PRESS

Please direct all press enquiries concerning TANZFONDS ERBE to DIEHL+RITTER, the non-profit enterprise set up to run the funds. You can download press releases and other relevant material from the press area on the DIEHL+RITTER website at
www.diehl-ritter.de.

New:  Decision of the jury for the TANZFONDS ERBE funding 16 January 2017

 

Your contact partner for press enquiries is Anna Hankel: kommunikation@diehl-ritter.de.

Visit Press review

 

Selected voices about TANZFONDS ERBE and its projects

 

“At the start, there was lots of criticism along the lines of ‘now we also have to deal with heritage’. This is particularly understandable in the independent scene where funds are scarce and artists say, ‘We want to do our own projects. Why do we now have to look at other artists?’ There was a risk the funding would not be used, but I am very pleased that those who took up the offer have enjoyed new experiences and integrated them into their working practice.” Madeline Ritter in the feature “Bewegung bewahren, Kulturerbe Tanz im 20. Jahrhundert” (EN: Preserving Movement, the Cultural Heritage of Dance in the 20th Century) by Claudia Henne, broadcast on RBB Kulturradio on 27/11/2014

“A real success!”
Reinhild Hoffmann on undo, redo and repeat in “Annett Jaensch”, die tageszeitung on 9/5/2014

“The revival in Munich and then in Berlin is a real sensation.”
Christoph Wiedemann on The Triadic Ballet in “SZ-Extra”, Süddeutsche Zeitung, 29 May 2014

“It was pleasing to note that a few Tanzfonds Erbe choreographies had real fire and sparked intensive research. There was no lame retelling of history, no museum performance, but rather an exciting dialogue with the past. It was also pleasing to note the numerous insights into German dance history, including exhibitions, lectures, etc., that were initiated by Tanzfonds Erbe, as well as dramaturgic programming such as Tanzland Deutschland in Munich.“ Sandra Luzina in tanz – Das Jahrbuch 2014

“It was pleasing to note how the Federal Cultural Foundation’s dance-heritage projects enriched the programmes of large and small companies alike.” Charlotte Christensen in tanz – Das Jahrbuch 2014

“Looking at Wigman’s Sacre, it suddenly becomes clear that when Pina Bausch produced her own version of Sacre in 1975, two years after Wigman’s death, the latter’s aura co-directed the piece.” Eva-Elisabeth Fischer on Le Sacre du Printemps in the Süddeutsche Zeitung on 16/4/2014

“It would be nice if these lovingly nurtured retrospectives on dance heritage were more regular, as dance is once again the poor relative of the arts. Nevertheless, 32 projects across Germany are now being funded by the Federal Cultural Foundation.” Sylvia Staude on SOAP Recreation in the Frankfurter Rundschau on 25/2/2014

“It took the Osnabrück audience’s breath away. It was as if you had presented a precious panel painting for the first time again, in fresh colours, after years of restoration work. This was the impact Sacre’ had.” Wiebke Hüster on the premiere of Le Sacre du Printemps at the Osnabrück Theatre, in the FAZ on 12/11/2013

“If you’re put in a disc, you can only move one leg. Personal expression and egocentricity go out the window. But then, precisely because of this, you suddenly find your centre and you think you’re the universe.” Ivan Liška on his experience as a dancer in the Triadisches Ballett under Gerhard Bohner. Quote from Monopol 12/2013, (Author: Antje Stahl)

“Dance’s artistic and social situation will only improve if more choreographers and dancers become historically informed artists, trained in a comprehensive range of styles; if, as in music, dramatic literature and graphic art, artists start looking at the aesthetic past of their field.” From Warum Rekonstruktionen im Tanz aufregend, wichtig und sinnvoll sind (EN: Why dance reconstructions are exciting, important and sensible) by Wiebke Hüster in her Blog Aufforderung zum Tanz in the FAZ

“Nothing is obvious in this hypnotic work.” Gia Kourlas on Wind von West (Cantata), newyorktimes.com, on 16/12/2013

“Peace still has every reason to complain, which is why Uwe Scholz’s choreography remains timeless. It is commendable that Mario Schröder, a former Scholz soloist, now Scholz’s heir, reconstructed the work.” Peter Kormacher, Leipziger Volkszeitung, 18/11/2013

“Cultural funding is used to preserve the material world, i.e. cultural heritage in material form. Dance does not belong to this world. I would like to see Tanzfonds Erbe projects raising awareness of the fact that dance is part of this cultural heritage, and that measures other than the reconstruction of a palace must be used to preserve it.” Madeline Ritter in the Claudia Henne’s radio feature on 100 Jahre of Le Sacre du Printemps, broadcast on rbb Kulturradio on 24/10/2013

“Every choreographer digging for the wheel has their own reasons for choosing what it is they want to find, the excavation site and the material, and for the way in which they present their findings.” Melanie Suchy in tanz, October 2013

“‘Basically, thoughts are free, as is the embodiment of thoughts. I like that idea,’ says the lawyer Madeline Ritter, who is also director of the Tanzfonds project. ‘But as long as there are companies such as Google, Twitter or Facebook making billions, I’m in favour of protecting the position of the author and the choreographer who, purely financially speaking, don’t benefit from this business. If I created a rapid communication system between the user and the creator, the author, then dance would benefit from it.’” In the feature “Wem gehört die Bewegung?” (EN: Who owns movement?”) by Maren Beuscher on 3-Sat’s Kulturzeit, broadcast on 14/6/2012.

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