Concepts of Ownership
Framewalk 2018 Windhoek — Düsseldorf
On Framewalk Professional artists and young performers partake in Framewalk â&#x20AC;&#x201C; the cross-cultural Workshop, organised by Kabawil, a DĂźsseldorf Institute for cultural productions and cultural education, in collaboration with an art institution in another country. Framewalk creates an active exchange between the young performers of both countries, and promotes and expands contacts between professional artists. The aim of Framewalk is to create a basis for future collaborations in the field of the arts of the participating partners. As part of the workshop week Framewalk operates with artist instructors in the fields of dance, music and theatre (3 from Germany and 3 from Namibia) and with a group of 24 German and Namibian upcoming artists on a chosen topic. The guest team suggests a topic to be explored through the arts.
The webblog www.framewalk.de
The power of differences in cultures, cultural techniques, cultural imagery and traditions will be artistically researched. It is about encounter, exchange, communication and orientation, and about another opportunity to further develop cultural education and to allow the trans-cultural Kabawil concept of art + belonging to be shared and to grow.
provides daily updated information. At the end of the very intense exchange there is a final public Framewalk is also to be found on presentation. The Framewalk activities will be portrayed and Facebook. documented in film, photo and text. Framewalk is facilitated with fundings from the German state of North Rhine Westphalia.
For the past 10 years Framewalk has been collaborating with different countries in Africa and Europe on the basis of going and coming. Both groups should have the opportunity to experience every-day life of the other. It is important to Framewalk to provide opportunities, exposure and similar experiences for all participants of this collaboration, now and in the future. Petra Kron, Artistic Director, Project Development
Framewalk feeds the need of the human to mix with their own kind, while sharing those things that make us so different, that we end up being the same. Esteban Vicenti (young performer and Framewalker)
If ownership were a space, how would it look and why?
A big circle that carries all living creatures, cause on earth is space for all and everything. West (Namibian dancer)
Being of German descent and having worked in many different African countries, a Framewalk in Namibia was something I had thought of many times and yet it was something I always postponed. I was not ready for it yet. Given Germany’s colonial past, it felt too close to home. After 10 years of Framewalk in countries in the south, west and east of Africa, having resided and taught at the University of Ghana, having experienced my whiteness/otherness and my privilege as well as having experienced wonderful womyn- and sisterhood, shared friendships with fellow artists, students, my director and plenty people across the continent, finally I felt ready to bring Framewalk to Namibia in the full awareness of the specific relationship and history Germany and Namibia share. I scheduled a trip to Namibia to get a first impression of Windhoek and to scout for a possible collaboration partner for Framewalk. On my first visit, my very first evening in Windhoek, a friend from Ghana took me to see The Mourning, a dance performance by Trixie Munyama and her Da-mâi Dance Ensemble. This specific piece, dealing with the Herero and Namaqua genocide at the turn of the century and its aftermath caused and operated by the Geman colonisers, recalled the role German politics and German leaders had, and continue to have on Namibian people and the history of Namibia. Immediately I was confronted with my country‘s past and a complex set of emotions, questioning myself, my forefathers, and today’s German foreign politics on how to act adequately. The following day I managed to arrange a meeting with Trixie Munyama. I presented the Framewalk concept to her. We agreed upon the possible positive impact Framewalk could have, particularly for young performers from Germany and Namibia. This would be an opportunity for them to really get to know each other, work and relate, create new narratives and allow and develop positive experiences for a shared future. Back home in Germany I applied straight away for funding. All the while Trixie and I exchanged ideas and started setting the ground for Framewalk in Windhoek. A year later, in August 2018, the Windhoek College of the Arts and Kabawil started their first Framewalk collaboration. Our Namibian partners chose the theme of ownership to be investigated thoroughly through dance, music, writing and theatre.
The very diverse group of young performers representing urban Namibian and German societies was supported by an equally diverse team of artist instructors – the professional artists who supported, challenged and coached the young practitioners of the arts throughout this journey. I was particularly curious to see how the group would artistically deal with the topic of ownership and the inherent topics of responsibility and accountability. Through the workshop process, the artists chose to focus on ownership in reference to a perceived notion society has of bodies and their gender, and how this shapes identity – particularly a forced, foreign identitiy versus a personal identity. We also explored freedom of choice and what this may mean to the average black or white body. Seeing the artists performing in the Friday showcase reaffirmed my view that a past can’t be denied:, it should be owned. By taking responsibilty for one’s actions, we are presented with an opportunity for everybody to heal and learn from one another while allowing people to grow together into a shared future with a common ground for similar, better or equal opportunities for all. Petra Kron
Framewalk Namibia was a chance to explore the theme “ownership” and all surrounding associations and implications. Being a person of African descent, who had never traveled to Africa, I felt I was finally given an opportunity to own and embrace my African heritage. Be that as it may, the experience was too short. As soon as I stepped off of the plane, I felt moved by the quality and texture in the air. However, not everything was joyous and peaceful. We faced immediate hardship with one participant not having the proper documentation to enter the country, but luckily this problem was solved. As we arrived the nights were cold and the days were toasty; but the energy and power of the group was so palpable that I felt compelled to just listen and observe. I knew that I could contribute more by actively listening and sharing ownership in terms of space and energy. The best night was when we all went shopping for dinner and marched back from town towards the hostel and cooked together a huge feast. We then followed up with an intense series of games and jokes that would be remembered in our “Whatsapp Namibia group”. The performance was challenging due to the time of day, I felt the lights were a pity and that many things were lost. During the performance, I heard a woman say, “Why is he in a dress”? At this point I realized, I may own my style, but others own their opinions and certainly their right to express confusion and even dissaproval. However, after the performance the most memorable feedback was as I was leaving back to the hotel a group of Namibian children ran after me and told me, “You are so free when you dance”. I felt honored because I did feel like freedom and ownership belong in the same conversation and I appreciated their courage and honesty. Although I answered many questions of the day, I think my biggest takeaway from this Framewalk was the honest heartfelt gratitude towards owning my own identity and the struggle it takes to be visible and accepted across borders. Aaron Samuel Davis
»You are so free when you dance.«
What is ownership to you and why? A Question of the Day.
Ownership to me is having total control of who you are and who you wish to be. To live in a society where a group of a selected few decides who we are supposed to be, I don’t support this. We are spiritual beings and we are light. Jesaya Ownership means property in a form of entitlement. It enables me to decide, to grow and/or to improve. Helena Ownership is freedom to me, when I’m aware of my own responsibility towards my happiness then I can be my true self. Melissa Ownership is when something belongs to me by right, only I can manage how to use this something. NBC Having a sense of belonging and taking responsibility. It’s important for me to decide what I want to do and which direction I need to go. Chantell Ownership to me is in being a dancer, so I own my body in every way and space. West Recreating and owning what you already have, it’s important to enhance what is already there and make it beautiful while sharing it equally. Cecilia Ownership is belonging, whatever belongs is owned. Bret Ownership is a concept of power. I think ownership does not fit to nature’s will of sharing because ownership is evil and separates people. Tyshea Wherever I am in control of myself. It’s my right to be in control of my life. Toivo
Ownership for me must be positive and have a positive end. To be possessive and greedy is not good in my opinion, and this is how our society is structured to take unnecessary control in a negative way. Angelina
Ownership is a double-edged sword, on one side it makes our daily life possible on the other side it tears us apart, creates jealousy and makes us tired of each other. Moritz Having the power to decide the trajectory of things that have value to you as an individual. The power to decide anything reminds me I own myself. My voice matters cause it’s mine. Gift Ownership is something contradictory, I own my self, my body and my space, it’s freeing and empowering. But as soon as someone comes into my space, it’s restrictive and suffocating. Teya Ownership is just a word, its meaning owns it. Dena Self-awareness and confidence, I believe whatever one goes through it starts from within. Paula Taking full care of the energies that flow in my house, it’s important for me to be in charge and live in harmony in my own space. Justina Ownership would be like owning a ship that floats above gravity and sailing on top of nature. If you own something you are in charge but you are not in full charge, nature and life does. Aaron Having responsibility and total control of something in particular, being an owner enables one to identify the actions needed to have a pure and safe livelihood. Vanessa Ownership is like a product and/or power, sometimes if you have too much you misuse it and if you don’t have it, you desire wrongly and it uses you wrongly. Faraz The right of owning something that rightfully belongs to you, in order for something to belong, first it must be owned. Ruuza
Looking back at Framewalk Namibia Summer 2018
As I was researching the overarching theme of our exchange – concepts of ownership – prior to travel, I suddenly became very aware; borderline self-conscious; of my privileged position entering this exchange. I couldn’t help but be apprehensive about the fact that in this specific context, my background, origins, nationality and subsequently the (poor) choices made by the generations before me were going to weigh in the balance just as much as my personality, know-how and willingness to embrace this experience. My body became a political body. The realisation was unsettling. Thankfully this feeling quickly subsided the moment we were met by the entire team with overwhelming warmth and openness. As we began to unite around the work, it became clear to all that our human exchange was indeed informed by the present moment. It was astounding for me to witness with which fervour and elegance the whole cast chose to confront our shared traumatic history, and how determined they were to write the rest of it in their own terms. The realisation that with every performative act comes an opportunity to reclaim one’s voice and one’s body; to create safe spaces to publicly affirm the validity of an idea and a culture was cathartic. The amount of courage demonstrated by the students was deeply humbling and inspiring. A potent reminder of my duty to take a stance as an artist, and of the necessity and power of intention. Louisa Rachedi
Exploring concepts of ownership
with the right to absolute will, which is the force behind dictatorship. Adolf Hitler invaded Poland in 1939 because he wanted to acquire more living space for Germans. It was the sense of
Ownership is a very broad concept. It interrogates the ideas of entitlement and the right to claim something as your own. On a social level, this mostly looks at the rights to own land and space, and on the individual level, the objects are more subjective. In reviewing our participants’ thoughts on ownership (through the questions of the day), I found that they collectively defended their rights to do what they will with regards to two objects; their bodies and their private spaces. Can one truly claim something that they did not create as their own? An even more
entitlement to that land that empowered his consciousness to give way to his absolute will, and pain and abuse became inevitable as war broke out. I believe a more harmonious place is relationship, the place where compromise and tolerance thrive, the place where the pendulum finally rests after it swung to both extremes. If you own your body then you reserve the right to do to it as you please, but if you’re in relationship with your body then it becomes a two-way exchange, it serves you and you serve it. You don’t exert your absolute will on it, you consider what is best for it. Through relationship we become grateful not entitled. The Framewalk Namibia workshop was very experimental in nature. Total strangers from variant cultures, races and backgrounds had five days to create a body of collective work with no prior acquaintance. Through theatre, dance and music, they explored the concepts of ownership, but from my observation of the process they displayed remarkable compromise and tolerance, through relationship. Actors shared their craft with dancers, dancers shared their craft with musicians, musicians shared their craft with actors and dancers, some of whom had no clue what chords are. Through relating; giving and receiving, they were able to create a remarkable, and quite extensive body of creative work in less than five days, with practically no conflict, despite their vast cultural differences. “If you're not entitled to it, sharing it becomes easy; be it wealth, land or talent. And sharing, which is the foundation of relationship creates a great atmosphere for compromise and tolerance”.
seemingly absurd question, can you truly claim ownership of your body? Does the fact that it houses your spirit and serves your soul make it your property? If you look at ownership as a spectrum, or as a swinging pendulum then you will notice the deeply seated arrogance and diabolical potential at one end of that spectrum. It seems the idea of total ownership comes
Those thoughts echoed in my mind as I investigated my own ideas of ownership and observed the Framewalk process. I’m however not resolute about whether ownership and relationship are polar opposites, or whether they can exist in harmony at varying degrees. But what I am resolute about is the fact that relationship is great breeding ground for compromise and tolerance. Victoria Naholo
â&#x20AC;&#x153;If you're not entitled to it, sharing it becomes easy; be it wealth, land or talent. And sharing, which is the foundation of relationship creates a great atmosphere for compromise and toleranceâ&#x20AC;?.
Concept of ownership
Yibor Kojo Yibor
O What it is … Ow Where it is … Own Why it is … Owner Owners Ownership Ownership is a fluid concept in its entire sphere Ownership Talk about gender, family, politics, Owners race, identity etc Owner It gives a sense of something Own and not everything Ow It takes you more O on a journey somewhere somehow Then arouses you to a place in space on your own Finally, you get the notion and not a destination
This is what it is … This is where it is … This is why it is …
It will look like the earth, sandy and brown in all its beauty. It would be used to build homes, family and plant trees also to meditate and a lot more. Gift It will be like a presidential palace, almost impossible to enter, full of security nevertheless possible with an invitation. Angelina
A black hole, sucking in everything into its center, showing its singularity. Bret A big circle that carries all living creatures, cause on earth is space for all and everything. West My room, it’s the only place I can be myself and have full control without judgment, I consider it to be my own platform. Paula My mind, everything I think and do comes from there and no one can take my thoughts out. NBC A small, dark, cold and uncomfortable prison cell. You cannot go in or come out just like that. This is how I see ownership. Tyshea A gray reddish humongous tornado/windy looking thing that sucks in things or whatever it attracts. A tornado sucks in anything along its way and owns it. Ruusa Bathtub, it allows you to drown and wash away all negative energies, also be naked and quiet, literally no other space allows you to be completely free. Jessaya Music studio, a comfortable space to compose, express, communicate and identify. Helena It will look like me, the body is 99% space. It will be utilized freely and fluidly as long as I am in control. Chantell An infinite white plain that harvests and vibrates, it’s a mind and minds are intangible frequencies. Melissa A home room to relax and meditate and calm down, it’s a safe place to connect with the self. Dena
A home with birds, fruit trees, children and a lot of food, nice to be shared with others. Justina A field surrounded by an electric fence, there is space inside but you don’t get to choose if you come in and go out or who comes in and goes out. Teya Bathroom. The white tile walls represent peace and silence, the black tile on the floor represents safety – no danger and the clean water purifies the self. Venessa A room like a jail, a small room with a toilet and a small bed only. You don’t own that space and you’re not allowed to change it either. Faraz A rainbow in the sky, so big, high and spacious, because even if it’s yours it’s not reachable, attainable. Cecilia Ownership would be like somewhere between time square and the Berlin wall because on one hand the Berlin wall represents possession and segregation on the other hand Time Square represents freedom and unity. Aaron It’s a room with windows and seats, speakers and a bed just a place you can feel comfortable, because to own yourself you must have control over your thoughts. Moritz It would look like a wooden goblet shape – Djembe drum, it allows you to control it, move it or play it freely. Toivo
If ownership were a space, how would it look and why? A Question of the Day.
Who owns your body and why? A Question of the Day.
My flesh, muscle and bone, because I can lend them to my work and the people in my life. Teya My soul, it decides what should effect my body and what should not. Angelina My spirit, without it my body is dead. Bret My culture, I find my identity in my culture. NBC An invisible hand owns my body, it possesses and controls its worth and being. Paula By my creator, through him I connect to the realms both spiritual and physical. Melissa I believe my body is owned by the self, the self is the person that controls it. Helena Mother nature, my body depends on the resources of nature to live. Dena My body is owned by me, myself and I. I, myself and me are one. Moritz My emotion, it helps me and allows me to choose. Toivo My soul owns my body, I am my soul and my soul is here. Jessaya I own my body ‘cause I own it. I have a free will. Gift
I own my body, I have sole authority over who I am and how I present myself to the world, disregarding people's opinion. Chantell My soul, without it my body is dead. West My soul and my spirit own my body, a body without soul and spirit can’t be alive. Justina I don’t own my body, my body is just a shell and I don’t want to be in possession of it. Aaron I am the one, I decide on my own even though there are influences around me. Faraz Nature, it provides me with the physical things I need. Chiara My mind owns my body, it always tells me what might be good or bad, right or wrong. Tyshea I do, it is my canvas. I have full ownership and can proudly say it is my body and I own it. Cecilia I own my body, I control what goes in and out. I decide who gets to touch or influence it. Venessa
Kabawil wurde 2003 als gemeinnütziger Verein gegründet, hat in Flingern einen Probenraum und hat in Zusammenarbeit mit internationalen Künstlern und diversen Institutionen Bühnenproduktionen entwickelt, die vielfach ausgezeichnet wurden. Gerade sind Künstler von Kabawil für eine Woche in Namibias Hauptstadt Windhoek, um mit Kollegen von dort eine neue Arbeit zu entwickeln. Uraufführung ist am Wochenende in Windhoek. Wenn die Finanzierung funktioniert, werden die Partner aus Namibia im nächsten Jahr nach Düsseldorf kommen. Ein Gespräch mit der Leiterin von Kabawil, Petra Kron, die gerade mit in Windhoek ist. Wie war die Ankunft in Namibia? Kron Der allererste Eindruck: Es war überraschend kalt, beim Fußweg vom Flugzeug zum kleinen Flughafen lagen die Temperaturen bei minus fünf Grad. Die Anreise hat uns auch vor Augen geführt, wie privilegiert wir mit einem deutschen Pass reisen können. Weitere Eindrücke waren: der freundliche Empfang, die karge Landschaft, die Herde Paviane am Straßenrand, die wir nach dem Nachtflug im Halbschlaf erspähten.
Warum machen Sie diese Reise, die den Titel „Framewalk“ trägt? Kron Um Künstler im gleichen Alter zu treffen und mit ihnen gemeinsam zu arbeiten. Wir möchten die künstlerische Praxis der namibischen Partner entdecken und unsere befragen. Was ist das Ziel des Workshops? Kron Für das Projekt „Framewalk“ ist der Austausch ein essentieller Bestandteil des Konzeptes: Alle Beteiligten sind eingeladen aus ihrem „Frame“, ihrem Rahmen, ihrer Wohlfühlzone, herauszutreten, sich dadurch neu zu erfahren und weiterzuentwickeln. Was war bisher die größte Überraschung? Kron Wie einfach das Arbeiten miteinander fällt, wie stark das Deutsche noch vertreten ist, im Windhoeker Straßenbild etwa und im Alltag. Eigentlich ist nicht so viel anders, wie wir erwartet haben. Was bereitet die größten Schwierigkeiten? Kron Die trockene Luft, die Höhe (1600m), in dieser kurzen Zeit ein anspruchsvolles, künstlerisches Produkt zu erarbeiten mit Menschen, die man vorher gar nicht kannte.
Was werden Sie am Wochenende in Windhoek zum Abschluss des Workshops zeigen? Kron Eine künstlerische Präsentation zum Thema „concepts of ownership“ (Konzepte von Besitzverhältnissen) übersetzt in Tanz, Theater und Musik. Wer wird im Publikum sitzen? Kron Es ist eine Performance auf einem öffentlichen Platz vor „the Kitchen“, einem Restaurant, in einem neu entstehenden Zentrum in Windhoek. Es werden daher sowohl eingeladene Zuschauer wie Familie, Freunde, Kollegen der Namibischen Teilnehmer dabei sein wie auch neugierige Passanten. Wie geht das Projekt nach der Reise weiter? Kron Die namibische „Framewalk“-Gruppe wird 2019 zu einem Rückbesuch nach Düsseldorf kommen, sofern die Förderung klappt. Schon in
diesem Jahr im September kommt aber eine Gruppe aus Ghana, die nach dem gleichen Konzept gearbeitet hat, zum Kabawil Festival. Haben Sie schon etwas in der Tasche, das Sie mit nach Hause bringen werden? Kron Viele Fotos, Inspirationen, ein Kleid von einer lokalen Designerin, zwei Holzschalen, getrocknete Pfirsiche, bestickte Topflappen der Nama Frauen, Myrrhe, das Trockenfleisch Billtong. Was war die schönste Begegnung? Kron Das namibische Team und die Teilnehmer kennenzulernen, ein gemeinsames Essen zu kochen, das gegenseitige Vertrauen zu spüren und der blaue Himmel Namibias. Dorothee Krings, Rheinischen Post 18. August 2018
Team Framewalk Namibia
Nelago Shilongoh is a Namibian theatre maker, who has performed in works directed by Sandy Rudd, Sepiso Mwange, Keamogetsi
Trixie Munyama works as a choreographer, educator and a performing artist at the College of the Arts and independently as well. She studied dance in various locations, beginning in the SWAPO Pioneer Cultural Troupe as a child exile in Angola, she went to London exploring styles including Jazz and Contemporary and to the University of Cape Town, Oshakati in Northern Namibia, Windhoek and Senegal. Over the course of her thirteen-year career, she has produced works in collaboration with Namibian and international performing artists, students and more prominently, the Da-mâi Dance Ensemble. Louisa Rachedi is from Albi, France and works as a choreographer and dancer. She is a former member of the National Ballet of Canada and the Martin Schläpfer Ballett am Rhein. Over the course of her thirteen-year career, she has interpreted classical and modern works by George Balanchine, Anthony Tudor, Martin Schläpfer, Mats Ek, Merce Cunningham and Hans van Manen. She worked with choreographers such as Sharon Eyal, Michael Schumacher, Francesca Harper and Guy Nader. As an independent artist, she now concentrates on choreography. Fieldwork, her first work was performed in 2016 by dancers of the Ballett am Rhein. In 2017 she founded the production platform Limbic Shift, with which she performed In a Landscape by Martin Chaix and her own choreography Chimera in Cologne and Korea. Since July 2018 she is a ballet master at the Staatstheater Stuttgart.
Molapong, and David Ndjavera. Shilongoh has directed productions such as Broken Butterflies, Night Mother and Dutchman, which was awarded the Best Overall Play for the 2017 Namibian Film & Theatre Awards (NFTA). She has won the 2014 NFTA for Best Theatre Actress for her role in The Lesson. In October 2015, Nelago premiered her onewoman play Kuku, which traveled to the 2016 International Women's Theatre Festival in Johannesburg, upon invitation by Olive Tree Theatre Productions. As a theatre devisor and performance artist, she has also created works such as the Umbilical Cord 2015, and Ma Ndili 2017. Oliver El-Fayoumy studied acting at the Folkwang University of the Arts in Essen. Since then he has been working as an actor and theater maker. With Theatre Fayoum, which he co-founded, he produced various productions with the Tonhalle Düsseldorf, the Bochum Symphony Orchestra, the Tanzhaus NRW, the Forum Freies Theater Düsseldorf and the FITZ in Stuttgart. His engagements took him to Düsseldorfer Schauspielhaus, Theater Biel-Solothurn and the Alte Schauspielhaus Stuttgart. He is also a sought after speaker for audio productions for radio and television. Abiodun Odukoya, a composer/ singer/ songwriter, is one of the pioneers of the HipHop and Afro/Reggae/Soul scene in Germany since the 90’s, as well as one of the international
commuters of the new Urban Roots Movement. Abiodun and his band Sidekick present their powerful sound, their musical diversity and their cosmopolitan consciousness. Abiodun also produces young musical talents in Nigeria and Germany. He is a founding member of Brothers Keepers with its persisting statements against racism. He worked with Maceo Parker, UB40, Gregory Isaacs and Xavier Naidoo. Abiodun is an expericenced teacher for voice, singing, rap and spoken word. Heather Dennis aka Miss H is a Swakopmund born singer, songwriter, bandleader, and guitar-playing musician. Heather describes her alter ego Miss H as a character, she created to build up confidence for stage performances. Miss H is the wild part of Heather and can do things that Heather could never do. She tours with her Band The Fate Of Miss H all over Namibia and the South of Africa. Heather Dennis also teaches music and songwriting to young upcoming artist in Namibia and abroad. Victoria Naholo first cut her teeth in creative writing when she took a basic theatre course in high school. While most of the students wanted to learn how to act, she was more interested in the anatomy of story. Inspired, She went on to study Performing Arts at the University of Namibia, where she majored in Drama and Music. While a student there, she wrote numerous stage plays. In 2014, Victoria got her first big break when she got funding from Theatre Zone (NTN's Theatre Mentorship Programme) to write, direct and stage her premiere production at the National Theatre of Namibia. The play got nominated in the Namibia Theatre and film awards
that same year, which subsequently opened more doors for her to work on numerous theatre and film productions over the years. Today Victoria works as a full time creative freelancer in the theatre, film and advertising industries. Kojo Benedict Quaye aka Yibor Kojo Yibor is an African living in Ghana. He is a freestyle spoken word performance artist and instructor. He is a Co-Director of Haduwa Arts & Culture Institute, a meeting ground for artists and cultural practitioners in Africa and Europe and a Co founder of Ehalakasa, a spoken word poetry movement and Director of the Annual Ehalakasa Festival. He is very much involved in organizing spoken word poetry events, workshops and youth development projects in schools and communities in collaboration with local, international and cultural institutions around Africa and Europe. He is a three-time prize winner in spoken word poetry. He is the representative of Framewalk Africa. Petra Kron works as cultural anthropologist and as performing artist. She does Production Management for plays and programs. She designs and instantiates art platforms like Framewalk and Lab dc in collaboration with artists from varying countries. She has a Ph.D. (ABD) in Cultural Anthropology of Mainz University and a state board examination in Fine Arts and English from Düsseldorf University. She continually teaches, researches and explores her concept of art + belonging in the field of the performing arts mostly in trans-cultural and cross-disciplinary contexts. She is the founding Director of Kabawil in Düsseldorf a Socio–Cultural Centre for the arts.
Performers Faraz Baghaei Yessaya Namalemo Chiara von Gallwitz Cecilia Nghidengwa Ruusa Namwandi Angelina Anthony Justina Adwo Adu Tyshea Suggs Teya Leonard Quarmyne Aaron Samuel Bret Kamwil Vetunjona Uarije aka West
Gift Uzera Toivo Paulus Dena Abdulahi Moritz Bussinger Estevao Dos Santos Amisse Paula Kasinda Melissa MĂźller Helena Andre Vanessa BĂśhmer Chantelle Uiras Saara Ngolo
Dance: Trixie Munyama, Louisa Rachedi Music: Heather Dennis, Abiodun Odukoya Theatre: Nelago Shilongoh, Oliver El Fayoumy Organisation: Victoria Naholo Assistant director: Benedict Kojo Quaye Photography: Katja Stuke Director: Petra Kron
Thanks to: College of the Arts, Rector Angelika Schroeder-Mootseng Ghana High Commission Windhoek, H.E. Elizabeth S. Forgor, Head of Mission German Embassy Windhoek, Frau Ellen Gรถlz, Deputy Head of Mission and our dear friend Vera Kotrschal
KABAWIL e.V., Flurstraße 11, 40235 Düsseldorf T. 0211.9 36 55 00, www.kabawil.de, firstname.lastname@example.org www.framewalk.de; www.facebook.com/framewalk.de Framewalk – the Crosscultural Week is supported by: Landschaftsverband Rheinland In collaboration with: College of the Arts Windhoek