Dance

The tenth edition of the German Dance Platform begins in Dresden on 23 February 2012. An interview with juror Kerstin Evert of K3 – Zentrum für Choreographie / Tanzplan Hamburg, on the selection process and on her expectations of the German Dance Platform.

For three days, the independent scene will be coming together, giving experts and the public at large an overview of the current German dance scene. The event is being organised by HELLERAU – The European Arts Centre in Dresden, one of eleven co-organisers that take turns to stage the festival, which takes place every two years. The 2012 edition has a completely new profile. The jury has not only picked out ten productions from the many entries, but has also invited another ten projects to make half-hour presentations. The Semperoper Ballett will be presenting a William Forsyth performance, and the Festspielhaus Hellerau will be giving four large-format guest performances.

Is the German Dance Platform a presentation of the best of the independent scene?

There is that expectation, but in my view, that is a misunderstanding. What the German Dance Platform is all about is presenting a spectrum, that is to say the whole range of contemporary dance in Germany, and to do so in a concentrated form. That is why we have brought together a range of different approaches, themes, formats and styles.

What were the jury’s selection criteria?

First and foremost, it is important in principle that the productions invited to perform to an international specialist audience are able to go on tour. That is to say that they are technically and conceptually suitable for guest performances and that the play works elsewhere. That is why we looked at each piece of work and asked ourselves what could be interesting internationally.

So you were not so much guided by well-known names in choreography?

That’s right, because it is a hard job to select ten of the many dance productions that were created in Germany in the last two years! That is why we did not look for artists or groups that we think are interesting in general, but took a close look at each individual piece and its approach. Seen as a whole, though, the selection does reflect different genres that influence contemporary dance – movement research, dance theatre, narration and thematic collage.

As well as those invited, ten other choreographers will present their projects in pitching sessions. What do you hope this will achieve?

During the selection process, we discussed the ten additional artists who will present their work very intensively. The pitching sessions enable more artistic approaches and projects to be shown, thus presenting the scene rather more comprehensively.

The German Dance Platform does not have one overall theme and it is not a curated festival. In spite of that, did the jury still detect certain trends during the selection process?

I do not think there is evidence of any general trends. We have a great variety of styles, themes and formats in Germany. The majority of works are still solos and duos, however, on account of the precarious funding situation. But it is interesting that there are more and more trios, at least that is what I have observed. That is to say, constellations on the threshold to collective, group-orientated work.

What else did you notice?

In my experience, also beyond my work as a member of this jury, people working in the field of dance have a growing awareness of their art form. There are a large number of very well trained people, particularly younger people, on the market, not least thanks to improved initial and advanced training. At the same time, many people are asking themselves how they will ever gain more than “young talent” status …

What is the situation concerning the traditional opposition between the independent scene on the one hand and municipal and state-funded theatre on the other?

Entrenched positions are softening and I believe that the German Dance Platform will show that to be the case. There are some people who move between the two systems, like Laurent Chétouane and Malou Airaudo. That is a great opportunity because it can lead to fruitful exchange.

What will audiences take home with them after three days at the German Dance Platform?

At best, they will realize that there is a great deal going on at a very high level – but peoples’ individual experiences are very diverse, and that is how it should be!