Dance, Migration, Cutural Exchange
Movement

In dance migration is not a phenomenon confined to modern times. Artists were and still are “travelling people”. And in many cases this professional mobility is neither voluntarily nor casually chosen as a working basis.

Pina Bausch’s Wuppertaler Tanztheater beckoned Canan Erek from Istanbul to Germany, where she studied dance and choreography. Today she works with young people and realises projects in public space.

He wanted to go to France, but ended up to Germany instead – with Christoph Schlingensief. Now, with his dance experience from Europe, Ahmed Soura is working once again in his homeland Burkina Faso.

In exile in Argentina, German dance Renate Schottelius was a powerful influence on the Latin American dance scene since 1936. Paula Rosolen came to Germany because of her interest in this artist.

To Meg Stuart, borders are irrelevant. Her artistic life began in the USA, today she lives in Berlin and with the location of her company Damaged Gods has a professional focus in Belgium. She works internationally.

He came from Ecuador to Europe via Brussels. Fabián Barba already had experience as a dancer. One focus of his work is bringing 1930’s dance into the present.

Superficially one might think of Pina Bausch as unvarying and place-bound. But in her art, interculturalism was at the heart of her work in dance more than almost anyone before her.

Denmark, Belgium, Holland, France, Germany – unlike many other choreographers Mette Ingvartsen’s moves from one central workplace to the next covered no great distances. But there were many – very many, in fact.