K3 - Zentrum für Choreographie / Tanzplan Hamburg
Current Activities
The Hamburg Parliament has agreed to fund K3 at Kampnagel to the full amount of 300,000 euros in 2011. The centre will continue as a successful location for the development of contemporary dance, for artistic research, for international networking and exchanges as well as for communicating dance in Hamburg. Tanzplan Deutschland’s increased project funding for the independent dance scene means that there is now a fixed, annual subsidy of 500,000 euros for contemporary dance in Hamburg. (May 2011)
Project description
A Centre for Choreographic Development and Promotion, unique to Germany in its kind, was opened at Kampnagel, an important arts venue in Hamburg. Teaching production-oriented skills to young choreographers and expanding their knowledge of dance contributes to the center’s profile, as is the co-operation with the MA programme in Performance Studies at the University of Hamburg.
The centre is equipped with dance studios, seminar rooms and an information office, so that it has become a place where Hamburg dancers and choreographers can meet, take classes, work, and perform. It also serves as a venue for educational and discursive purposes, which is not limited to an expert public, but intends to reach out to a broader audience. The centre’s goal is to be a place where contemporary dance, innovative artistic practice, and knowledge of socially relevant issues can be presented and encouraged. In particular, it is concerned with teaching young, educated choreographers about the production aspects of their art. To provide additional support for the dance infrastructure in Hamburg, the City of Hamburg has doubled its budget for independent dance projects.
The centre works independently of the Kampnagel programme. Although it is part of the international organisation, which is known as the Kulturfabrik Kampnagel GmbH, which assures access to the Kampnagel’s organisational resources, the director’s office of Dr. Kerstin Evert is responsible for all of the centre’s affairs.
Financing from the City of Hamburg allowed a hall at the Kampnagel to be remodelled. A neighbouring hall is also available for performances. After a preparatory period in 2006, the director’s office started organising a professional dance training programme in 2007, as well as professional workshops (the latter in co-operation with the performance studies MA programme). An artists-in-residence programme develops a broad spectrum of courses intended to teach production skills. A jury of experts selects three choreographers to participate in the programme, which will begin in April and end in December the same year.
Artists in Residence in 2007: Monica Antezana (Hamburg, D/ Cochabamba, BO), Jenny Beyer (Rotterdam, NL/ Hamburg, D) and Lina Lindheimer (Gießen, D/ Berlin, D).
Artists in Residence in 2008: Lucia Glass (Berlin), Sylvi Kretzschmar (Köln) and Doris Stelzer (Wien).
Besides the aspect of continuing professional education, the centre devotes itself to intensively and effectively promoting dance and choreography to a broader public, and see to it that dance events and activities are presented in schools.
(Current as of February 2009)
Contribution by Klaus Witzeling in
"Jahresheft Tanzplan Deutschland 2006/07" (March 2007)
In the 1920s the Hanseatic city of Hamburg was one of the centres of the dance avantgarde, with pioneers Rudolf von Laban and Kurt Jooss, but later modern dance on the Elbe was always neglected. The Lola Rogge School of Dance continued its tradition after the war and is still successfully producing the next generations. But the local maintenance and shaping of dance in the context of the rich and diverse international developments and compared with other German cities (not to mention other European cities) fell almost hopelessly behind in the past 20 years. Kampnagel audiences in Hamburg could get an idea of the wealth of dance theatrical forms beyond the limited horizon of the Alster, especially from guest performances. Despite some repeated individual initiatives, attempts, and artistic efforts that were supported by the Kampnagel directors however, dance artists remained out of reach of public attention and especially of financial support, which caused a migration of talent and the almost total decimation of the dance scene. For the majority of those in cultural politics and for Hamburg’s audiences, dance is still synonymous with John Neumeier and his world-famous Hamburg Ballett.
The establishment of Tanzplan Hamburg is a change of tack, a move towards a new beginning for contemporary dance – thanks to Kultursenator (Senator for cultural affairs) Karin von Welck. Although she had not previously had a great deal to do with dance, she seized the opportunity energetically and promptly when the German Federal Cultural Foundation and Tanzplan Deutschland called on cities to apply for "Tanzplan vor Ort" (“Tanzplan on location”) projects. With the funding awarded to Tanzplan Hamburg and 1.2 million Euros to fund the model of a choreography centre that she submitted, von Welck is now attempting to catch up with the things that her predecessors in the early eighties misjudged and missed out on.
The concept was developed in an exchange between the cultural authorities and the new Hamburg MA “Performance Studies” course under the direction of Prof. Gabriele Klein, and in cooperation with Kampnagel director Gordana Vnuk. It was drawn up by theatre scientist and dance dramaturge Kerstin Evert together with dance journalist Edith Boxberger and emphasises the transmission “of contemporary dance as innovative artistic practice and as a socially-relevant knowledge culture“. The main aspect of Tanzplan Hamburg is to support young and rising choreographers by setting up a training and education and information centre that will function autonomously in terms of content within the Kulturfabrik Kampnagel. This centre is designed to fulfil three main tasks. Firstly, to create qualification courses for dance professionals in Hamburg such as regular pro-training sessions and workshops. Secondly, to establish a support programme combining theory and performance practice for the next generation of choreographers in residence. Thirdly, to set up networks with other institutions in the city such as the Theaterakademie and MA “Performance Studies” course. The transmission of dance in to the public is especially to be promoted in the area of education.
A further important point is the improvement of infrastructure production conditions for Hamburg’s dance professionals. Two new studios in the developing K3 – Centre for Choreography will be available to them, depending on their capacity, as training and rehearsal spaces. Hamburg’s cultural authorities will not only bear the costs of the centre’s construction, but have also committed themselves to increasing their project funding for dance. The funding amount previously reserved in the budget for independent dance theatre productions will be doubled for a period of four years to
€ 200,000 per season from the 07/08 season. A total of 1,261,853 Euros of investment funding is available. The K3 – Centre for Choreography can thus become at once a training and rehearsal space, a space for performances, training and education, and a communication forum for Hamburg’s dance professionals and their audience. This diversity, together with the combination of theory and practice in the residence programme provided by cooperation with the MA “Performance Studies” course, which is hitherto unique in German-speaking countries, was finally decisive for Tanzplan Deutschland’s decision-making committee in its determination to support the Hamburg model to sustainably assist the next generation of artists with the highest possible amount.
The rebuilding of the old K3 performance hall began in mid-June. The cultural authorities provided around for 850,000 Euros for the construction of the two approximately 130 and 110 square metres of rehearsal and training studios and the rebuilding of the Probebühne (rehearsal stage) P1 into a flexible performance space with about 100 seats. There will also be cloakrooms, a lecture and seminar room and computer workstations. Kampnagel will provide infrastructure and technical support for the centre as well as up to 40 performance dates per season for events. These agreements will remain in force when Amelie Deuflhard takes over as director of Kampnagel for the 07/08 season. Kerstin Evert, director of Tanzplan Hamburg, will also continue to take independent decisions on the content and artistic issues of the K3 – Centre for Choreography. She will be supported by Ewa Ferens, for the area of Communication, and by Jana Lüthje.
The first round for the three Choreographers in Residence, lasting until December 2007, started back in April. “We are looking for promising choreographers with talent and professional experience and for open, curious, intelligent personalities who are prepared to reflect and to play a constructive part in the development process of the Tanzplan training programme“, said Ms Evert, explaining the selection criteria. She regards the first Residence group as a kind of pilot phase in which the Tanzplan model with mentors is to be tested, modified by through this experience, adapted to meet the needs identified, and expanded. In this concept, three choreographers are designated as Artists in Residence. They are supported by an artistic mentor and also receive support in the specialist areas of Dramaturgy, Organisation, Technology and Public Relations from the Tanzplan office. They attend practical production-oriented and dance and performance theoretical qualification courses, events held by the “Performance Studies” course and can take part in training sessions and all other Tanzplan Hamburg events.
Monica Antezana from Bolivia, Lina Lindheimer, who is studying in Giessen, and Jenny Beyer from Hamburg, but currently living in Rotterdam, were selected from among 80 applicants to be the first K3 Artists in Residence. Stefan Hilterhaus, Artistic Director of the PACT Zollverein Essen, artists Kattrin Deuffert/Thomas Plischke, and journalist Edith Boxberger were members of the consulting jury committee. Romanian choreographer Manuel Pelmus, who has set up a choreographic centre in Bucharest, and dramatic consultant and curator Sally de Kunst from Brussels, came to be mentors in April and May. Kampnagel has made rehearsal stages available to work on during the ongoing transition period and the K3 Centre for Choreography / Tanzplan Hamburg is planned to to open with a big three-day festival in mid-October.
Current Activities
The Hamburg Parliament has agreed to fund K3 at Kampnagel to the full amount of 300,000 euros in 2011. The centre will continue as a successful location for the development of contemporary dance, for artistic research, for international networking and exchanges as well as for communicating dance in Hamburg. Tanzplan Deutschland’s increased project funding for the independent dance scene means that there is now a fixed, annual subsidy of 500,000 euros for contemporary dance in Hamburg. (May 2011)
Project description
A Centre for Choreographic Development and Promotion, unique to Germany in its kind, was opened at Kampnagel, an important arts venue in Hamburg. Teaching production-oriented skills to young choreographers and expanding their knowledge of dance contributes to the center’s profile, as is the co-operation with the MA programme in Performance Studies at the University of Hamburg.
The centre is equipped with dance studios, seminar rooms and an information office, so that it has become a place where Hamburg dancers and choreographers can meet, take classes, work, and perform. It also serves as a venue for educational and discursive purposes, which is not limited to an expert public, but intends to reach out to a broader audience. The centre’s goal is to be a place where contemporary dance, innovative artistic practice, and knowledge of socially relevant issues can be presented and encouraged. In particular, it is concerned with teaching young, educated choreographers about the production aspects of their art. To provide additional support for the dance infrastructure in Hamburg, the City of Hamburg has doubled its budget for independent dance projects.
The centre works independently of the Kampnagel programme. Although it is part of the international organisation, which is known as the Kulturfabrik Kampnagel GmbH, which assures access to the Kampnagel’s organisational resources, the director’s office of Dr. Kerstin Evert is responsible for all of the centre’s affairs.
Financing from the City of Hamburg allowed a hall at the Kampnagel to be remodelled. A neighbouring hall is also available for performances. After a preparatory period in 2006, the director’s office started organising a professional dance training programme in 2007, as well as professional workshops (the latter in co-operation with the performance studies MA programme). An artists-in-residence programme develops a broad spectrum of courses intended to teach production skills. A jury of experts selects three choreographers to participate in the programme, which will begin in April and end in December the same year.
Artists in Residence in 2007: Monica Antezana (Hamburg, D/ Cochabamba, BO), Jenny Beyer (Rotterdam, NL/ Hamburg, D) and Lina Lindheimer (Gießen, D/ Berlin, D).
Artists in Residence in 2008: Lucia Glass (Berlin), Sylvi Kretzschmar (Köln) and Doris Stelzer (Wien).
Besides the aspect of continuing professional education, the centre devotes itself to intensively and effectively promoting dance and choreography to a broader public, and see to it that dance events and activities are presented in schools.
(Current as of February 2009)
Contribution by Klaus Witzeling in
"Jahresheft Tanzplan Deutschland 2006/07" (March 2007)
In the 1920s the Hanseatic city of Hamburg was one of the centres of the dance avantgarde, with pioneers Rudolf von Laban and Kurt Jooss, but later modern dance on the Elbe was always neglected. The Lola Rogge School of Dance continued its tradition after the war and is still successfully producing the next generations. But the local maintenance and shaping of dance in the context of the rich and diverse international developments and compared with other German cities (not to mention other European cities) fell almost hopelessly behind in the past 20 years. Kampnagel audiences in Hamburg could get an idea of the wealth of dance theatrical forms beyond the limited horizon of the Alster, especially from guest performances. Despite some repeated individual initiatives, attempts, and artistic efforts that were supported by the Kampnagel directors however, dance artists remained out of reach of public attention and especially of financial support, which caused a migration of talent and the almost total decimation of the dance scene. For the majority of those in cultural politics and for Hamburg’s audiences, dance is still synonymous with John Neumeier and his world-famous Hamburg Ballett.
The establishment of Tanzplan Hamburg is a change of tack, a move towards a new beginning for contemporary dance – thanks to Kultursenator (Senator for cultural affairs) Karin von Welck. Although she had not previously had a great deal to do with dance, she seized the opportunity energetically and promptly when the German Federal Cultural Foundation and Tanzplan Deutschland called on cities to apply for "Tanzplan vor Ort" (“Tanzplan on location”) projects. With the funding awarded to Tanzplan Hamburg and 1.2 million Euros to fund the model of a choreography centre that she submitted, von Welck is now attempting to catch up with the things that her predecessors in the early eighties misjudged and missed out on.
The concept was developed in an exchange between the cultural authorities and the new Hamburg MA “Performance Studies” course under the direction of Prof. Gabriele Klein, and in cooperation with Kampnagel director Gordana Vnuk. It was drawn up by theatre scientist and dance dramaturge Kerstin Evert together with dance journalist Edith Boxberger and emphasises the transmission “of contemporary dance as innovative artistic practice and as a socially-relevant knowledge culture“. The main aspect of Tanzplan Hamburg is to support young and rising choreographers by setting up a training and education and information centre that will function autonomously in terms of content within the Kulturfabrik Kampnagel. This centre is designed to fulfil three main tasks. Firstly, to create qualification courses for dance professionals in Hamburg such as regular pro-training sessions and workshops. Secondly, to establish a support programme combining theory and performance practice for the next generation of choreographers in residence. Thirdly, to set up networks with other institutions in the city such as the Theaterakademie and MA “Performance Studies” course. The transmission of dance in to the public is especially to be promoted in the area of education.
A further important point is the improvement of infrastructure production conditions for Hamburg’s dance professionals. Two new studios in the developing K3 – Centre for Choreography will be available to them, depending on their capacity, as training and rehearsal spaces. Hamburg’s cultural authorities will not only bear the costs of the centre’s construction, but have also committed themselves to increasing their project funding for dance. The funding amount previously reserved in the budget for independent dance theatre productions will be doubled for a period of four years to
€ 200,000 per season from the 07/08 season. A total of 1,261,853 Euros of investment funding is available. The K3 – Centre for Choreography can thus become at once a training and rehearsal space, a space for performances, training and education, and a communication forum for Hamburg’s dance professionals and their audience. This diversity, together with the combination of theory and practice in the residence programme provided by cooperation with the MA “Performance Studies” course, which is hitherto unique in German-speaking countries, was finally decisive for Tanzplan Deutschland’s decision-making committee in its determination to support the Hamburg model to sustainably assist the next generation of artists with the highest possible amount.
The rebuilding of the old K3 performance hall began in mid-June. The cultural authorities provided around for 850,000 Euros for the construction of the two approximately 130 and 110 square metres of rehearsal and training studios and the rebuilding of the Probebühne (rehearsal stage) P1 into a flexible performance space with about 100 seats. There will also be cloakrooms, a lecture and seminar room and computer workstations. Kampnagel will provide infrastructure and technical support for the centre as well as up to 40 performance dates per season for events. These agreements will remain in force when Amelie Deuflhard takes over as director of Kampnagel for the 07/08 season. Kerstin Evert, director of Tanzplan Hamburg, will also continue to take independent decisions on the content and artistic issues of the K3 – Centre for Choreography. She will be supported by Ewa Ferens, for the area of Communication, and by Jana Lüthje.
The first round for the three Choreographers in Residence, lasting until December 2007, started back in April. “We are looking for promising choreographers with talent and professional experience and for open, curious, intelligent personalities who are prepared to reflect and to play a constructive part in the development process of the Tanzplan training programme“, said Ms Evert, explaining the selection criteria. She regards the first Residence group as a kind of pilot phase in which the Tanzplan model with mentors is to be tested, modified by through this experience, adapted to meet the needs identified, and expanded. In this concept, three choreographers are designated as Artists in Residence. They are supported by an artistic mentor and also receive support in the specialist areas of Dramaturgy, Organisation, Technology and Public Relations from the Tanzplan office. They attend practical production-oriented and dance and performance theoretical qualification courses, events held by the “Performance Studies” course and can take part in training sessions and all other Tanzplan Hamburg events.
Monica Antezana from Bolivia, Lina Lindheimer, who is studying in Giessen, and Jenny Beyer from Hamburg, but currently living in Rotterdam, were selected from among 80 applicants to be the first K3 Artists in Residence. Stefan Hilterhaus, Artistic Director of the PACT Zollverein Essen, artists Kattrin Deuffert/Thomas Plischke, and journalist Edith Boxberger were members of the consulting jury committee. Romanian choreographer Manuel Pelmus, who has set up a choreographic centre in Bucharest, and dramatic consultant and curator Sally de Kunst from Brussels, came to be mentors in April and May. Kampnagel has made rehearsal stages available to work on during the ongoing transition period and the K3 Centre for Choreography / Tanzplan Hamburg is planned to to open with a big three-day festival in mid-October.
Tanzplan Deutschland
[ Local Contact ]
Kerstin Evert
K3 - Zentrum für Choreographie / Tanzplan Hamburg
c/o Kampnagel Hamburg
Jarrestr. 20
22303 Hamburg
www.k3-hamburg.de
[ Local Partner ]
Kampnagel Internationale Kulturfabrik GmbH
Universität Hamburg / MA-Studiengang "Performances Studies"
[ Local Sponsors ]
Kulturbehörde der Freien und Hansestadt Hamburg
| PRINT PAGE|
Kerstin Evert
K3 - Zentrum für Choreographie / Tanzplan Hamburg
c/o Kampnagel Hamburg
Jarrestr. 20
22303 Hamburg
www.k3-hamburg.de
[ Local Partner ]
Kampnagel Internationale Kulturfabrik GmbH
Universität Hamburg / MA-Studiengang "Performances Studies"
[ Local Sponsors ]
Kulturbehörde der Freien und Hansestadt Hamburg
Tanzplan Deutschland
|