CABDANCE

Premiere 24.Juni.2014 HAU1, Goethe Institut Jakarta

For „Cabdance“ the choreographers Amigo aka Kadir Memis and Jecko Siompo deal with dance in limited spaces. They pick out lack of privacy in the Asian region as a central theme  and put it in contrast with the way of life in Germany and the sense of privacy according to that.

Jecko Siompo originally comes from Papua Indonesia where he grew up with a diversity of  local dance traditions and tribal culture. He moved to Jakarta to study dance at the Jakarta Institute of The Arts. He immersed himself in Ballet and Streetdance. The further he was away from Papua the more he seemed to understand its traditions and he started not only to explore his own dance culture but in  addition to that also to connect his tribal dance backround with „western“ hiphop culture. Jecko went to New York in 1999 to absorb more of the fascinating foreign danceform that appeared so familiar to him. He became known for his unique danceform called „ Animal Pop“ in which he mixes typical animal movements  from monkeys or  kangaroos for example with Popping elements. In his latest theater piece „We came from the East“ he  turns  dance history upside down by proclaiming Hip Hop was born in Indonesia.

In opposition to Jeckos backround Amigo grew up in a small village called Bilecik in West Anatolia Turkey. His parents left him with some relatives and moved to Germany to escape poor countrymens life. Meanwhile little 10 years old Amigo worked as a shepard  with a violent uncle who often punished him for mistakes he made. The silent boy  oscillated between  domestic violence and a peaceful life surrounded by nature. Finally his parents could affort to bring Amigo to Berlin/Germany. The uprooted boy that didn`t understand a word of the foreign language became silent in school. Only when he came in contact with other kids dancing on the streets the ice started melting. They tried to copy dancemoves from a film called „Beatstreet“ that had a great impact on the children. He never stopped dancing ever since and after years he finds himself as a professional dancer. For his dancetheater he gets off  the main tracks of so called original Hip Hop which he considers to be boring after so many years of doing Battles and he tries something new by merging his own traditional Turkish dance culture with Hip Hop elements. In „Zeybreak“ he blends a very old and slow Turkish dance called Zeybek with Breaking elements. He keeps on developing that new invented style and still goes deeper. In his latest play „HüZün“ he explores the definition of manhood by  deconstructing not only masculine gestures but also different aspects of upbringing that shapes bahaviour and the way of thinking.

Konzept / Choreografie:  Kadir "Amigo" Memis & Jecko Siompo
Tanz: Laura Böttinger, Ismaera Takeo Ishii, Siti Ajeng Anggrek Fatimah,
Yohozua Karma, Nindya Putri Catur Permatasari, Arisma Ranisa, Ichi, Amigo, Jecko Siompo
Dramaturgie:   Jochen Roller
Bühne:   Christian Necker
Kostüm:   Judith Adam
Videodesign:   Rain Kencana
Musikalische Leitung:   Nevzat Akpinar / Andreas Weiser 
Lichtdesign:   Sebastian Zamponi
Produktions-leitung:   Christian Haase
Künstlerische Assistenz:   Tanja Engel
Produktion: Kadir “Amigo” Memis. Koproduktion: HAU Hebbel am Ufer, Goethe-Institut Indonesien. Gefördert durch den Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten und das Nationale Performance Netz (NPN) Koproduktionsförderung Tanz aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien aufgrund eines Beschlusses des Deutschen Bundestags.
logos cabdance
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WEST-ÖSTLICHER DIALOG

Im Hebbel am Ufer trifft bei „Cabdance“ Tradition auf HipHop

Veröffentlicht am 23.06.2014, Autor Volkmar Draeger in Leute

http://www.tanznetz.de/blog/26477/west-ostlicher-dialog

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Von Katzen und Hunden

Die expressiven Tanzstil-Mixer Kadir Amigo Memis und Jecko Siompo gastieren mit "Cabdance" im HAU1.
Am Anfang stehen die beiden HipHop-Heroen selbst auf der Bühne des Hebbel-Theaters (HAU 1).
Da ist zum Einen: Jecko Siompo, aufgewachsen in Papua, der in Jarkata nicht zum Musikstudium
zugelassen wurde, weil er keine Noten lesen konnte und stattdessen die traditionellen Tänze Javas
und Sumatras studierte. Ende der 1990er Jahre entdeckte er in New York die Parallelen zwischen
HipHop und den ihm vertrauten, alten Tänzen und hat daraus einen eigenen HipHop-Stil geschaffen,
den Animal Pop, in dem er Bewegungen von Affen und Kängurus mit Elementen des Popping mixt....

von Michaela Schlagenwerth - Berliner Zeitung 26.6.14

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Die vierhändige Frau

http://www.taz.de/1/berlin/tazplan-kultur/artikel/?dig=2014%2F06%2F27%2Fa0149&cHash=6adb3dcfe7b05939829eb1289f072eff

von Katrin Betina Müller -  TAZ 27.6.14

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Fotos by:  Nadja Klier ( Copyright )

Presseanfragen Bitte an Photoselection oder ans Hebbel am Ufer Berlin wenden.