MA Solo/Dance/Authorship (SODA)
Master of Arts
All further information and the application documents can be found on the website of the Universität der Künste Berlin >
The MA Solo/Dance/Authorship (SODA) is a practice-led master’s degree that explores body- and movement-based performative practice within a two-year, full-time program focused on students’ individual research trajectories. It seeks to provide a transdisciplinary frame for graduates and professionals who wish to challenge, extend and transform their artistic practice within an academic structure. A lively and supportive environment encourages students to develop their specific realities and concerns through different research approaches in and beyond the arts.
A body-based approach to research is needed now more than ever due to the increasing complexity of contemporary life. Considering the body simultaneously as witness, document, and agent, MA SODA asks what kinds of artistic, political and theoretical strategies can be developed.
Drawing on the diversity of practices brought to the HZT by students from a range of backgrounds, MA SODA concerns itself with the intersection of aesthetics, politics, and ethics. A critical awareness of existing systems and practices of knowledge production in relation to the body is at the core of our approach. This requires an engagement with existing geopolitical, economic and symbolic hegemonies.
MA SODA is designed for students to undertake consistent and structured development of their body-based research. This is done in dialogue with other artists, thinkers and practitioners through a variety of formats. With particular focus on situating, writing, and speaking about one’s artistic practice, MA SODA helps students to frame, document and present their work within a public context.
MA SODA includes a broad spectrum of international guest lecturers as well as members of the independent Berlin art scene. The program is taught in English.
Information on Application
Application period and entrance requirements
15 January – 28 Feburary 2026 for the next summer semester 2027
Your application procedure step by step
All further information and the application documents can be found on the website of the Universität der Künste Berlin >
Online-Info-Session on 10 Februar 2026 at 2pm:
Time: 10.Feb. 2026 02:00 PM CET (Berlin)
Join via the following link
us02web.zoom.us/j/84558652006
Meeting-ID: 845 5865 2006
Kenncode: 157249
The MA SODA study course is divided into six modules over four semesters
Semester 1/ Module 101: Questions of Practice 1
Diagnostics/ Writing & Research for Artists/ Making New Work (20 credits) takes three key approaches to making and thinking practice: diagnostics - the ability to share processes of making work; writing & research for artists - the ability to place practice in relation to language and identify and utilize appropriate research methods with which to develop practice; making new work - the ability to identify and develop new approaches to making and thinking practice. The module takes the student’s own practice-led and analytical account of engagement with choreographic/ performance processes and associated discourses as its starting point.
Semester 1/ Module 102
Negotiating Solo/Dance/Authorship - Lecture/ Seminar Series 1 (10 credits) explores the critical, contextual and theoretical understanding of key terms of the course in relation to individual students' development of practice and that of others. The first series of lectures/seminars addresses the contexts, implications and relationships of the key terms of the MA - 'solo', 'dance' and 'authorship' - in relation to contemporary arts practice and theory. The lectures are linked to seminars that involve reading and discussion of key works, performances and texts to establish a base for the critical discussion of individual work and a written paper.
Semester 2/ Module 201
Questions of Practice 2: Compositional Strategies & Tactics (20 credits) examines the work process of composition as research through artistic practice by exploring and testing various compositional strategies, tactics and work processes and analyzing the aesthetic and cultural contexts that make them possible and support them. Students continue to develop documentation and critical reflection in a workbook. At the end of the module, a formal proposal for independent and collaborative research in Semester 3 is submitted.
Semester 2/ Module 202
Compositional Practices & Contexts: Lecture/ Seminar Series 2 (10 credits) addresses questions of thinking and making contemporary practice in relation to the histories and strategies of 20th and 21st century compositional practice and contexts. The seminars involve reading and discussion of key works, performances and texts, and relating to the ongoing development of individual work through a written research paper.
Semester 3/ Module 301
Independent & Collaborative Research (30 credits): following an initial independent research proposal at the end of Semester 2, students embark on a sustained programme of individual research designed and structured in discussion with tutors. Research identifies and works with special areas of concern and with the acquisition of specific skills and knowledge. Students are invited to propose research mentors to accompany their progress and to be involved in collaborative research and curational projects during the semester.
Semester 4/ Module 401
Final SODA Project & Documentation (30 credits) involves the production of a work that engages with solo and/ or collaborative dance authorship, can be performed or presented in the public arena and meets conceptual, aesthetic and production criteria that apply in wider professional arts communities and/ or the cultural context for which the work is designed. Students prepare an initial proposal for their project at the end of Semester 3 that is negotiated and finalized with the core staff tutor and the project mentor toward the beginning of the final Semester 4. The Final Project documentation provides an opportunity for students to engage in detailed documentation and reflection on their work. The documentation takes the form of a substantial critical framing statement that positions the work in relation to the student's own experience and to wider cultural and aesthetic questions and conditions, and a final workbook devoted to the compositional, conceptual and contextual processes of the project.
FAQ
Yes. An online information session will be held. You will receive an overview of the study programme and have the opportunity to ask general questions. For more information, please check ‘Information on Application’ > ‘Application’.
You will find some general details regarding accessibility on the UdK website.
If you have further questions regarding accessibility, please feel welcome to contact us at accessibility[at]hzt-berlin.de.
There is no age restriction for applicants. MA SODA is open to all who wish to further develop their existing body-based performance work and research practices.
In the interest of fairness to all applicants, we cannot offer private feedback sessions. If you have some questions regarding the application process, please consider attending our online information session.
A description of what the Selection Committee takes into consideration can be found on the UdK website.
You will find details regarding some study financing and scholarships in Section 2 of our Help and Support page.
Yes. A BA in Dance or related studies is not a pre-requisite for application to MA SODA.
The MA SODA curriculum does not involve any particular movement technique. However, HZT courses occasionally include some movement classes open to MA students. Additionally, HZT is part of a studio complex which shares space with Tanzfabrik. Tanzfabrik is one of a handful of dance studios in Berlin which offer movement classes in advanced technique.
No. MA SODA is a study program designed with a strong focus on peer-to-peer exchange in a supportive cohort environment. Both through various teaching formats and in independent research, students work in proximity to one another which encourages sharing and expansion of ideas and practice.
Public Events MA Solo/Dance/Authorship
On Decision-Making. A lecture and seminar series
On Decision-Making. A lecture and seminar series
Final works of MA Solo/Dance/Authorship
Final works of MA Solo/Dance/Authorship
Final works of MA Solo/Dance/Authorship
Final works of MA Solo/Dance/Authorship
Final works of MA Solo/Dance/Authorship
Final works of MA Solo/Dance/Authorship
Final works of MA Solo/Dance/Authorship
Final works of MA Solo/Dance/Authorship Attention! Advance registration is required. Book the appointment here: www.cocompany.co >
Final works of MA Solo/Dance/Authorship
Final works of MA Solo/Dance/Authorship Attention! Advance registration is required. Book the appointment here: www.cocompany.co >
Final works of MA Solo/Dance/Authorship + After Party with DJ marum
Mmakgosi Kgabi
The Shape of Emotion - language is a shape, music is a shape, it is the shape
© © Paula FaracoFinal works of MA Solo/Dance/Authorship
On Decision-Making. A lecture and seminar series
Paz Rojo
Dancing its do
On Decision-Making. A lecture and seminar series
Corporeal Matters: a lecture series on the diagnostic capacities of bodies EN
Perel
You Make Me Sick
© Gerhard F. LudwigCorporeal Matters: a lecture series on the diagnostic capacities of bodies
Corporeal Matters: a lecture series on the diagnostic capacities of bodies
© Juergen GrosseCorporeal Matters: a lecture series on the diagnostic capacities of bodies
Bernardo Chatillon
I need to be Here
© Isabel GatzkeMA SODA – 301 Artistic Research Presentations
Rhyannon Styles
Experiential States
© Rhyannon WaggMA SODA – 301 Artistic Research Presentations
Ana Lessing Menjibar
(Int)eruption. The Idea of a Second Heart
© Ana Lessing Menjibar | Julia GrossiMA SODA - 301 Artistic Research Presentations
Jason Corff
Passed Three
© Effy GreyMA SODA - 301 Artistic Research Presentations
Kuba Borkowicz
Impossible Forest Collaboration
© Kuba BorkowiczMA SODA – 301 Artistic Research Presentations
Minna Partanen
Strangely Familiar
© Venla Helenius MA SODA – 301 Artistic Research Presentations
MA SODA – 301 Artistic Research Presentations
Ana Lessing Menjibar
(Int)eruption. The Idea of a Second Heart
© Ana Lessing Menjibar | Julia GrossiMA SODA - 301 Artistic Research Presentations
Minna Partanen
Strangely Familiar
© Venla Helenius MA SODA – 301 Artistic Research Presentations
MA SODA – 301 Artistic Research Presentations
Jason Corff
Passed Three
© Effy GreyMA SODA - 301 Artistic Research Presentations
Kuba Borkowicz
Impossible Forest Collaboration
© Kuba BorkowiczMA SODA – 301 Artistic Research Presentations
Rhyannon Styles
Experiential States
© Rhyannon WaggMA SODA – 301 Artistic Research Presentations
Bernardo Chatillon
I need to be Here
© Isabel GatzkeMA SODA – 301 Artistic Research Presentations
Sophia New
Examining Everyday Data
© Manuel ReinartzResearch Presentation
Corporeal Matters: a lecture series on the diagnostic capacities of bodies
LOAF
The Lonely Organized Arts Festival
© Camila MalenchiniCurated by the BAs and MAs of HZT
LOAF
The Lonely Organized Arts Festival
© Camila MalenchiniCurated by the BAs and MAs of HZT
LOAF
The Lonely Organized Arts Festival
© Camila MalenchiniCurated by the BAs and MAs of HZT
Prof. Dr. Sandra Noeth
Resilient Bodies, Residual Effects
© transcript verlagBook & Research Presentation
© [Translate to English:] Sandra NoethHow is 'belonging' constructed, negotiated and challenged?
Reindeer Age investigates what enchants us today.
Reindeer Age investigates what enchants us today.
The 2019/20 MA SODA graduate publication launch at HZT!
A duet ritual between skin and language.
A duet ritual between skin and language.
A work that uses sonic frequencies created by guitar that allow for compositional structures and atmospheric states to arrive. >
Questioning the spatial and temporal location and (dis)orientation of the body, the choreography parallels cartographic and cognitive processes. >
A work that uses sonic frequencies created by guitar that allow for compositional structures and atmospheric states to arrive. >
Questioning the spatial and temporal location and (dis)orientation of the body, the choreography parallels cartographic and cognitive processes. >
Decomposing the structure of flamenco in order to transform it within the field of performance art.
A self-shifter, Minna Partanen pushes the limits of technology from hardware to winter-wear.
Decomposing the structure of flamenco in order to transform it within the field of performance art.
A self-shifter, Minna Partanen pushes the limits of technology from hardware to winter-wear.
© [Translate to English:] Nada ZgankWhenever we touch the question of belonging we end up in a kind of slippery area. Is belonging about identity, is it about commitment, is it about beliefs, >
Across the Middle, Past the East, An unsettled Cabaret, is, as its title suggests, one of those projects that never really end. >
© Marcus LieberenzWhat if Greek Zorba was a Butoh dancer?
© Christian ScholzTo learn ballet or to be a ballet dancer? Is there a moment when one transitions into the other?
In Conversation #3: Vulnerability
With Sandra Noeth/Banu Bargu/Gurur Ertem
In Conversation #4: The Integrity of Dead and Unburied Bodies
Sandra Noeth/Lina Majdalanie/Steven Cohen/James Martel (Berlin/Lille/San Francisco)
In Conversation #4: The Integrity of Dead and Unburied Bodies
Sandra Noeth/Lina Majdalanie/Steven Cohen/James Martel (Berlin/Lille/San Francisco)
Dramaturgical Perspectives #2: Strategies on Non/Productivity
Raquel Meseguer/Jeremy Wade/Sandra Noeth/Anna Wagner (Bristol/Berlin/Frankfurt a. Main)
Dramaturgical Perspectives #2: Strategies on Non/Productivity
Raquel Meseguer/Jeremy Wade/Sandra Noeth/Anna Wagner (Bristol/Berlin/Frankfurt a. Main)
In Conversation #5: Performative Contracts
Sandra Noeth/Mirjam Schaub/Janez Janša (Berlin/Halle/Ljubljana)
Dramaturgical Perspectives #3: Strategies of Redistribution
Nuno Ramos/Akira Takayama/Sandra Noeth/Anna Wagner (São Paulo/Tokio/Berlin/Frankfurt a. Main)
In Conversation #6: Im/Purity
Dr. Soumyabrata Choudhury, Siegmar Zacharias, Sandra Noeth
In Conversation #6: Im/Purity
Dr. Soumyabrata Choudhury, Siegmar Zacharias, Sandra Noeth
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
In Conversation #7: The Tyranny of Integrity?
Boris Ondreička/Ong Keng Sen/Sandra Noeth (Bratislava/Singapur/Berlin)
Dramaturgical Perspectives #4: Strategies of Archiving
Farah Saleh/Leila Soliman/Sandra Noeth/Anna Wagner (Edinburg/Kairo/Berlin/Frankfurt a. Main)
Maikon K
Zarabatana: air to concrete
© Maikon KIn this lecture, Maikon K will insert an artifact in the bodies of the listeners.
Bojana Kunst
Some questions on the ‘international’ art education
© Sven HagolaniThoughts about my difficulties with ‘international’ studies in arts, especially in dance and performance.
Bojana Kunst
Some questions on the ‘international’ art education
© Sven HagolaniThoughts about my difficulties with ‘international’ studies in arts, especially in dance and performance.
Francesca Raimondi
Freedom to Breathe [Stream]
© Sven HagolaniWhat does it mean to conceive the body from breathing? (How) can we think breath?
Hope Ginsburg
Meditations on Amphibiousness [Stream]
![Meditations on Amphibiousness [Stream]](/fileadmin/Dokumente/Bilder/8_Projekte_Reihen_Festivals/SODA-Lectures/03_Ginsburg.png "Meditations on Amphibiousness [Stream]")
© Hope GinsburgAbout the intersection of meditation, environment and interspecies well-being.
Miriam Jakob & Jana Unmüßig
Breathing With [Stream]
![Breathing With [Stream]](/fileadmin/Dokumente/Bilder/8_Projekte_Reihen_Festivals/SODA-Lectures/Miriam_Jakob__If_eyes_could_breathe...__Videostill__2020.jpg "Breathing With [Stream]")
How can communication and sharing of the topic of breath be understood as a way of materializing breathing?
Basel Abbas & Ruanne Abou-Rahme
Breathing where you are not supposed to.
About the knowledge that is needed to breathe where you are not supposed to do so.
Vanessa Eileen Thompson
Blackness, Conditions of Unbreathing and the Possibility of Abolition
© Sven HagolaniThe lecture will need to be re-scheduled. We will announce the new date in the next few days.
Eylül Fidan Akıncı
Choreo-dramaturging the Anthropocene: Eiko Otake’s A Body in Places
© Met Fifth Ave, 19 November 2017, No_0537 William JohnstonHow the ever-deepening ecological crisis calls for choreo-dramaturgical approaches and activation.
A choreographic journey into the collective imaginary
A choreographic journey into the collective imaginary
A choreographic journey into the collective imaginary
A choreographic journey into the collective imaginary
A choreographic journey into the collective imaginary
A choreographic journey into the collective imaginary
A choreographic journey into the collective imaginary
A choreographic journey into the collective imaginary
A choreographic journey into the collective imaginary
An invitation to consider what would it mean to live today with the consciousness that this life is all that we have. >
This piece incites intimate encounters in a tangled web of bodies, interlacing the strange with the familiar.
This piece incites intimate encounters in a tangled web of bodies, interlacing the strange with the familiar.
Questioning different ways of hosting dance and its presence within the public in mind at the time of a pandemic.
Questioning different ways of hosting dance and its presence within the public in mind at the time of a pandemic.
Questioning different ways of hosting dance and its presence within the public in mind at the time of a pandemic.
Questioning different ways of hosting dance and its presence within the public in mind at the time of a pandemic.
Questioning different ways of hosting dance and its presence within the public in mind at the time of a pandemic.
Questioning different ways of hosting dance and its presence within the public in mind at the time of a pandemic.
Questioning different ways of hosting dance and its presence within the public in mind at the time of a pandemic.
Questioning different ways of hosting dance and its presence within the public in mind at the time of a pandemic.
Anita Wach
Hundred Toasts
© MarcandreaA celebration of achievements and failures of artists, statesmen and thinkers who fundamentally influenced the track of history. >
Collection of dances from a study on "touch" as metaphor.
Collection of dances from a study on "touch" as metaphor.
Collection of dances from a study on "touch" as metaphor.
Embodiment of two archetypes: Character dancer and mariachi.
Why deception, deceit, flattery are so inevitable.
Embodiment of two archetypes: Character dancer and mariachi.
Why deception, deceit, flattery are so inevitable.
Locating the voice of the space and realign its relationships.
Gait recognition systems as biometrical possibilities + pitfalls.
Locating the voice of the space and realign its relationships.
Locating the voice of the space and realign its relationships.
Locating the voice of the space and realign its relationships.
Gait recognition systems as biometrical possibilities + pitfalls.
We are lost in space. We are all at sea. We are in this together.
We are lost in space. We are all at sea. We are in this together.
We are lost in space. We are all at sea. We are in this together.
Dr. Gurur Ertem
Promises and Pitfalls of ‘Political’ Curating in Live Arts
© Gurur ErtemAbout the limitations of the current preoccupation with identity politics in the field of live arts.
Dr. Gurur Ertem
Promises and Pitfalls of ‘Political’ Curating in Live Arts
© Gurur ErtemAbout the limitations of the current preoccupation with identity politics in the field of live arts.
A critical and feminist examination of the idea of possessing one’s own body in relation to precarity.
Venuri Perera
If I may be candid
© youremyfavoriteAbout the nuances and complexities of how class is embodied, coded and communicated.
Francis Seeck
Classismus. The ignored discrimination
© Lotte OstermannThe talk will address classism in the cultural field.
Francis Seeck
Classismus. The ignored discrimination
© Lotte OstermannThe talk will address classism in the cultural field.
Tanja Abou
Class(ism), Body and Practices of Beauty
© Tanja AbouHow the way we perceive (our) bodies and practice beauty is shaped by class.
Kerstin Honeit
Voices at Work, Bodies on Strike.
© Kerstin HoneitAbout the (film) voice in its role as a worker by using examples of artistic research and the publication "Voice Works/Voice Strikes". >
Edwin Nasr
Would Curators Unionize? (cancelled)
© Appointed Curators (2022), Ahmet Öğüt. Courtesy of the artistPlayful speculation on the paradoxical position of the 'curator' within the global art circuit and social totality. >
SODA Lecture
Luanda Casella
© Michiel DevijerIn this talk Luanda Casella will explore the background of her artistic practice.
SODA Lecture by Arkadi Zaides
Towards Documentary Choreography
© Institut des CroisementsIn this lecture, Zaides will elaborate on his concept of Documentary Choreography based on examples from a range of his artistic works. >
Public lecture / presentation
Corporeal Matters & Breathe
Presentation of the new book series "Corporeal Matters" and the publication "Breathe"
Naledi Majola
In Flux
© [Translate to English:] Naledi MajolaHow does a body in process perform itself, looked at, and how can a capturing gaze be evaded or even transformed?
Crispin Lord
Scenes from Resurrection
An encounter with the score of Peter Maxwell Davies’ music-theatre/opera work Resurrection (1963-87).
Naledi Majola
In Flux
© [Translate to English:] Naledi MajolaHow does a body in process perform itself, looked at, and how can a capturing gaze be evaded or even transformed?
Crispin Lord
Scenes from Resurrection
An encounter with the score of Peter Maxwell Davies’ music-theatre/opera work Resurrection (1963-87).
Nicole Wysokikamien
Resonances
© [Translate to English:] Bernardo WysokikamienA childhood picture. An imagined choreography. A play on national identity. A tribute to Gilda, even if she is not Uruguayan... >
Matteo Haitzmann
Make it Count
© [Translate to English:] Michael BrusFollow my lead: from the outside to the inside! Watch me jump, until your mind is jumping.
Nicole Wysokikamien
Resonances
© [Translate to English:] Bernardo WysokikamienA childhood picture. An imagined choreography. A play on national identity. A tribute to Gilda, even if she is not Uruguayan... >
Matteo Haitzmann
Make it Count
© [Translate to English:] Michael BrusFollow my lead: from the outside to the inside! Watch me jump, until your mind is jumping.
Min-Suck Kim
Ang-ish Thing(s)
© [Translate to English:] Min-Suck KimThis performance project is a body-based investigation that aims to simulate the emergence of the Ang-ish Thing(s) as a parasitic being between cuteness >
Artists with different backgrounds exchange their works of art, exploring the diverse relationships that emerge.
A performance of Black gender play, with suits and the performer’s body as its primary materials, In flux is an expression of a desire to become >
Artists with different backgrounds exchange their works of art, exploring the diverse relationships that emerge.
A performance of Black gender play, with suits and the performer’s body as its primary materials, In flux is an expression of a desire to become >
This body-based investigation aims to s(t)imulate the emergence of the Ang-ish Thing(s) as a parasitic being between cuteness and the monstrosity behind >
This body-based investigation aims to s(t)imulate the emergence of the Ang-ish Thing(s) as a parasitic being between cuteness and the monstrosity behind >
a childhood picture an imagined choreography a play on nostalgia an impossible translation a place between tenderness and sorrow a question of how and >
The performer is an assistant director. He is tasked with piecing together a revival of Peter Maxwell Davies’ music-theatre work Resurrection (1987). >
The performer is an assistant director. He is tasked with piecing together a revival of Peter Maxwell Davies’ music-theatre work Resurrection (1987). >
a childhood picture an imagined choreography a play on nostalgia an impossible translation a place between tenderness and sorrow a question of how and >
A concertformat for jump rope, (expanded) percussion, modular synthesizer.
Simona Semenič
I, THE VICTIM
© [Translate to English:] A profound portrayal of someone whose life has tested her in more ways than one.
How can I begin to tear apart complex intertwined colonial relationships? By beginning.
Belly Talks is a work-in-progress conversation between my grandmother Ümral and I.
How can I begin to tear apart complex intertwined colonial relationships? By beginning.
© Andrés ArizmendyQuestioning how my artistic practice could be more "sustainable"; and how to generate other possibilities or ways of relating to people within my dance >
How can one's own experience of rape be located between the taboo and pornographisation of the subject?
© Andrés ArizmendyQuestioning how my artistic practice could be more "sustainable"; and how to generate other possibilities or ways of relating to people within my dance >
© Isu Donggeon Kim
© [Translate to English:] “What is the temperature that the Hen and the eggs share? what if they need warmth, but I need cold?”
© Isu Donggeon KimBody Concepts
Political Bodies
© Good EnoughThe session begins with a lecture by transdisciplinary artist Neve Gordon, followed by a dialogue with artist Aernout Mik. >
Body Concepts
Environmental Bodies
© Nadia ChristidiThe session begins with a lecture by transdisciplinary theorist Nadia Christidi, followed by a dialogue with artist Adam Man. >
Body Concepts
Inclined Bodies
© Good EnoughThe session begins with a lecture by transdisciplinary theorist Adriana Cavarero, followed by a dialogue with artist Jeremy Wade. >
Body Concepts
Psychoanalytic Bodies
© Good EnoughThe session begins with a lecture by transdisciplinary theorist Sophie Mendelsohn, followed by a dialogue with artist Anne Juren. >
From mid-November to mid-December 2024 six graduates of the MA SODA will present their current research projects to the public. >
In this sensorial and multi-layered performance, Colleen Ndemeh invites audiences to do the work of confronting, remembering, and cracking open — hard >
In this sensorial and multi-layered performance, Colleen Ndemeh invites audiences to do the work of confronting, remembering, and cracking open — hard >
RAPEFLOWER is a story of rape understood as a psycho-somatic state, a movement practice of an object that is becoming a subject. >
RAPEFLOWER is a story of rape understood as a psycho-somatic state, a movement practice of an object that is becoming a subject. >
Body Concepts
Future Bodies
© Good EnoughThe session begins with a lecture by transdisciplinary theorist Pia Brezavšček, followed by a dialogue with artist Colleen Ndemeh Fitzgerald. >
Miri Né Sori translates to “Milky Way sound” in Korean. In the Pan-asian myth “The Cowherd and the Weaver”, appear two lovers who are separated by the >
Miri Né Sori translates to “Milky Way sound” in Korean. In the Pan-asian myth “The Cowherd and the Weaver”, appear two lovers who are separated by the >
Body Concepts
Transformative Bodies
© Good EnoughThe session begins with a lecture by transdisciplinary theorist Elliot Evans, followed by a dialogue with artist Jen Rosenblit. >
Is there a “common ground" where we can meet? Is it the breathing body or other vital bodily processes that tie us to the continuous flow of exchange with >
Is there a “common ground" where we can meet? Is it the breathing body or other vital bodily processes that tie us to the continuous flow of exchange with >
Body Concepts
Migratory Bodies
© Good EnoughThe session begins with a lecture by transdisciplinary theorist Jason De León, followed by a dialogue with artist Azadeh Ganjeh. >
What can be told when the body is not danced, undressed, or enjoyed in a story?
What can be told when the body is not danced, undressed, or enjoyed in a story?
Body Concepts
Black Bodies
© [Translate to English:] Good EnoughThe session begins with a lecture by transdisciplinary theorist Anna Arabindan-Kesson, followed by a dialogue with artist Isabel Lewis. >
I didn't know how long it would take. Our shared kitchen. April 12th, 2020
I didn't know how long it would take. Our shared kitchen. April 12th, 2020
A performative investigation into the 1974 novella "The Lost Honour of Katharina Blum". How do language and its weaponizations operate, in Katharina Blum >
A body moves between soil and stage, repeating gestures of labor, survival, and performance. What connects the farmhand and the stripper? >
This unchartered tongue is a tongue within a tongue – a language no longer feels maternal.
A ritual of drag, a de-orientalist and political witnessing of aestheticized violence in public life.
It’s a rite of grieving for the living creatures, an embodied poem of death and hope.
© [Translate to English:] An encounter between the Uferstudios and war-zones thousands kilometers away, inviting collective reflection on the fragile border between war and peace. >
I am learning words I do not know in my own mother tongue, which I call the uncharted.
I am learning words I do not know in my own mother tongue, which I call the uncharted.
A dodgy studio and someone in an antiquated suit about to present something. Can this begin well?
A dodgy studio and someone in an antiquated suit about to present something. Can this begin well?
'To Critter' is an eco-sensual invitation to transcend the boundaries of the human self, to connect with what lies beyond the skin. To be and become—with >
'To Critter' is an eco-sensual invitation to transcend the boundaries of the human self, to connect with what lies beyond the skin. To be and become—with >
'The Insisting Body' is a chorography of violence: mapping Berlin’s sites through lunar time, repetition, and presence, the body insists against erasure >
'The Insisting Body' is a chorography of violence: mapping Berlin’s sites through lunar time, repetition, and presence, the body insists against erasure >
This is a (dance) about a girl named Lucky. Dancing as labour, blue-collar glitter, the body both tool and resource. >
This is a (dance) about a girl named Lucky. Dancing as labour, blue-collar glitter, the body both tool and resource. >
An encounter between the Uferstudios and a war-zone thousands kilometers away, inviting collective reflection on the fragile border between war and peace. >
An encounter between the Uferstudios and a war-zone thousands kilometers away, inviting collective reflection on the fragile border between war and peace. >
An encounter between the Uferstudios and a war-zone thousands kilometers away, inviting collective reflection on the fragile border between war and peace. >
An encounter between the Uferstudios and a war-zone thousands kilometers away, inviting collective reflection on the fragile border between war and peace. >
Igor Dobričić
Artist Talk
© Igor Dobričić In his public intervention, Igor Dobričić will focus on the critical yet ethically ambiguous function of highly truncated literary forms. >
This is a study of trial and error that explores the spatial practices of body, image, and sound.
i look for you my little since you slipped back under my bed come visit me again my sweet sweet i am boring myself to sleep >
© courtesy of the artist and Pieter Bruegel In the theatre, to understudy (replace/cover) is to learn the role of another performer. Practicing from the corner of the studio, they rehearse >
Someone will introduce you to what is yet to come. They’re not the only one in charge. They investigate on some morbid experiments of the past >
“I read somewhere, I mean, I saw it on Instagram.”
The room is caught between catastrophe and suspension. People begin watching themselves watching.
Welcome to a residual recording of touch, an affective dismantling. Situated in technical collapse, grief, possibility, and ceremony. >
A table, a speech, a trial, a condemnation, a duel, a fencing match, a ballet, a trap, a ceremony, a baptism, an humiliation, a sabotage... >