{"id":31,"date":"2015-07-13T20:18:59","date_gmt":"2015-07-13T18:18:59","guid":{"rendered":"https:\/\/tanzfonds.de\/en\/?page_id=31"},"modified":"2023-11-21T14:20:25","modified_gmt":"2023-11-21T13:20:25","slug":"press","status":"publish","type":"page","link":"https:\/\/tanzfonds.de\/en\/press\/","title":{"rendered":"Press"},"content":{"rendered":"

Please direct all press enquiries concerning TANZFONDS ERBE to Bureau 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 Bureau Ritter website at
\nwww.bureau-ritter.de<\/a><\/p>\n

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Your contact: Esther Ningelen
\ne.ningelen@bureau-ritter.de<\/a><\/p>\n<\/div>\n

 <\/p>\n

Selected voices about TANZFONDS ERBE and its projects<\/h3>\n

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\u201cAt the start, there was lots of criticism along the lines of \u2018now we also have to deal with heritage\u2019. This is particularly understandable in the independent scene where funds are scarce and artists say, \u2018We want to do our own projects. Why do we now have to look at other artists?\u2019 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.\u201d Madeline Ritter in the feature \u201cBewegung bewahren, Kulturerbe Tanz im 20. Jahrhundert\u201d (EN: Preserving Movement, the Cultural Heritage of Dance in the 20th Century) by Claudia Henne, broadcast on RBB Kulturradio on 27\/11\/2014<\/strong><\/p>\n

\u201cA real success!\u201d
\nReinhild Hoffmann on undo, redo and repeat in \u201cAnnett Jaensch\u201d, die tageszeitung on 9\/5\/2014<\/strong><\/p>\n

\u201cThe revival in Munich and then in Berlin is a real sensation.\u201d
\nChristoph Wiedemann on The Triadic Ballet in \u201cSZ-Extra\u201d, S\u00fcddeutsche Zeitung, 29 May 2014<\/strong><\/p>\n

\u201cIt 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.\u201c Sandra Luzina in tanz \u2013 Das Jahrbuch 2014<\/strong><\/p>\n

\u201cIt was pleasing to note how the Federal Cultural Foundation\u2019s dance-heritage projects enriched the programmes of large and small companies alike.\u201d Charlotte Christensen in tanz \u2013 Das Jahrbuch 2014<\/strong><\/p>\n

\u201cLooking at Wigman\u2019s Sacre, it suddenly becomes clear that when Pina Bausch produced her own version of Sacre in 1975, two years after Wigman\u2019s death, the latter\u2019s aura co-directed the piece.\u201d Eva-Elisabeth Fischer on Le Sacre du Printemps in the S\u00fcddeutsche Zeitung on 16\/4\/2014<\/strong><\/p>\n

\u201cIt 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.\u201d Sylvia Staude on SOAP Recreation in the Frankfurter Rundschau on 25\/2\/2014<\/strong><\/p>\n

\u201cIt took the Osnabr\u00fcck audience\u2019s 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\u2019 had.\u201d Wiebke H\u00fcster on the premiere of Le Sacre du Printemps at the Osnabr\u00fcck Theatre, in the FAZ on 12\/11\/2013<\/strong><\/p>\n

\u201cIf you\u2019re 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\u2019re the universe.\u201d Ivan Li\u0161ka on his experience as a dancer in the Triadisches Ballett under Gerhard Bohner. Quote from Monopol 12\/2013, (Author: Antje Stahl)<\/strong><\/p>\n

\u201cDance\u2019s 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.\u201d From Warum Rekonstruktionen im Tanz aufregend, wichtig und sinnvoll sind (EN: Why dance reconstructions are exciting, important and sensible) by Wiebke H\u00fcster in her Blog Aufforderung zum Tanz in the FAZ
\n<\/strong><\/p>\n

\u201cNothing is obvious in this hypnotic work.\u201d Gia Kourlas on Wind von West (Cantata), newyorktimes.com, on 16\/12\/2013<\/strong><\/p>\n

\u201cPeace still has every reason to complain, which is why Uwe Scholz\u2019s choreography remains timeless. It is commendable that Mario Schr\u00f6der, a former Scholz soloist, now Scholz\u2019s heir, reconstructed the work.\u201d Peter Kormacher, Leipziger Volkszeitung, 18\/11\/2013<\/strong><\/p>\n

\u201cCultural 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.\u201d Madeline Ritter in the Claudia Henne\u2019s radio feature on 100 Jahre of Le Sacre du Printemps, broadcast on rbb Kulturradio on 24\/10\/2013<\/strong><\/p>\n

\u201cEvery 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.\u201d Melanie Suchy in tanz, October 2013<\/strong><\/p>\n

\u201c\u2018Basically, thoughts are free, as is the embodiment of thoughts. I like that idea,\u2019 says the lawyer Madeline Ritter, who is also director of the Tanzfonds project. \u2018But as long as there are companies such as Google, Twitter or Facebook making billions, I\u2019m in favour of protecting the position of the author and the choreographer who, purely financially speaking, don\u2019t 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.\u2019\u201d In the feature \u201cWem geh\u00f6rt die Bewegung?\u201d (EN: Who owns movement?\u201d) by Maren Beuscher on 3-Sat\u2019s Kulturzeit, broadcast on 14\/6\/2012.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Please direct all press enquiries concerning TANZFONDS ERBE to Bureau 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 Bureau Ritter website at www.bureau-ritter.de   Your contact: Esther Ningelen e.ningelen@bureau-ritter.de   Selected voices about TANZFONDS ERBE and its projects … <\/p>\n

Continue reading “Press”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-31","page","type-page","status-publish","hentry","entry"],"acf":[],"_links":{"self":[{"href":"https:\/\/tanzfonds.de\/en\/wp-json\/wp\/v2\/pages\/31","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tanzfonds.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tanzfonds.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tanzfonds.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tanzfonds.de\/en\/wp-json\/wp\/v2\/comments?post=31"}],"version-history":[{"count":0,"href":"https:\/\/tanzfonds.de\/en\/wp-json\/wp\/v2\/pages\/31\/revisions"}],"wp:attachment":[{"href":"https:\/\/tanzfonds.de\/en\/wp-json\/wp\/v2\/media?parent=31"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}