Kammercampus #16

25-27 May 2018: POST-HEIMAT

From 25 to 27 May, there will be kammercampus on the topic “Theatre and Post-Heimat” with students from Rijksuniversiteit Groningen / Theatre Studies, University Göttingen / Ethnology, University Frankfurt / Dramaturgy, Royal Central School of Speech and Drama London and Hochschule München / Soziale Arbeit in der Einwanderungsgesellschaft

At the same time, there is a work meeting taking place with theatre makers from several institutions/collectives dealing with the subjects of migration and diversity (RUHRORTER, Pavillon Hannover, boat people projekt, Hajusom etc.) as well as researchers (Prof. Christopher Balme, Özlem Canyürek, Ruba Totah etc.) who will meet to discuss the following questions among others:

*What does it mean for actors, directors and playwrites to create theatre in exile?
*What happens when different aesthetic practices and approaches to making theatre meet?
*What does this mean for the working of curating / dramaturgy?
*How to keep the topics of migration and refuge on the agenda of cultural policies?

The intention is to have an international artistic exchange as well as start networking between artists, producers, and academics who are involved in the topics of diversity, exile, and migration in theatre.

For the campus there will be public events and internal discussion with invited artists, researchers and others, as well as workshops with artists from Munich.

Concrete occasion for the time is the premiere of "Miunikh-Damaskus", directed by Jessica Glause with an ensemble of Syrian and German actors, in the format of ‚pop up theatre’ which is going to be performed on market squares and in community centres in the suburbs of Munich.


I. Amahl Khouri: Written on the Body
Saturday and Sunday

Is slouching in front of your laptop alone in a coffee shop really the most efficient way to write? In this workshop, the writing prompt is an improvisation. We will use the body, empty space/time and the audience’s gaze as tools to accelerate the process, excavate the subconscious and create unexpected texts for theatre. Maximum 12 participants. Please bring an audio recording tool e.g. smartphone or small recorder.

Amahl Khouri is a Jordanian documentary playwright and theatremaker based in Munich. Khouri is the author of several plays, including No Matter Where I Go (Beirut 2014) and She He Me, staged in a reading at the Münchner Kammerspiele in December 2016. Khouri was a selected playwright at the Arcola Global Queer Plays and the Lark hotINK international play reading series. She is also the recipient of a Rosenthal Emerging Voices fellowship from PEN USA and was member of the Lincoln Center Director's Lab in 2013. Her work has been published in several U.S. journals and in the International Perspectives on Where Performance Leads Queer anthology.

II.a. Practial Workshop with HAJUSOM

The visionary work of Hajusom starts 1999 in Hamburg. Ever since, young artists have been transforming the former war bunker into a place, where art and life, the You and the Us, merge. Hajusom understands this work as a peace-building practice and migration as something normal to human life. All performers carry their individual maps within themselves.

There is HAJUSOM Ensemble, lab and Transfer. Read more here.

Hajusom’s programme is considered a best practice model. The performers understand integration as a two-way process and work following the principle of “each one teach one”. The more experienced members of Ensemble ease the newcomer’s way into Hajusom. They build a bridge as interpreters, as role models and as transmitters of the Hajusom spirit – as long-lasting and cross-generational concepts of continuity.

The name Hajusom consists of the first syllables of the names of the group’s first three protagonists: Hatice, Jusef und Omied. They were unaccompanied teenage refugees, who have either kept on fleeing, been deported or become a Hamburg citizen.

II.b. Katja Koboldt: Curating (from) the margins - possible and imaginary templates

Art practice and curating, if acknowledged as spaces of production and not mere representations of knowledge, are not only struggles for visibility but an event of an inter-relational space, which is (hopefully) uncanny and slippery enough not to be completely caught in processes of valorization and commodification.

Katja Kobolt works with feminist impetus as a curator, art mediator, author, lecturer and producer. In her own practice as well as in collective contexts, she aims at breaking impossibilities and creating emancipatory spaces (mostly in a situative way). She moderates the third open workshop of the project team FemKur on November 17 at which we will test structures with which other forms of sociability can be outlined, for collective knowledge production and exchange to emerge and spaces of action to expand. During the workshop, that also serves as a forum for discussion, Katja will address and discuss various feminist and anti-racist curatorial methods together with the participants (and based on their respective genealogies and positionings). The focus here lies on possible and imaginary formats of production, interaction and (re-)presentation (of art): Because forms (of knowledge representation) can themselves become knowledge.

Katja Kobolt (PhD) works on junctures of art, writing and teaching. In her individual and collective practice Katja has been focusing on breaking the impossibilities and building up structures, mainly by introducing different methods of work and display (with-in art and beyond) for generating new modes of sociability. Katja has (co)conceptualized and (co)produced numerous art events and exhibitions (City of Women Festival Ljubljana, 54. October Salon Belgrade and Living Archive editions as well as Symposium with Red Mined, Cross Border Experience etc.). Katja has been active in a feminist curatorial platform Red Mined as well as within a city of Munich art space/collective Lothringer13 Florida. She teaches and writes on art, life and feminism.