, Lori Lozinski\nProducer: Alan R. Milligan\nCo-Producer: Dyveke Graver\nCinematographer: Norm Li\nEditor: Christian Siebenherz\nSound Design: Håkon Lammetun\nOriginal Score: Øystein Braut\nCast: Elle-Máijá Tailfeathers\, Violet Nelson \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/talk-the-body-remembers-when-the-world-broke-open/
LOCATION:Online
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/talk-the-body-remembers-when-the-world-broke-open.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210412T180000
DTEND;TZID=Europe/Berlin:20210412T190000
DTSTAMP:20260520T181014
CREATED:20210319T141318Z
LAST-MODIFIED:20210412T152308Z
UID:14518-1618250400-1618254000@oyoun.de
SUMMARY:Decolonial Contemporary African Diasporic Visions | Exocé Kasongo at May-Ayim-Ufer
DESCRIPTION:The multidisciplinary afrocentric artist Exocé Kasongo will walk the ground at May-Ayim-Ufer in Berlin-Kreuzberg\, he will move\, dance\, act\, read and sing. He will wear clothes created by Souleyman\, which feature the fabrics visualizing Exocé’s collage work. The performance is the culmination of Exocé’s five-month project D.C.A.D.V (Decolonial Contemporary African Diasporic Visions)\, a search for identity and heritage\, artistic manifestation of ‘last rebel’. \nThis performance will be streamed on Oyoun's  YouTube\, Vimeo\, Facebook and Instagram channels. \nThe project “D.C.A.D.V (Decolonial Contemporary African Diasporic Visions)” by Exocé Kasongo was able to be realized by collaborative works of Astan Meyer\, Etsuki\, Ibrahima Ndiaye and Souleyman. \n  \nAbout the location:\nMay-Ayim-Ufer is a street in Berlin-Kreuzberg\, which was re-named in 2010 after the Afro-German poet\, educator\, and activist\, May Ayim. \nMay Ayim was born in 1960 in Hamburg\, the child of a German student and Ghanaian medical student. She wrote her thesis at the University of Regensburg\, "Afro-Deutsche: Ihre Kultur- und Sozialgeschichte aus dem Hintergrund gesellschaftlicher Veränderungen" (Afro-Germans: Their Cultural and Social History on the Background of Social Change)\, which was the first scholarly study of Afro-German history. Combined with contemporary materials\, it was published as the book Farbe Bekennen: Afro-deutsche Frauen auf den Spuren ihrer Geschichte (1986). This was translated and published in English as Showing Our Colors: Afro-German Women Speak Out (1986). It included accounts by many women of Afro-German descent. She published many other writings and worked as an activist to unite Afro-Germans and combat racism in German society. She co-founded Initiative Schwarze Menschen in Deutschland (Initiative of Black People in Germany) to that purpose in the late 1980s. \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/exoce-kasongo-x-may-ayim-ufer/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Performance
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/decolonial-contemporary-african-diasporic-visions.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210412T140000
DTEND;TZID=Europe/Berlin:20210413T020000
DTSTAMP:20260520T181014
CREATED:20210405T142844Z
LAST-MODIFIED:20210411T103843Z
UID:14985-1618236000-1618279200@oyoun.de
SUMMARY:The Body Undone Film Screening: "The Body Remembers When the World Broke Open"
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nEach film is available for a selected timeframe during Oyoun's EMBODIED ARTS FESTIVAL.  \nContact us at hallo@oyoun.de to get sent the link and password to view the film. (This is limited to people in Germany)  \nThere is a Q&A event happening with the film's directors on 13th April at 19:00\, see here for details. \n  \nThe Body Remembers When The World Broke Open\nElle-Máijá Tailfeathers\, Kathleen Hepburn\n105” | Canada/Norway | 2019 | English \n \nTwo Indigenous women from vastly different backgrounds find their worlds colliding as one of them\, Rosie\, is fleeing a violent domestic attack. What begins as an urgent and terrifying escape tentatively expands as the women weave a fragile bond in their short time together while navigating the complexities of motherhood\, class\, race\, and the ongoing legacy of colonialism. \nElle-Máijá Tailfeathers is a filmmaker\, writer\, and actor based in Vancouver\, British Columbia. She is Blackfoot from the Kainai First Nation (Blood Reserve) as well as Sámi from northern Norway. She holds a bachelor’s degree from the University of British Columbia in Indigenous Studies with a Minor in Women's and Gender Studies. Tailfeathers was the 2018 Sundance Institute Merata Mita Film Fellow and is an alumni of the Berlinale Talent Lab\, the Hot Docs Accelerator Lab\, the CFC/NFB/Ford Foundation Open Immersion Virtual Reality Lab\, the Whistler Film Festival Aboriginal Film Fellowship\, and the International Sámi Film Institute Indigenous Film Fellowship. The Body Remembers When The World Broke Open is her debut narrative feature. \nKathleen Hepburn is a Vancouver born writer and director whose debut feature\, Never Stead Never Still\, which Variety Magazine calls a "stoically broken-hearted debut\," premiered at the Toronto International Film Festival in 2017 and was awarded Best Canadian Film and Best Director by the Vancouver Film Critics Circle\, as well as Special Jury Prize at the Dublin International Film Festival.She holds an MFA in Creative Writing\, and a BFA in Film Production from the Universities of Guelph and Simon Fraser respectively. \nDirectors/ Writers: Elle-Máijá Tailfeathers\, Kathleen Hepburn\nProduced by: Tyler Hagan\, Lori Lozinski\nProducer: Alan R. Milligan\nCo-Producer: Dyveke Graver\nCinematographer: Norm Li\nEditor: Christian Siebenherz\nSound Design: Håkon Lammetun\nOriginal Score: Øystein Braut\nCast: Elle-Máijá Tailfeathers\, Violet Nelson \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/the-body-remembers-when-the-world-broke-open/
LOCATION:Online
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/the-body-remembers-when-the-world-broke-open.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210411T190000
DTEND;TZID=Europe/Berlin:20210411T213000
DTSTAMP:20260520T181014
CREATED:20210319T123944Z
LAST-MODIFIED:20210411T163057Z
UID:14497-1618167600-1618176600@oyoun.de
SUMMARY:Ancestral Body Noise: Rituals of Real(ese) Ceremony
DESCRIPTION:[deutsch unten] \nThe Ancestral Body Noise:  Rituals of Real(ese) Ceremony is a procession concluding and honouring the six-week-long\, intercultural healing incubator curated and facilitated by cultural researcher\, future-folk musician and life-long psycho-spiritual student\, Gugulethu ‘Dumama’ Duma. The five participants identify as part of the BIPOC diaspora in Berlin: KooCha\, Indrani Ashe\, Yin Cheng-Kokott\, Sailesh Naidu and Suelen Calonga.  \nIn the spirit of the programme’s emphasis on biomythography and ancestral reconnection\, the ritual process honours remnants of ritual through kinaesthetic and vocal intimacy\, engaging the power of a collective creativity developed amidst political and social resistance in a time of social distancing.The ceremony holds space for the ritual performances of each participant and their exploration into what their ancestral body noise manifests in their multiplicity. \nThe event will be streamed on Oyoun's Vimeo\, YouTube and Facebook channels. \n  \nAbout the performers\nYin Cheng-Kokott is a Taiwanese multidisciplinary performance artist\, certified yoga meditation teacher\, emergent choreographer\, and writer. She started professional training in contemporary dance\, gaga\, and various bodywork since she moved to Berlin five years ago. She meditates on tarot and yoga as a gateway to creative healing with others. Yin seeks to continue nurturing her creative skills for self-expressing and knowledge-sharing\, with love. > yinitis.com \nSuelen Calonga's work is situated between audiovisual\, performance\, and\, more recently\, is moving towards strategies of artistic research as a poetic method in order to contain both her transmedia autobiographical narrative and the critique of processes and procedures that sustain the colonization of knowledge through arts and social sciences. Brazilian from Contagem\, based in Berlin. > suelencalonga.com \nSailesh Naidu is a writer\, researcher\, and performance artist working in the sphere of migration\, gender\, and education. Their work interrogates the queer body as territory\, ancestral knowledge\, and building of queer personal narratives as archive. > migrationpersuasions.com \nKooChaa is a multi-disciplinary performance artist and activist. "I am fascinated by what happens when masks fall and people meet each other in their vulnerability - what comes out behind it - insecurity\, complex chaos\, and pure beauty. Growing up as a black queer woman in Franconia in a village with only one street in and no way out\, I initially tried not to stand out: get good grades\, be friendly\, be Franconian\, fit in. In my early twenties\, through contemporary dance and physical theater - and later through Butoh - I discovered my body\, which has fascinated and inspired me ever since. For me\, art is a means of liberation from given social (body) norms and rules or the search for a way to deal with them - a place where I feel alive and can determine my own rules. \nInterdisciplinary artist Indrani Ashe ইন্দ্রাণী responds to a world in which transnational histories and hybrid identities have been strategically marginalized and erased\, where profit-based algorithms continue the work of colonialism and imperialism\, and perception becomes reality. Ashe was born in North Carolina in the United States\, to an Indian mother whose parents fled the state of Bengal after the violent political upheaval of partition\, and a father descended from Welsh-English settlers of the Appalachian Mountains. Wresting the narrative from these hegemonical structures\, she creates necessary mythologies at the interplay between image\, text\, and performance: an intersectional feminist shadow archive\, which regenerates a damaged past and creates potential realities for the future. > indraniashe.com \nGugulethu Duma\, also known as Dumama\, is an artist\, performer and sonic researcher\, born in South Africa. Her transdisciplinary practice involves consciously deconstructing and critiquing archaic modes of representation of (Southern) African sonic and performance culture. Her interests intersect as practice based performance research\, and interdisciplinary\, collaborative bodies of work centred around political-poetic imaginations. > dumamamusic.com \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \n  \n--- \nDie Ancestral Body Noise:  Rituals of Real(ese) Ceremony ist eine Prozession zum feierlichen Abschluss des sechswöchigen interkulturellen Heilungs-Inkubators\, geleitet von der Kulturforscherin\, Future-Folk-Musikerin und lebenslangen psycho-spirituellen Studentin Gugulethu 'Dumama' Duma. Die fünf Teilnehmer*innen dieses Inkubators identifizieren sich als Teil der BIPOC-Diaspora in Berlin: KooCha\, Indrani Ashe\, Yin Cheng-Kokott\, Sailesh Naidu und Suelen Calonga.  \nIm Geiste des Programmschwerpunkts Biomythographie und Wiederverbindung mit den Vorfahren ehrt der rituelle Prozess die Überreste des Rituals durch kinästhetische und vokale Intimität und nutzt die Kraft der kollektiven Kreativität\, die sich inmitten von politischem und sozialem Widerstand in dieser Zeit sozialer Distanzierung entwickelt hat. Die Zeremonie bietet Raum für die rituellen Performances der einzelnen Teilnehmer*innen und deren Erkundung dessen\, was ihr jeweiliges Ancestral Body Noise in all ihrer Vielfältigkeit manifestiert. \nDie Veranstaltung wird auf Oyouns Vimeo\, YouTube und Facebook Kanälen gestreamt. \n  \nÜber die Performer*innen\n\nYin Cheng-Kokott ist eine taiwanesische multidisziplinäre Performance-Künstlerin\, zertifizierte Yoga- und Meditationslehrerin\, aufstrebende Choreografin und Autorin. Als sie vor fünf Jahren nach Berlin zog\, begann sie eine professionelle Ausbildung in zeitgenössischem Tanz\, Gaga und verschiedener Körperarbeit. Sie meditiert über Tarot und Yoga als Tor zur kreativen Heilung mit anderen. Yin möchte ihre kreativen Fähigkeiten zum Selbstausdruck und zum Teilen von Wissen mit Liebe weiter pflegen. > yinitis.com \nSuelen Calonga\, in Berlin lebende Brasilianerin aus Contagem\, bewegt sich mit ihrer Arbeit zwischen Audiovisuellem und Performance. Seit einiger Zeit sucht sie nach Strategien der künstlerischen Forschung als poetische Methode\, die sowohl ihre transmedial angelegte autobiografische Erzählung umfasst\, als auch die Kritik an Prozessen und Prozeduren\, die die Kolonisierung von Wissen durch Kunst und Sozialwissenschaften aufrechterhalten. > suelencalonga.com \nSailesh Naidu ist Schriftstellerin\, Forscherin und Performancekünstlerin und arbeitet im Bereich Migration\, Gender und Bildung. Ihre Arbeit befragt den queeren Körper als Territorium\, angestammtes Wissen und den Aufbau von queeren persönlichen Erzählungen als Wissensarchiv. > migrationpersuasions.com \nKooChaa ist multidisziplinäre Performance-Künstlerin und Aktivistin. "Mich fasziniert\, was passiert\, wenn die Masken fallen und sich Menschen in ihrer Verletzlichkeit begegnen - was dahinter zum Vorschein kommt: Unsicherheit\, komplexes Chaos und pure Schönheit. Aufgewachsen als schwarze queere Frau in Franken in einem Dorf mit nur einer Straße hinein und keiner heraus\, habe ich zunächst versucht\, nicht aufzufallen: gute Noten bekommen\, freundlich sein\, fränkisch sein\, reinpassen. In meinen frühen Zwanzigern entdeckte ich durch zeitgenössischen Tanz und Physical Theatre - und später durch Butoh - meinen Körper\, der mich seitdem fasziniert und inspiriert. Kunst ist für mich ein Mittel zur Befreiung von vorgegebenen gesellschaftlichen (Körper-)Normen und Regeln oder die Suche nach einem Umgang damit - ein Bereich\, in dem ich mich lebendig fühle und wo ich meine eigenen Regeln setzen kann. \nDie interdisziplinäre Künstlerin Indrani Ashe ইন্দ্রাণী reagiert auf eine Welt\, in der transnationale Geschichten und hybride Identitäten systematisch marginalisiert oder ganz ausgelöscht wurden\, in der profitorientierte Algorithmen das Werk von Kolonialismus und Imperialismus fortsetzen und die eigene Wahrnehmung mit der Realität verwechselt wird. Ashe wurde in North Carolina als Tochter einer indischen Mutter geboren\, deren Eltern nach den gewaltsamen politischen Umwälzungen der Teilung Indiens aus Bengalen geflohen waren\, und eines Vaters\, der von walisisch-englischen Siedlern aus den Appalachen abstammt. Indem sie ihr Narrativ diesen hegemonialen Strukturen entreißt\, schafft sie im Zusammenspiel von Bild\, Text und Performance notwendige Mythologien: ein intersektionales feministisches Schattenarchiv\, das eine beschädigte Vergangenheit regeneriert und potentielle Realitäten für die Zukunft schafft. > indraniashe.com \nGugulethu Duma\, auch bekannt als Dumama\, ist eine in Südafrika geborene Künstlerin\, Performerin und Klangforscherin. In ihrer transdisziplinären Praxis dekonstruiert und kritisiert sie bewusst archaische Repräsentationsformen der (süd-)afrikanischen Klang- und Performancekultur. Ihr Interesse gilt der Verbindung von praxisbasierter Performance-Forschung und interdisziplinären\, kollaborativen Arbeiten\, die sich um politisch-poetische Imaginationen drehen. > dumamamusic.com
URL:https://oyoun.de/event/rituals-of-realese/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Performance
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/ancestral-body-noise-rituals-of-realese-ceremony.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210411T160000
DTEND;TZID=Europe/Berlin:20210411T173000
DTSTAMP:20260520T181014
CREATED:20210317T152801Z
LAST-MODIFIED:20210411T103655Z
UID:14426-1618156800-1618162200@oyoun.de
SUMMARY:The Body Undone Q&A - "Nakorn-Sawan" & "Birha"
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nFor this Q&A event\, Sana Rizvi will be talking to Nakorn-Sawan director: Puangsoi Rose Akornsawang and Birha director: Ekta Mittal. You are invited to join in the conversation.  \nThis event will take place on zoom\, you can register here. Please note that the zoom discussion will be live-streamed on Oyoun's online platforms - YouTube\, Vimeo and Facebook. \nNakorn-Sawan will be available for 24 hours starting at 21:00 on 9th April. \nBirha will be available for 24 hours starting at 14:00 on 10th April. \nContact us at hallo@oyoun.de to get sent the link and password to view the film. (This is limited to people in Germany)  \n  \n"Inspired by the poetry of Meena Kandasamy\, the writings of Christina Crosby and Balbir Krishan’s art\, I began my reflections on embodied memories connected to loss and grief. Their work helped me map new areas of inquiry and pose questions away from a more conventional outlook on the linear notions of loss’s predestined path\, in a culture frantic for resolution. And instead\, look at loss as holding social\, political\, and aesthetic implications for the body. A loss that doesn’t rely on linearity but that is profoundly intimate\, from the deep space and time of the self. One that is birthed from the deepest parts of our bodies and times. Moreover\, from this position of embodied knowing\, could (re) engaging with loss generate sites for memory and history\, rewriting of the past and reimagining the future? And could this engagement with loss: the irrecoverable\, become\, paradoxically\, the condition of a new anti-colonial hope and agency." - Sana Rizvi \n  \nNakorn-Sawan\nPuangsoi Aksornsawang\n77” | Thailand/Germany | 2018 | Thai with English Subtitles \n \nIn her directorial debut\, Puangsoi Akornsawang blurs the lines between memory\, fact\, and fiction in a delicate contemplation of the meaning of life in the presence of death. In this hybrid film\, documentary footage from the filmmaker’s life is combined with the fictional story of a young woman returning home after the passing of her mother to scatter her ashes in the “Heavenly City.” The film is a delicate meditation on love\, loss and memory. \n\nAfter her graduation from the Motion Picture and Still Photography Department of Chulalongkorn University\, Bangkok\, Thailand\, Puangsoi Aksornsawang received many opportunities to exhibit her short film Swimming Pool at various student film festivals. In 2011\, she started her film production career as an assistant director and a scriptwriter. In 2014\, she had the academics DAAD scholarship and graduated from Master of Fine Arts at the University of the Arts Hamburg in 2018. She is based in Bangkok working as a director\, a writer and a scriptwriter. \n\nWriter & Director: Puangsoi Aksornsawang\nProducers: Anocha Suwichakornpong\, Parinee Buthrasri\, Puangsoi Aksornsawang\nDirector of Photography: Boonyanuch Kraithong\nEditor: Lee Chatametikool\nSound Designer: Akritchalerm Kalayanamitr\nMusic Composer: Jitivi Banthaisong\nCast: Prapamonton Eiamchan\, Jarunun Phantachat\, Phumipat Thavornsiri. \n  \nBirha\nEkta Mittal\n80” | India | 2018 | Hindi\, Punjabi with English Subtitles \n \nIn a faraway village called Birha\, missing people\, mothers and tired lovers yearn to see beyond the mist. They meet each other in impenetrable silences and endless mourning. They curse the moon for witnessing their insomnias. Birha situates itself in a season of waiting\, climate of uncertainty: where only a loud screech can register distance between loved ones. \nBirha is the grief\, agony and anguish of separation\, derived from Punjabi Sufi Poetry. Guided by Shiv Kumar Batalvi's birha poetry\, the film captures the pain\, lamentation and yearning caused by separation. The film searches for missing people\, who left their homes to work in faraway cities\, and have still not returned. The locations are not marked\, characters are not named\, Birha situates itself in a season of waiting and a climate of uncertainty. \nEkta Mittal co-founded Maraa (maraa.in)\, a media and arts collective in Bangalore in 2008. She works there as a practitioner\, researcher\, curator and facilitator around issues of gender\, labour & caste in rural and urban contexts. She also works with creative practices in public space\, through independent production and collaborations with other artists. She has been making films around labour\, migration and cities since 2009. Her recent film Birha is about separation and longing in the context of migration. \nDirector: Ekta Mittal\nProduction: Ekta Mittal for Maraa\nCinematography: Paromita Dhar\, Amith Surendran\nEditing: Abhro Banerjee\nSound: Ekta Mittal\nSound Design: Bigyna Dahal \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/talk-nakorn-sawan-birha/
LOCATION:Online
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/the-body-undone-qa-22nakorn-sawan22-22birha22.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210410T190000
DTEND;TZID=Europe/Berlin:20210410T203000
DTSTAMP:20260520T181014
CREATED:20210318T154745Z
LAST-MODIFIED:20210410T121518Z
UID:14463-1618081200-1618086600@oyoun.de
SUMMARY:Ilk عِلْق - (Per)forming a Queer Arab Muslim Futuristic Vision
DESCRIPTION:Ahmad Baba (Cyclomorphosis)\, is a Berlin-based Lebanese multidisciplinary performer\, a social artist\, and a Master's student in Dance Movement Therapy. With Ilk عِلْق\, Ahmad is investigating queerness from a queer Arab perspective\, tracking the roots of queer lives lived in Arabic and Muslim societies going back centuries. It is an investigation into how queerness has become\, like so many other things\, a form of colonialism\, that is forced on so many identities that don’t necessarily fit under that umbrella\, but find themselves being drawn to it because of the lack of development in their own individual and collective queer existence.  Ilk عِلْق will set out a queer Arab Muslim futuristic vision\, that starts with healing through rewriting histories on one’s own terms and (re)building an identity that has been much misinterpreted and distorted. \nThis performance and discussion event during Oyoun's EMBODIED ARTS FESTIVAL will be a visual experimental journey\, that shifts between three dimensions (Bab). The audience will have the possibility to cross through different time frames that manifest different approaches to Arab queerness\, from an abandoned past\, through a corrupted present\, and to a euphoric futurism. \n \nAhmad will draw inspiration for the performance elements from manuscripts such as Adab al-jins 'inda al-'Arab (The Erotic Writings of the Arabs) and Nuzhat Al-Albab Fima La Yujad Fi Kitab (A Promenade of the Hearts) by Amazigh poet\, writer\, and anthologist Ahmad Al tifashi (1184-1253 A.D). This should create a bridge over all the erasure that has been applied in modern times\, and increase understanding of how the queer Arab and Muslim identity can emerge by reclaiming times where queerness and homosexuality have been accepted\, tolerated and even studied. \nInspired by the name of the book "A Promenade of the Hearts" - this performance will be a promenade of questioning what we knew\, and what we know\, and what is still to come. \nThe performance screening (produced in collaboration with Mansur Ajang) will be followed by a discussion with the artist around the vision and motivation for the visual performance. \nThis event will be streamed on Oyoun's Vimeo\, YouTube and Facebook channels. Direct links will follow! \n  \nFor the discussion following the performance\, Ahmad will be joined by Fadi Saleh. \nFadi Saleh is a PhD candidate at the Institute of Cultural Anthropology and European Ethnology\, University of Göttingen. His research and teaching focus on queer and trans issues from a transnational perspective\, with a focus on migration\, humanitarianism\, and the politics of representation and knowledge production in/on the Middle East. Outside of academia\, he has worked in different LGBTIQ organizations across the SWANA region and Europe in different training\, consultancy\, adovcacy\, and activist capacities. \n  \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries which have come out of the projects will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \n  \n--- \nAhmad Baba (Cyclomorphosis) ist ein in Berlin lebender libanesischer multidisziplinärer Performer\, sozialer Künstler und Masterstudent in Tanz- und Bewegungstherapie. Mit Ilk عِلْق untersucht Ahmad Queerness aus einer queeren arabischen Perspektive und spürt den Wurzeln des queeren Lebens in arabischen und muslimischen Gesellschaften der letzten Jahrhunderte nach. Ilk عِلْق ist eine Untersuchung darüber\, wie Queerness\, wie so viele andere Dinge auch\, zu einem Aspekt des Kolonialismus geworden ist\, der so vielen Identitäten aufgezwungen wird\, die nicht unbedingt unter diesen Schirm passen\, sich aber aufgrund der fehlenden Entwicklung ihrer eigenen individuellen und kollektiven queeren Existenz zu ihm hingezogen fühlen. Ilk عِلْق wird eine queere arabisch-muslimische Zukunftsvision entwerfen\, die mit der Heilung durch das Neuschreiben der Geschichte zu den eigenen Bedingungen und dem (Wieder-)Aufbau einer Identität beginnt\, die vielfach fehlinterpretiert und verzerrt worden ist. \nDiese Performance- und Diskussionsveranstaltung im Rahmen von Oyouns EMBODIED ARTS FESTIVAL wird eine visuelle experimentelle Reise durch drei Dimensionen (Bab) sein. Das Publikum wird die Möglichkeit haben\, verschiedene Zeitebenen zu durchqueren\, die unterschiedliche Herangehensweisen an arabische Queerness zeigen - von einer verlassenen Vergangenheit über eine korrumpierte Gegenwart bis hin zu einem euphorischen Futurismus. \nAhmad ließ sich für die Performance-Elemente von Manuskripten wie Adab al-jins 'inda al-'Arab (Die erotischen Schriften der Araber) und Nuzhat Al-Albab Fima La Yujad Fi Kitab (Eine Promenade der Herzen) des amazighischen Dichters\, Schriftstellers und Anthologen Ahmad Al Tifashi (1184-1253 n.Chr.) inspirieren. Indem er auf eine Zeit zurückgreift\, in der Queerness und Homosexualität akzeptiert\, toleriert und sogar studiert wurde\, baut er eine Brücke über all die Rückschläge errichten\, die queere arabische Menschen der Neuzeit erleiden mussten\, und zeigt\, wie eine queere arabische und muslimische Identität beschaffen sein kann. \nIn Anlehnung an den Namen des Buches "Eine Promenade der Herzen" wird diese Performance eine Promenade des Hinterfragens dessen sein\, was wir gewusst haben\, was wir wissen und was noch kommen wird. \nIm Anschluss an das Performance-Screening (produziert in Zusammenarbeit mit Mansur Ajang) findet eine Diskussion mit dem Künstler über die Vision und Motivation für die visuelle Performance statt. \nDiese Veranstaltung wird auf Oyouns Vimeo-\, YouTube- und Facebook-Kanälen gestreamt.  \n  \nEMBODIED ARTS FESTIVAL \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert. Siehe alle Events hier.
URL:https://oyoun.de/event/ilk/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Performance,Talk
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/ilk-ahmad-hijazi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210410T160000
DTEND;TZID=Europe/Berlin:20210411T160000
DTSTAMP:20260520T181014
CREATED:20210407T193231Z
LAST-MODIFIED:20210411T103726Z
UID:15061-1618070400-1618156800@oyoun.de
SUMMARY:The Body Undone Film Screening: „Birha“
DESCRIPTION:The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nEach film is available for a selected timeframe during Oyoun's EMBODIED ARTS FESTIVAL. \nContact us at hallo@oyoun.de to get sent the link and password to view the film. (This is limited to people in Germany) \nThere is a Q&A event happening with the film's director on 11th April at 16:00\, see here for details. \n  \nBirha\nEkta Mittal\n80” | India | 2018 | Hindi\, Punjabi with English Subtitles \n \nIn a faraway village called Birha\, missing people\, mothers and tired lovers yearn to see beyond the mist. They meet each other in impenetrable silences and endless mourning. They curse the moon for witnessing their insomnias. Birha situates itself in a season of waiting\, climate of uncertainty: where only a loud screech can register distance between loved ones. \nBirha is the grief\, agony and anguish of separation\, derived from Punjabi Sufi Poetry. Guided by Shiv Kumar Batalvi's birha poetry\, the film captures the pain\, lamentation and yearning caused by separation. The film searches for missing people\, who left their homes to work in faraway cities\, and have still not returned. The locations are not marked\, characters are not named\, Birha situates itself in a season of waiting and a climate of uncertainty. \nEkta Mittal co-founded Maraa (maraa.in)\, a media and arts collective in Bangalore in 2008. She works there as a practitioner\, researcher\, curator and facilitator around issues of gender\, labour & caste in rural and urban contexts. She also works with creative practices in public space\, through independent production and collaborations with other artists. She has been making films around labour\, migration and cities since 2009. Her recent film Birha is about separation and longing in the context of migration. \nDirector: Ekta Mittal\nProduction: Ekta Mittal for Maraa\nCinematography: Paromita Dhar\, Amith Surendran\nEditing: Abhro Banerjee\nSound: Ekta Mittal\nSound Design: Bigyna Dahal \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/the-body-undone-film-screening-birha/
LOCATION:Online
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/04/birha.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210409T210000
DTEND;TZID=Europe/Berlin:20210410T210000
DTSTAMP:20260520T181014
CREATED:20210407T120833Z
LAST-MODIFIED:20210409T100830Z
UID:15041-1618002000-1618088400@oyoun.de
SUMMARY:The Body Undone Film Screening: "Nakorn-Sawan"
DESCRIPTION: The Body Undone: In Conversation with Loss is a programme of film screenings and discussions organised by Sana Rizvi for Oyoun's EMBODIED ARTS FESTIVAL. The selected films look at various kinds of loss held by different bodies - with a focus on storytelling from new voices. Using film\, an embodied memory in itself\, an invitation is made to reflect on the question: can we discover new possibilities in the workings of loss and grief by allowing spaces for these feelings to be held and acknowledged in an embodied way? \nEach film is available for a selected timeframe during Oyoun's EMBODIED ARTS FESTIVAL.  \nContact us at hallo@oyoun.de to get sent the link and password to view the film. (This is limited to people in Germany)  \nThere is a Q&A event happening with the film's director on 11th April at 16:00\, see here for details. \n  \nNakorn-Sawan\nPuangsoi Aksornsawang\n77” | Thailand/Germany | 2018 | Thai with English Subtitles \n \nIn her directorial debut\, Puangsoi Akornsawang blurs the lines between memory\, fact\, and fiction in a delicate contemplation of the meaning of life in the presence of death. In this hybrid film\, documentary footage from the filmmaker’s life is combined with the fictional story of a young woman returning home after the passing of her mother to scatter her ashes in the “Heavenly City.” The film is a delicate meditation on love\, loss and memory. \n\nAfter her graduation from the Motion Picture and Still Photography Department of Chulalongkorn University\, Bangkok\, Thailand\, Puangsoi Aksornsawang received many opportunities to exhibit her short film Swimming Pool at various student film festivals. In 2011\, she started her film production career as an assistant director and a scriptwriter. In 2014\, she had the academics DAAD scholarship and graduated from Master of Fine Arts at the University of the Arts Hamburg in 2018. She is based in Bangkok working as a director\, a writer and a scriptwriter. \n\nWriter & Director: Puangsoi Aksornsawang\nProducers: Anocha Suwichakornpong\, Parinee Buthrasri\, Puangsoi Aksornsawang\nDirector of Photography: Boonyanuch Kraithong\nEditor: Lee Chatametikool\nSound Designer: Akritchalerm Kalayanamitr\nMusic Composer: Jitivi Banthaisong\nCast: Prapamonton Eiamchan\, Jarunun Phantachat\, Phumipat Thavornsiri. \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \n--- \nThe Body Undone: In Conversation with Loss ist ein Programm aus Filmvorführungen und Diskussionen\, organisiert von Sana Rizvi für Oyouns EMBODIED ARTS FESTIVAL. Die von Sana Rizvi ausgewählten Filme befassen sich mit verschiedenen Arten von Verlust\, getragen von unterschiedlichen Körpern - mit einem Fokus auf Erzählungen von neuen Stimmen. Der Film\, selbst ein verkörpertes Gedächtnis\, lädt Dich dazu ein\, über die folgende Frage nachzudenken: Können wir neue Möglichkeiten in der Verarbeitung von Verlust und Trauer entdecken\, indem wir Räume zulassen\, in denen diese Gefühle auf verkörperte Weise festgehalten und anerkannt werden? \nJeder Film ist während unseres EMBODIED ARTS FESTIVALS für einen ausgewählten Zeitraum verfügbar.  \nSchriebe uns unter hallo@oyoun.de\, um den Link und das Passwort zum Ansehen des Films zu erhalten. (Dies ist auf Personen in Deutschland beschränkt)  \nNakorn-Sawan\nPuangsoi Aksornsawang\n77' | Thailand/Deutschland | 2018 | Thai mit englischen Untertiteln \n \nIn ihrem Regiedebüt verwischt Puangsoi Akornsawang die Grenzen zwischen Erinnerung\, Fakten und Fiktion in einer sensiblen Betrachtung über den Sinn des Lebens im Angesicht des Todes. Dieser hybride Film verbindet dokumentarische Aufnahmen aus dem Leben der Filmemacherin mit der fiktiven Geschichte einer jungen Frau\, die nach dem Tod ihrer Mutter nach Hause zurückkehrt\, um deren Asche in der "Himmlischen Stadt" zu verstreuen. Der Film ist eine zarte Meditation über Liebe\, Verlust und Erinnerung. \nNach ihrem Abschluss am Motion Picture and Still Photography Department der Chulalongkorn University\, Bangkok\, Thailand\, erhielt Puangsoi Aksornsawang viele Einladungen\, ihren Kurzfilm Swimming Pool auf verschiedenen Studentenfilmfestivals zu zeigen. Im Jahr 2011 begann sie ihre Karriere als Filmproduzentin\, Regieassistentin und Drehbuchautorin. 2014 erhielt sie ein DAAD-Stipendium und schloss 2018 ihren Master of Fine Arts an der Hamburger Universität der Künste ab. Sie lebt in Bangkok und arbeitet als Regisseurin\, Autorin und Drehbuchautorin. \nBuch & Regie: Puangsoi Aksornsawang\nProduktion: Anocha Suwichakornpong\, Parinee Buthrasri\, Puangsoi Aksornsawang\nKamera: Boonyanuch Kraithong\nSchnitt: Lee Chatametikool\nTon: Akritchalerm Kalayanamitr\nMusik: Jitivi Banthaisong\nDarsteller*innen: Prapamonton Eiamchan\, Jarunun Phantachat\, Phumipat Thavornsiri \n  \nEMBODIED ARTS FESTIVAL \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert. Siehe alle Events hier.
URL:https://oyoun.de/event/the-body-undone-film-screening-nakorn-sawan/
LOCATION:Online
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/04/nakorn-sawan.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210409T190000
DTEND;TZID=Europe/Berlin:20210409T210000
DTSTAMP:20260520T181014
CREATED:20210316T112735Z
LAST-MODIFIED:20210409T174212Z
UID:14305-1617994800-1618002000@oyoun.de
SUMMARY:Ascension – Intimate Bodies Forbidden Stories
DESCRIPTION:Ascension is a theatre play -  an outcome of a durational project about gender\, femininity and menstruation. The project engaged participants with a community debate in order to reflect on gender equality and social change. The project explored menstruation\, taboos\, and identity from all potential directions such as historical\, political\, embodied\, cultural\, religious\, social\, health\, and artistic concerns. \nParticipants took part in various online workshops dealing with femininity and pain\, which lead us to a final outcome of a theatre play which we will present to you during the EMBODIED ARTS FESTIVAL at Oyoun.  \nThe workshops/rehearsals started in January providing a safe space to communicate femininity\, pain\, therapy\, and collective engagement and discussions with other women. Throughout the project\, the participants had the opportunity to engage with presentations and online conferences/debates about gender issues and taboos. The project aimed at building a community debate around those taboos and forbidden corners of the female body. \nThe play will be followed by a discussion with the director and the participants. We will follow all the emotional\, physical and artistic development throughout the project: from the beginning till end. \nAscension was initiated and led by Dr. Maiada Aboud\, whose work deals with ways that social and religious structures interconnect and influence the individual. She attempts to connect the social-cultural analysis to the individual‘s experience by way of using performance and relating it to cultural and social life.  \nProject participants: Antonia Führ\, Christina Gabriela Galli\, Maria Trinks and Uli Pilwax \n  \nThis event will be streamed on Oyoun's Vimeo\, YouTube and Facebook channels. \n--- \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/ascension-intimate-bodies-forbidden-stories/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Performance
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/ascension-intimate-bodies-forbidden-stories.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210409T120000
DTEND;TZID=Europe/Berlin:20210418T180000
DTSTAMP:20260520T181014
CREATED:20210318T142605Z
LAST-MODIFIED:20210409T131935Z
UID:14453-1617969600-1618768800@oyoun.de
SUMMARY:Black Post Box
DESCRIPTION:[deutsch unten] \nCo-curators of the BLACK POST BOX\, Gugulethu Duma and Dylan Greene\, explore racial and cultural melancholy by centralizing the work of Saidiyah Hartman who asks\, "...what if depression could be traced to histories of colonialism\, genocide\, slavery\, exclusion\, everyday segregation\, and isolation that haunt all of our lives\, rather than to biochemical imbalances? How can we feel\, deal and heal while the experiences of loss and alienation persist? The silent victims are countless\, and their names remain unrecorded. The body carries this reality and functions. Day in and day out. The body functions in a dysfunctional state\, we can hear\, but do we listen? We can look\, but do we observe?"  \nIn Anne Anlin Cheng's seminal work\, The Melancholy of Race: Psychoanalysis\, Assimilation\, and Hidden Grief\, melancholy is defined as\, "a transformation from grief to grievance". It's a state of being explored as an entangled relationship to loss where grief becomes legislated. Said another way\, mourning passes whereas melancholy\, an apparently endless condition\, continues through the generations as it becomes the formation of identity and ego and diaspora themselves. As Ralph Ellison writes in Invisible Man "I am invisible...like the bodiless heads you see sometimes in circus sideshows\, it is as though I have been surrounded by mirrors of hard\, distorting glass. When they approach me they see only my surroundings\, themselves\, or figments of their imagination." Asking\, within the framework of culture and the perception of it\, "who distorts whom?" In this way\, melancholia asks the self into cycles of reflexivity.  \nUntil the 19th century\, Western science and medicine saw "melancholia" as both a physical and mental symptomatic condition. The melancholic were classified by a perceived common cause: an excess of black bile. At times\, all forms of mental illness were associated with the concept. Some were deemed to be caused by a combination of excess black bile and a disorder of one of the other humors. As global societies begin to explore "generational trauma/transfer" and the lineage of hauntings turn to anxieties and physical conditions\, we posit African and Asian sciences and medicines which long pre-date the white-bile of Western opinion. \nIn their contribution to Oyoun’s Embodied Arts Festival\, Gugulethu Duma's curatorial focus invites contemplations on melancholia\, psycho-spiritual instability\, and the colour Black: Black as silence; black as emptiness; black as the unknown; black as the shadow; black as the night\, as we move with earth still in a global lockdown. Dylan 'HUNTERCHEE' Greene's curatorial focus invites contemplations on immigration\, the stasis within enslaving forms of transit\, and cultural homelessness. \nThe BLACK POST BOX invites individuals to spend 20 minutes alone\, listening and seeing compositions that seek to inspire conversation with the unrecorded self; observation of the silenced self; and recollection of forgotten selves. We invite our audience to write down reflections and submit them to our post box after engaging with the installation. They will be mailed through flame to the ancestors upon the closing of the installation. \nA diasporic rhythm called 'displacement' is another way of describing home. Echos of a global feeling; a mid-air suspension pleading\, "is there grounding?" \nThe Black Post Box will be at Oyoun for both the opening and closing ceremony of the EMBODIED ARTS FESTIVAL. \nFrom 9th-18th April\, the Black Post Box will be stationed where May Ayim Ufer meets Oberbaumstraße in Kreuzberg. It will be open every day between 12:00 - 18:00 - book your time slot to visit here. \n  \nAbout the contributors\nGugulethu Duma\, also known as Dumama\, is an artist\, performer and sonic researcher\, born in South Africa. Her transdisciplinary practice involves consciously deconstructing and critiquing archaic modes of representation of (Southern) African sonic and performance culture. Her interests intersect as practice based performance research\, and interdisciplinary\, collaborative bodies of work centred around political-poetic imaginations. > dumamamusic.com \nDylan "HUNTERCHEE" Greene is an Asian American drummer\, multi-instrumentalist\, composer\, and producer who collaborates deeply with dance and visual media. In 2019\, he was commissioned by the Peabody Essex Museum in Salem\, MA to focus on Ming Dynasty naval exploration as well as Chinese immigration to America. He is currently making work that explores perception and narrative through the experiences of mild traumatic brain injury and lenses of Eastern philosophy. Greene performed with Grammy nominated artists\, A Far Cry Chamber Orchestra and countertenor Anthony Roth Costanzo\, Bessie Award-winning choreographers\, Rebecca Lazier and Christopher Williams\, MacArthur Fellowship composer\, Matt Aucoin\, and the Peabody Award winning podcast\, Radiolab. Dylan has been an artist in residency at Avaloch\, a fellow at Mass MOCA with Bang On a CAN\, and a Onebeat alumni\, an initiative of Found Sound Nation supported by the U.S. Department of State. He has taught at Carnegie Hall and now teaches a trauma conscious music methodology with Music Beyond Measure. HUNTERCHEE is an ambassador for Out Of Time Embassy\, a Berlin-based collective. > hunterchee.com \nAyanda Duma is a video and film artist whose main objective is the re-representation of the marginalised people of South Africa. Through a subversive and an imaginative lens\, her work encompasses an inquiry into the ways the past informs the present\, reflecting on how this affects the representation of the South African & global youth. Ayanda Duma’s film work embodies themes such as identity\, sexuality\, interpersonal relationships and politics within slice of life narratives that celebrate the magic in the mundane. She is an emerging female-identifying filmmaker from East London\, currently based in Cape Town. Ever the curious artist\, her creative inclinations\, beginning in primary school\, have spanned many years covering a range from classical piano\, music composition\, modelling\, performance and visual storytelling in the forms of portrait photography and filmmaking. Her filmmaking journey began with Film School in 2016 and by 2017 my short film\, Booked\, was shortlisted for The Horizon Award with The Creative Mind Group. This accolade earned me an invitation and internship at the Cannes Film Festival 2018.  \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \n  \n--- \nDie Co-Kurator*innen der BLACK POST BOX\, Gugulethu Duma und Dylan Greene\, erforschen Melancholie bezogen auf Race und Kultur auf der Basis der Arbeiten von Saidiyah Hartman\, die fragt: "...was wäre\, wenn Depressionen auf die Geschichte des Kolonialismus\, von Völkermord\, Sklaverei\, Ausgrenzung\, alltäglicher Segregation und Isolation zurückgeführt werden könnten\, die unser aller Leben heimsuchen\, und eben nicht (nur) auf ein jeweiliges biochemisches Ungleichgewicht? Wie können wir fühlen\, fortleben und heilen\, während die Erfahrungen von Verlust und Entfremdung fortbestehen? Die stummen Opfer sind ohne Zahl\, und ihre Namen bleiben unverzeichnet. Der Körper trägt diese Realität und funktioniert - Tag ein\, Tag aus. Der Körper funktioniert in einem dysfunktionalen Zustand\, wir können hören\, aber hören wir auch wirklich zu? Wir können schauen\, aber beobachten wir auch wirklich?" \nIn Anne Anlin Chengs bahnbrechendem Werk The Melancholy of Race: Psychoanalysis\, Assimilation\, and Hidden Grief wird Melancholie definiert als "eine Transformation von Trauer zu Kummer". Melancholie ist ein Seinszustand\, der sich als durch Verlusterfahrungen gefesselt erweist\, in dem Kummer Gesetz ist. Anders ausgedrückt: Trauer vergeht\, während Melancholie als anscheinend endloser Zustand über Generationen hinweg fortbesteht\, indem die Basis der Identität\, des jeweiligen Ich\, ja der ganzen Diaspora bildet. Wie Ralph Ellison in Invisible Man schreibt: "Ich bin unsichtbar ... wie die körperlosen Köpfe\, die man manchmal in Zirkusprogrammen sieht; es ist\, als wäre ich von Spiegeln aus hartem\, verzerrendem Glas umgeben. Wenn sie sich mir nähern\, sehen sie nur meine Umgebung\, sich selbst oder Ausgeburten ihrer Phantasie." Im Rahmen von Kultur und deren Wahrnehmung fragt man sich: "Wer verzerrt wen?" Auf diese Weise lockt die Melancholie das Selbst einen ewigen Kreislauf der Selbstbespiegelung. \nBis ins 19. Jahrhundert nahm man in Europa an\, dass "Melancholie" sowohl körperliche als auch psychische Symptomen habe. Die melancholischen Zustände würden sich durch ein Übermaß an "schwarzer Galle" auszeichnen. Zeitweise wurden alle Formen von Geisteskrankheit mit diesem Konzept in Verbindung gebracht\, wobei man bei einigen davon ausging\, dass sie durch eine Kombination von überschüssiger schwarzer Galle mit einer Störung eines der anderen Körpersäfte verursacht würden. Während die globalen Gesellschaften allmählich damit anfangen\, generationsübergreifende Traumata und deren Übertragung zu erforschen und Spuk und Besessenheit zu Angstvorstellungen und somatischen Zustände umgedeutet werden\, berufen wir uns auf afrikanische und asiatische wissenschaftliche und medizinische Traditionen\, die der weißen galle westlicher Vorstellungen weit vorausgehen. \nDer Fokus von Gugulethu Dumas kuratorischen Beiträgen zum Embodied Arts Festival lädt zum Nachdenken über Melancholie\, über psycho-spirituelle Instabilität und über die Farbe Schwarz ein. Schwarz als: Stille; schwarz als: Leere; schwarz als: das Unbekannte; schwarz als: der Schatten; schwarz als: die Nacht - während wir alle uns immer noch in einem globalen Lockdown befinden. Dylan 'HUNTERCHEE' Greene wiederum regt uns zum Nachdenken über Immigration an\, über den durch versklavende Formen des Übergangs verursachten Stillstand\, und über kulturelle Heimatlosigkeit. \nDie BLACK POST BOX bietet uns die Möglichkeit\, 20 Minuten allein zu sein und während dessen Kompositionen zu hören und zu sehen\, die zu Gesprächen mit dem nicht ausdefinierten Selbst anregen sollen\, zur Beobachtung des zum Schweigen gebrachten Selbst und zur Erinnerung an vergessene Formen des Selbst. Wir laden unser Publikum ein\, ihre Reflexionen aufzuschreiben und sie in unseren Briefkasten zu werfen\, nachdem sie sich mit der Installation beschäftigt haben. Sie werden nach Beendigung der Installation mittels Feuer den Ahnen geschickt. \nDer diasporische Rhythmus namens 'Vertreibung'\, ist eine andere Art\, Heimat zu beschreiben. Echos eines globalen Gefühls; ein Schweben in der Luft\, das uns um festen Boden unter den Füßen bitten lässt... \nDie Black Post Box wird sowohl bei der Eröffnungs- als auch bei der Abschlussveranstaltung des EMBODIED ARTS FESTIVAL im Oyoun zu sehen sein. \nVom 9. bis 18. April wird die Black Post Box am östlichen Ende des May-Ayim-Ufers \, Ecke Oberbaumstraße\, stationiert sein. Sie wird täglich von 12:00 bis 18:00 Uhr geöffnet sein. Hier kannst du einen Termin für einen persönlichen Besuch buchen kannst. \n  \nÜber die Mitwirkende\nGugulethu Duma\, auch bekannt als Dumama\, ist eine in Südafrika geborene Künstlerin\, Performerin und Klangforscherin. In ihrer transdisziplinären Praxis dekonstruiert und kritisiert sie bewusst archaische Repräsentationsformen der (süd-)afrikanischen Klang- und Performancekultur. Ihr Interesse gilt der Verbindung von praxisbasierter Performance-Forschung und interdisziplinären\, kollaborativen Arbeiten\, die sich um politisch-poetische Imaginationen drehen. > dumamamusic.com \nDylan Hunter Chee Greene ist ein chinesisch-amerikanischer Schlagzeuger\, Multi-Instrumentalist\, Produzent und Komponist. Angetrieben von dem Wunsch\, ein vielfältiges und gemischtes Werk zu schaffen\, schreibt Dylan Musik als Session-Musiker und als Auftragskomponist. Seine Kompositionen für Tanz\, Konzerte und visuelle Kunstinstallationen waren in den ganzen Vereinigten Staaten zu hören\, unter anderem bei Alvin Ailey\, im Peabody Essex Museum\, im Detroit Institute of the Arts\, im Museum of Contemporary Art Detroit und im Mark Morris Dance Center. Als sehr vielseitiger Künstler arbeitete Dylan mit und für Größen wie Shahzad Ismaily\, Sō Percussion\, Leila Adu\, Mark Stuart\, David Scher und Jeff Dolven. Greene trat mit dem für den Grammy nominierten A Far Cry Chamber Orchestra und dem Kontratenor Anthony Roth Costanzo\, den mit dem Bessie Award ausgezeichneten Choreographen Rebecca Lazier und Christopher Williams\, dem MacArthur Fellowship Komponisten Matt Aucoin und dem mit dem Peabody Award ausgezeichneten Podcast Radiolab auf. Dylan war Artist in Residency bei Avaloch\, Stipendiat am Massachusetts Museum of Contemporary Art mit Bang On a Can und ist Alumnus von Onebeat\, einer vom US-Außenministerium unterstützten Initiative von Found Sound Nation. Er unterrichtet eine traumabewusste Musikmethodik mit Music Beyond Measure und ist Botschafter für das Berliner Kollektiv Out Of Time Embassy. > hunterchee.com \nDas Hauptinteresse der aus East London stammenden und derzeit in Kapstadt lebenden Video- und Filmkünstlerin Ayanda Duma gilt der Re-Repräsentation marginalisierter Menschen in Südafrika. Auf subversive\, phantasievolle Weise untersucht sie\, wie die Vergangenheit die Gegenwart beeinflusst\, und reflektiert dabei\, wie dies die Darstellung der südafrikanischen und globalen Jugend beeinflusst. Ayanda Dumas Filmarbeit konzentriert sich auf Themen wie Identität\, Sexualität\, zwischenmenschliche Beziehungen und Politik innerhalb von Slice-of-Life-Erzählungen\, die die Magie im Alltäglichen feiern. Sie war schon immer eine neugierige Künstlerin\, und ihre kreativen Neigungen\, die sie bereits in der Grundschule entdeckte\, umfassten ein Spektrum von klassischem Klavier\, Musikkomposition\, Modellieren und Performance bis hin zu visuellem Geschichtenerzählen in Form von Portraitfotografie und Filmemachen. Ihre Reise als Filmemacherin begann 2016 mit der Filmschule und schon 2017 stand ihr Kurzfilm Booked auf der Shortlist für den Horizon Award der Creative Mind Group. Diese Auszeichnung brachte ihr eine Einladung und ein Praktikum bei den Filmfestspielen in Cannes 2018 ein. \nEMBODIED ARTS FESTIVAL \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert. Siehe alle Events hier.
URL:https://oyoun.de/event/black-post-box/
LOCATION:May-Ayim-Ufer\, May-Ayim-Ufer\, Berlin\, 10997\, Deutschland
CATEGORIES:Embodied Arts Festival,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/black-post-box-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210408T190000
DTEND;TZID=Europe/Berlin:20210408T200000
DTSTAMP:20260520T181014
CREATED:20210315T160514Z
LAST-MODIFIED:20210406T123848Z
UID:14287-1617908400-1617912000@oyoun.de
SUMMARY:The Geography of Hate | Performance & Exhibition Walk-Through
DESCRIPTION:Hate is an entity that spreads like a wildfire. An entity that creates "the Other". It becomes the prime lens through which the Other is read and dehumanised. Hate exists as an emotion that brings communities or groups together questioning expressions such as empathy\, love and care. In the collective act of the world making it plays an important role by almost becoming an economy. In its most obtrusive expression\, hate is violent\, working as an apparatus of desolation. \nThe Geography of Hate by Artist-Activist Sujatro Ghosh questions hate as a tool for systematic violence and otherisation. Through collective expressions\, he explores the fundamental anatomy of hate as an entity of subjugation. The project tackles questions such as: ‘How is this Other created and why do certain hate attach to this other and slides over the rest?’ ‘How and why is violence the ultimate materialisation of hate?’ \nThe project's exhibition which includes a showcase of objects\, performance videos\, a documentary\, and an immersive projection work was curated by Arijit Bhattacharyya (Artist\, Curator and Activist) and Sujatro Ghosh. It will be on show in Oyoun's tower from the start of the EMBODIED ARTS FESTIVAL for two months. Information about how to visit in person will be available soon.  \nJoin us online for this event on the 8th. Two performances - by Farah Deen and Karin Cheng and by Fatmanur Sahin and Team - will be streamed from Oyoun's main stage and then there will be a digital walk-through of the exhibition. The walk-through will be led by Sujatro Ghosh. \n\n--- \nThis performance and exhibition walk-through event will be streamed on Oyoun's Vimeo\, YouTube and Facebook channels. Direct links will follow! \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here.
URL:https://oyoun.de/event/geography-of-hate/
LOCATION:Online
CATEGORIES:Embodied Arts Festival,Performance
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/geography-of-hate-opening.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210408T180000
DTEND;TZID=Europe/Berlin:20210418T210000
DTSTAMP:20260520T181014
CREATED:20210218T083916Z
LAST-MODIFIED:20210412T092738Z
UID:11223-1617904800-1618779600@oyoun.de
SUMMARY:EMBODIED ARTS FESTIVAL
DESCRIPTION:[English below] \nEMBODIED ARTS FESTIVAL - AUF DEN SPUREN VERKÖRPERTER ERINNERUNGEN \n♦️♦️♦️ Embodied Arts Festival Guide ♦️♦️♦️ \nWas verkörpern unsere Körper? Welche Erinnerungen können uns unsere Körper erzählen? - über uns selbst\, unsere Vergangenheit und unsere Zukunft? Wir laden euch ein\, mit uns diesen und vielen weiteren Fragen während des EMBODIED ARTS FESTIVAL künstlerisch nachzugehen. Wir haben über 20 Performances\, Filmvorführungen\, Diskussionen und interaktive Interventionen für euch geplant. \nMit den Mitteln der Kunst gehen wir auf die Suche nach Antworten auf Fragen wie: Wie können wir Traumata kollektiv heilen? Wie können sich unsere Körper aus einem Bündel sozialer Zwänge in eine Manifestation blühenden Lebens verwandeln? Wie brechen wir Tabus über Menstruation\, über Gendernormen\, über Sexualität(en)\, über Tod und Trauer? Woher kommt Hass\, wie wirkt sich Hass aus und welcher Weg führt vom Hassenden zum Gehassten? \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Dies war ein 8-monatiges Forschungs-\, Archivierungs-\, Ausstellungs- und Performance-Projekt\, an dem über 40 Menschen beteiligt waren. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert.  \nSeid dabei ab dem 8. April und nehmt teil an Live-Streams\, Diskussionen und interaktiven Gesprächen >>> siehe Programm hier. \nIhr seid eingeladen\, die ausgestellten Werke offline zu erleben: hier kannst du ein Zeitfenster auswählen und buchen. \n  \n \nEMBODIED ARTS FESTIVAL - TRACING THE MEMORIES OUR BODIES HOLD \n♦️♦️♦️ Embodied Arts Festival Guide ♦️♦️♦️  \nWhat memories do our bodies hold? What can our bodies tell us about ourselves\, our pasts and our futures? We invite you to join us for an artistic exploration of these and many other questions during the EMBODIED ARTS FESTIVAL. We have 20+ performances\, film screenings\, discussions\, and interactive interventions planned for you. \nUsing art as a tool we go in search of answers to questions such as: How do we break taboos about menstruation\, about gender norms\, about sexualities\, about death and mourning? How can we collectively heal trauma? How can our bodies transform from an object that is a carrier of social constraints into a manifestation of thriving\, living bodies? Where does hate come from\, how does it affect us\, and what path does it take from hater to hated? \nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. This has been an 8-month research\, archiving\, exhibition and performance project involving 40+ people. The outcomes\, encounters and queries which have come out of the projects will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April.  \nJoin us from the 8th April onwards for our digital programme of releases\, live streams and interactive talks that we have planned for you >>> see all event here. \nFrom the 9th - 18th April you can book a time slot to view and experience the exhibited works in person at Oyoun.
URL:https://oyoun.de/event/embodied-arts-festival/
LOCATION:Lucy-Lameck-Str. 32\, Berlin\, 12049\, Deutschland
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/02/embodied-arts-festival-oyoun.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20210408T180000
DTEND;TZID=Europe/Berlin:20210408T200000
DTSTAMP:20260520T181014
CREATED:20210319T131418Z
LAST-MODIFIED:20210407T195802Z
UID:14504-1617904800-1617912000@oyoun.de
SUMMARY:Opening Ceremony | Embodied Arts Festival
DESCRIPTION:It is within the intersections of body memory and history that our bodies are potentially at their most revealing. Memories interrupt history and open up another possibility of embodied living\, one that spatialises time and temporalises space. Hence\, treating the body as memory and discussing the role of the body in witnessing authoritarian capitalism\, memorialising the torture carried out by dominant socio-political structures\, thus resisting the narrative erasure reproduced by the imperialism at national and global levels. Oyoun's first curatorial focus EMBODIED TEMPORALITIES offered a community-centered approach as a framework for participants to voice their experiences of ancestry\, rituals\, trauma\, death\, loss\, and finding expression for experiences that are otherwise un-shareable\, and often stigmatised in mainstream public discourses while paving the way for collective healing. \nThe EMBODIED ARTS FESTIVAL will present and celebrate the outcomes of this body of work. \nJoin us online for the opening ceremony on 8th April to dive deeper into the topics and get introduced to the projects and the people behind them. We'll be kicking off with a meditation led by Nane Kahle\, artist\, healer and practitioner of the ancient Egyptian Kemetic yoga system “Tjef Sema Paut Neteru''. The meditative session brings us inwards\, wakes up our body\, opening up the eleven-day festival\, while generating a spiritual\, psychic and physical connection among all the people who have gathered around in the physical and virtual spaces of Oyoun. \nFollowing the opening ceremony\, the spotlight will be put on Sujatro Ghosh's project: The Geography of Hate. The artists presented by Sujatro explore hate as a tool for systematic violence. The exhibition explores the fundamental anatomy of hate as a creature of subjugation. Two performances - by Farah Deen and Karin Cheng and by Fatmanur Sahin and Team - will be streamed from Oyoun's main stage and then there will be a digital walk-through of the exhibition with Sujatro. \nThe event will be streamed on Oyoun's Vimeo\, YouTube and Facebook channels. \n  \nEMBODIED ARTS FESTIVAL\nCurators\, artists and cultural practitioners have been exploring identities\, belonging and embodied memories through diasporic\, decolonial and queer perspectives as part of Oyoun’s first curatorial focus: EMBODIED TEMPORALITIES. The outcomes\, encounters and queries will be presented and celebrated during the EMBODIED ARTS FESTIVAL from 8th - 18th April. View all events here. \n  \n--- \nIn den Überschneidungen von Körpergedächtnis und Geschichte sind unsere Körper potenziell am aufschlussreichsten. Erinnerungen unterbrechen die Geschichte und eröffnen eine andere Möglichkeit des verkörperten Lebens\, eine\, die die Zeit verräumlicht und den Raum verzeitlicht. Daher behandeln wir den Körper als Gedächtnis und diskutieren die Rolle des Körpers als Zeuge des autoritären Kapitalismus\, indem wir die von den dominanten sozio-politischen Strukturen ausgeübte Folter in Erinnerung behalten und uns so der narrativen Auslöschung widersetzen\, die vom Imperialismus auf nationaler und globaler Ebene reproduziert wird. \nOyouns erster kuratorischer Schwerpunkt EMBODIED TEMPORALITIES bot einen community-zentrierten Ansatz als Rahmen für die Teilnehmer\, um ihre Erfahrungen mit Abstammung\, Ritualen\, Trauma\, Tod und Verlust zu artikulieren und einen Ausdruck für Erfahrungen zu finden\, die sonst nicht geteilt werden können und die im öffentlichen Mainstream-Diskurs oft stigmatisiert werden\, obwohl sie den Weg zu kollektiver Heilung bereiten. \n\nDas EMBODIED ARTS FESTIVAL wird die Ergebnisse dieser Arbeit präsentieren und feiern. \nSei online bei der Eröffnung am 8. April dabei und tauche tiefer in die Themen ein - und lerne die Projekte und die Menschen dahinter kennen. Wir fangen mit einer von Nane Kahle geleiteten Meditation an\, die uns alle auf allen Ebenen verbinden wird.  \nNach der allgemeinen Einführung steht das Projekt The Geography of Hate im Fokus. Die von Sujatro Ghosh vorgestellten Künstler*innen beschäftigen sich mit dem Thema Hass als Werkzeug für systematische Gewalt und Othering. Die Ausstellung erforscht die grundlegende Anatomie des Hasses als ein Wesen der Unterwerfung. Zwei Performances - von Farah Deen und Karin Cheng sowie von Fatmanur Sahin und Team - werden von der Hauptbühne des Oyoun gestreamt\, anschließend gibt es einen digitalen Walk-through durch die Ausstellung mit Sujatro. \nDie Veranstaltung wird auf Oyouns Vimeo-\, YouTube- und Facebook-Kanälen gestreamt. \n  \nEMBODIED ARTS FESTIVAL \nKurator*innen\, Künstler*innen und Kulturschaffende haben sich im Rahmen von Oyouns erstem kuratorischen Schwerpunkt - EMBODIED TEMPORALITIES - mit Identitäten\, Zugehörigkeit und verkörperten Erinnerungen aus diasporischen\, dekolonialen und queeren Perspektiven auseinandergesetzt. Die Ergebnisse\, Begegnungen und Fragen\, die sich aus den Projekten ergeben haben\, werden während des EMBODIED ARTS FESTIVAL vom 8. bis 18. April präsentiert und gefeiert. Siehe alle Events hier.
URL:https://oyoun.de/event/opening-ceremony-embodied-arts-festival/
LOCATION:Online
CATEGORIES:Embodied Arts Festival
ATTACH;FMTTYPE=image/jpeg:https://oyoun.de/files/2021/03/embodied-arts-festival-oyoun-berlin.jpg
END:VEVENT
END:VCALENDAR