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Dream destinations

How can we create a world, in which we are free to truly interact, to collaborate in awareness, to meet on eye-level in international settings? Where everybody has equal rights and possibilities to participate in artistic and social processes?

flausen+ is searching for paths to approach utopia.

Based on the workshops „paths to an inclusive and sustainable global community“ we have listed some items and ideas, to pack. To finally reach our dream destinations one day.

If our conciousness would be a big backpack – what do we need to wrap up and keep in mind? Awareness mobilizes the first steps.

1.) flausen+ international

with Deneh‘Cho Thompson (Director, Actor, Assistant Professor/ University of Saskatchewan, Workshop flausen+international) and Meera Theunert (Director, flausen+stipendium#57, Workshop flausen+international)

We desire a world in which people connect on an international level and create spaces in which they can work together, participate in shared processes and stimulate visions.

Packing list for international connection

  • eating together
  • dancing together
  • breaking language barriers (practice: say a sentence in the language you feel comfortable and let the others write down, what sounds they hear)
  • creating translation strategies
  • see /recognize our assumptions
  • introduce yourself in a way you never did before (practice: recall your family lineage)
  • be aware of misunderstandings
  • talk about them again and again
  • create safe spaces and take time for that
  • reflect on your habits-
  • care for each other-
  • co-hosting and collaboration
  • think of how you could redefine nationhood

2.) Beyond Europe – opportunities and restriction of international online collaborations

with Azade Shamiri (Theatermaker, Teheran) and Sophia Stepf (Flinn Works, Berlin, flausen+stipendium#7)

We desire a world in which digital connection enables artists and audience to create new forms of art with low-threshold access. Without loosing the connection to real life and the beauty of face-to-face interaction.

Packing list: What do we need to participate in transnational digital performing arts projects?
(And whom do I exclude even if I think that Internet Access is meant to be for anyone in the whole world?) 

  • stable hardware
  • digital literacy
  • software application
  • literacy in English
  • electricity
  • high speed stable internet
  • software applications
  • international transaction 
  • a credit card
  • consider there are more invisible barriers: Age? Zoom Fatigue? Censorship? 
  • ask questions: How do you find your audience if it is open to „everyone“? What about the competition with „all“ (Netflix etc.)? 

flinnworks.de

3.) Translocality

with Ming Poon (Choreographer, Asian Performing Arts Lab) und Donna Marie Baratta (Artistic Director, Superior Theatre Festival, Thunder Bay / Kanada)

We desire a world in which people  can choose their home without loosing their roots. In which all kinds of borders can be left behind. Where we explore our cultural practices and richness without limitation in free collaboration.


Packing List for Translocality

  • No centralized control and no micromanaging
  • Translocality must not remain a concept or an idea, it must be a practice and be lived.
  • We must have time to rest. Rest is an important part of our work.
  • We must have respect for the communities that we form and for the communities we live in.
  • Translocality as a concept of the future.
  • Another understanding of ones roots. If you leave your country you are not uprooted, you take your roots with you and at the same time you put down new roots
  • respect for the history of the land

mingapoor.com, superiortheatrefestival.com

4.) Access for all

with Evan T. Cummings (Director, Author, World Wide Lab, NYU/ USA) and Nishna Mehta (International Inclusive Arts Network, Mumbai/ India)

We desire a world where everybody has equal access and the same possibilities to participate and experience art, social processes, labour, life.

Packing list for barrier-free access on a practical level

  • For introduction we give physical descriptions of ourselves. If possible we use signings for people, who are deaf.
  • We have to feel that we are not going to be judged for communication skills we don’t know yet.
  • We have to be aware of hidden disabilities (for example getting tired soon because of certain conditions).
  • We have to look for alternatives to solve tasks in different ways. So everyone can participate and express in an own kind of way.
  • For an inclusive approach we have to reflect our own person: our skincolour, our (dis)abilities, our gender identity, our background etc. Always check whether you have a privilege.
  • Ask yourself: Are you normal? Often justification is required from the person who says „yes“.
  • Put effort in it! Consider access for all in your plannings. Too often inclusive access is not provided because producers are running out of time.
  • Consider: There is a wider range of questions than only if there is access for a person in a wheelchair.
  • Provide lifts, different kinds of buildings and maps which show access to the toilets and quiet rooms.
  • Use audio description and sign language, offer prints in simple language (simple vocabulary, short sentences) and a visual storyboard or a timeline of the performance.
  • Provide digital access (design websites with symbols or images), specify the duration of the play and triggering contents (e.g. gunshots, gender identity, flashing lights etc.),
  • Ask questions. Sometimes it becomes overwhelming. There is no question which is too small. 

worldwidelab.wordpress.com, www.assitej-international.org