Framewalk Israel

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When Petra contacted me and proposed a workshop with Germans and Israelis, I was pleased though not completely overwhelmed. Having taken dozens of groups to Bible as Theatre workshops to the Israeli desert in previous years was a fair preparation to the new task. With me, again was my colleague and friend Aviva Appel-Rosenthal, who contributed Playback Theatre techniques to this workshop too. Then came more details and conditions: The German group of ten participants, younger than 25, included a number of German-African people. The Israeli group should include both Arab and Jewish youngsters, equally distributed between females and males. The Germans, I was promised, are already skilled and proven young artists in their fields of music, theatre and dance. The potential Israeli participants, from Haifa University (because of a relatively high percentage of Arab students there) are mostly theatre students, with some other artistic skills. In short, we are going to have a very mixed bag of languages (German, Hebrew, Arabic, Lingala, Twi, Brasilian Portuguese, Yoruba, American English), cultures (Christian, Moslem, Jewish, various African), personal abilities and individual sensitivities in and between the two groups. And the workshop will be run in English, which most of us speak similarly badly. Will the verbal difficulty, however, be an opportunity for the non-verbal languages of art to come forward? We hoped so.

We needed a “theme”, a central issue for all of us, participants and instructors, to relate to; Some “thing” that will bring closer together arts and whatever group dynamics that will surely evolve, link individuals and smaller working groups and finally enlighten our hoped-for, short-lived but very concentrated week-long growing community. Our workshop was planned to take place in Metzoke Dragot, a nature hostel 400 meters above the Dead Sea in the East, close to a dramatically deep canyon to the South-West, in a barren, hot and dry area of hills all around. Between the hills there are natural “theatres”, where we could practice, then perform the results of our artistic endeavors. The “theatres”, especially in the late afternoon light of the setting sun, generously supplied a unique set. The central theme hence just presented itself: Myth and I. Each participant was required to come to the workshop with a mythical story, originating in the Bible (Old and New Testament) or the Koran or African stories and legends – or else bring a contemporary figure such as Goofy or

Michael Jackson (as really happened). We all asked ourselves how do we interpret ourselves through the chosen “mythical” character, alternately – how would that character interpret her or himself through our own biography. How do the people in the group around us influence our choice-in progress? What does the desert, its winds; heat; light and contours do to our impression of our model characters, our modes of expressing them in dance and music and theatre? Being universal and at the same time highly personal, activated “objective” myths serve as a dynamic unifying element in a heterogeneous group, while keeping the no less important subjective, highly personal element in tact. This, at least, was our assumption: people will learn from their partners’ myths almost as much as they will by working on their own story. Also, whoever feels weak in a verbal, discursive mode of expression is cordially invited to explore a myth via her or his body, voice, gesture, cry and laughter – intensely supported by the all-inviting desert on the one hand and a profound sense of artistic and personal togetherness of the other participants on the other. What finally happened in our often hard and frustrating workshop process was nothing short of a well-planned personal, artistic and social miracle. Shimon Levy

What happens if a multi ethnical group of German artists and students of the performing arts travel to Israel, meet a group of Israeli and Palestinian students of Haifa University and their artist/instructors in an isolated camp in Metzoke Dragot, in the Judaean desert, right on top of the Dead Sea, in order to work, experiment and share the topic of Myth and I and perform in the desert, for the desert, the wind and the sun without audience? Well, step by step. First we had to get into Israel, which is not always easy, as my colleague and I already experienced in a preparatory visit. He being of German/Nigerian descendance had to get through a not so friendly interview of 6 hours in order to be accepted to enter the country. We were shocked and I was very upset and worried, whether we should come to Israel with our group of German students of various ethnical backgrounds. But arriving at Tel Aviv, meeting Professor Shimon Levy, organizing and preparing the collaboration for Framewalk, the cross cultural workshop, was pleasant and positive. Tel Aviv is a beautiful, friendly and open spirited city. We relaxed.

So there we were some months later, arriving with our Framewalkers, taking them to the liebe Stadt of Tel Aviv first, meeting the Israeli artist instructors for dinner in Jaffo, leaving for the desert the next day, stop over in Jerusalem, get a climpse of this intense and complexe town, covered with tourists from all over the world, then Metzoke Dragot here we come. The Framewalkers shared a big, round yurt, divided into male and female, shocking for most of the German students. When the Haifa group arrived an hour later, we started right away with meet and greet, our opening session. We worked intensely for our usual 5 days, we took a short break to hop into the Dead Sea, which we could see all day from the top. Yes, the Dead Sea water carries! You can sit in it. We went to Masada, the rugged natural fortress, a symbol of the Jewish belief and we did a music workshop in the huge, natural cistern, taking advantage of its very much welcomed cool temperatures and its sonic sound situation. At the Framewalks end, after having consumed plenty of pure water, having been fed lusciously, we really savoured the Israeli breakfast, having gone through some seri-

ous discussions and worries concerning the artistic results, casually metamorphosed into one group of Framewalkers, disregarding our whereabouts, we ended up examining the near by natural desert amphitheatre in the sun set of Metzoke Dragot. The coming day, magic, once in a life time magic, was bestowed on all of us. The final presentation in the desert sun set was pure magic. We had the pleasure of sharing one of the very rare and prescious moments of life, where nothing else matters any more than being where you are. On our departing day we had a final sharing and I want to quote two Framewalkers, one from the German group and one from the Haifa students. Petra Kron If we consider, what the Germans did to the Jewish people, the Israelis to the Palestinians, the Arabs to the African people and now look at us sitting here together and having become family after five days only. Prince This week of framewalking made me feel for the first time in my life, that I am really part of a group. That I am in a group where I belong and want to belong to. Paz

Robin Hood He is a hero figure, who has human needs and is presented realistically. [...] Kjhulood

in the end because of his hybris and his lack of reflection. [...] Yannic

Mowgly I chose Mowgly, the child who grew up with wolves. [...] You guard yourself and those you love with all you have, because this is all you have and you need to make an effort to get what you need [...] Khawla

Siddharta He is on a journey for his whole life. Because of being very brave and calm he achieves awareness. His heart is full of love and accepts himself. [...] Marie

David, from the Bible. He was a very passionate king that lived his life with controversal morals. [...] I do not agree with many of his decissions, but I believe that his life was interesting and magic [...] Orna

Loreley/Sirene This special woman hypnotizes sailors with her singing voice. Sailors loose concentration and their boat sink. Alex

Pocahontas A native American who falls in love with a man from another culture against her fathers will. Amena

My inner child My other is my inner child, that guides me and controls me, teaches me how to walk and in what direction, teaches me how to create and how to stop and simply wait. [...] Bashar

Eve My name is Eve. I am a young woman and I live in a very beautiful garden my husband is in charge of. [...] I am a little bit bored, because I spend a lot of time on my own and that is why I am flowing with whatever is offered to me. Gal

Maria Magdalena The process which Maria goes thru her life, from a hooker to be a believer in God and one of the closest to Jesus. The duality in Maria’s personality gives her more depth and more gaps to fill in my imagination. Morad

Salome she got what she wanted with her dance and thats what I want too. Dance, dance, dance-

Komfuo Anochi He made the impossible possible. Prince

Janus Who would bet he King of Jolkus, who goes on a quest to retrieve an artefact in order to become King, but fails

The good Samaritan Everyone is the same and no one is better or worse than anyone else. If I’ll cross the street and see an individual in some messy problem, I will assist. But

most of the times after you assist to a poor man he will stab you in the back for a thank you [...] Alon I am still trying to find my character, my other, since I haven’t found a proper stocked character yet, it turns out to be an eclectic one. [...] Paz My other is Robert de Niro in Taxi Driver. He was a man of law. As you follow the movie you get to see how his pretty shitty life gets a new impulse. [...] Konstantin My other is Doubting Thomas, one of Jesus folllowers who did not believe that Jesus is alive again and he demanded to see him with his own eyes. My other who demands evidence. [...] Elias Jonah the prophet [...] To me this is an allegory on a man who is afraid of is life mission, and when you don’t follow you fate or mission, the world sends you messages to help you ge back on your way – even in a hard way. Gili Sheherazad I am Sherazad and I was married to a cruel King. [...] I began to tell a story because I hoped he will forget to kill me. [...] Night by night he liked my stories and I continued the story the next night. [...] Miriam

Hercules Fought against everything, his mad stepmother but in his way. Hercules showed me that nothing could bring him down. He showed no fear and was always brave. U-Gin Yael from the Bible She is a heroine who used her feminine qualities on courage, creativity and simplicity to save the day and her husband from death. She saw the opportunity to do something good and she went for it all the way without looking back. She had a great idea, she took control of her life and her future. She led the enemy into a trap at her own home [...] Yael Samson Stagewise very challenging and interesting – power, honor and betrayal. Henry Buddha I don’t say that I am a prophet, but I went out into the world and started to reflect on the person I was until than. [...] I realized that the world outside is not like the shelter I enjoyed at home. Just like Buddha I want to experience more of this illumination in my life. Pia

Day One and Two; June 25th and 26th: 07:00 – 07:30 Breakfast 08:00 – 08:30 General Warm-Up: Body/Voice 08:30 – 10:30 WS Unit 1: Dance/Music/Drama 10:30 – 11:00 Coffee Break/Snack at Tamar 11:00 – 12:30 WS Unit 2: Dance/Music/Drama 13:00 – 15:00 Lunch Break at Tamar Siesta Lounge 15:00 – 17:00 WS Unit 3: Dance/Music/Drama 17:00 – 17:30 Short Break for Students 17:30 – 18:30 Results of the Day at Tamar/ Instructors Meeting 19:00 Dinner – Sunset Walk into the Desert Day Three; June 27th: 06:15 – 06:45 Breakfast 07:00 – 13:00 Trip to Masada, Tour, Music Workshop in the Cistern 13:00 – 14:30 Lunch break at Tamar Siesta Lounge 15:00 – 18:00 Trip to the Dead Sea 19:00 – 20:00 Dinner/Instructors‘ Meeting 20:00 – 22:30 Drama Workshop and Results of the Day

Day Four; June 28th: 06:00 – 07:00 Instructor‘s Walk into Desert Check the ‚Natural-Performance-Place’ 07:00 – 08:00 Breakfast 08:00 – 12:00 Dance at Tamar Dance Studio, all 12:oo – 14:00 Break, Drama & Music Classes, all 14:00 – 17:00 First Runthrough at Tamar Studio 17:30 – 19:30 Runthrough at the ‚Desert Amphitheatre‘ 20:00 – 21:00 Dinner/Instructors‘ Meeting 21:00 Rehearsal in small Groups Day Five; June 29th: 07:00 – 08:00 Breakfast 08:00 – 14:00 Bringing it all together at Tamar Dance Studio 14:00 – 15:00 Break 17:00 Heading into the Desert for Final Presentation 17:30 – 19:30 Final Presentation 20:00 Dinner / Party in the Tent

Ade Bantu and Petra Kron developed in 2009 the concept for the cross cultural workshop week – Framewalk. Due to the variety of their personal and artistc landscapes. they decided to establish a platform which enables performing aritsts and students of different cultures and countries to perambulate frequently among different tools and topics, always crucial to their personal backgrounds as well as to the countries involved. Framwalkers contribute and share their ideas, their artistic skills and their open hearts and minds. They don’t fear imponderabilities, they are flexible, resilient and patient. Framewalk is about unification, it is about erecting bridges to be crossed by anyone who is willing to accede. Every Framewalk is one of a kind and yet at the same time related to each other. It’s the people that make Framewalk. They carry it with their artistic spirit and their readyness to achieve the next level.

It stands for movement, walking, running, dancing, making sounds, acting instead of watching, finally changing something, working intensly AND trusting people you’ve just met, but cry about leaving them seconds later. Yannic For me Framewalk meant to collect new experiences and not only to steo out of a given cultural and etnical frame, but also to step out of my own, self regulated, personal frame as well. Jan Framewalk gave me the chance to meet people from different cultures and to get close to them. It was an exchange thru different creative opportunities in order to express emotions. For me personally, I discovered something inside me, which I didn’t expect to be there. I learned not to please other people,but to listen to my own self and express my emotions for myself. I am proud and thankful for having made this experience. Miriam Framewalk for me is a wonderful opportunity to create and form something new by connecting with myself, my personal, private history and the mutual history of the group. Rachely

Framewalk to me is a journey. But it also means to decide, what I want to put into my backback before I go onto this journey. What do I want to carry along and what do I leave behind? Pia Framewalk Israel means to me turning inside out, find myself, heal my wounds. Peace to the world, love, spirit, greatness, life. Konstantin It means love, hard work and peace to me. Prince For me Framewalk means colours, communication, acceptance, to have the opportunity to be myself and to love and be loved. Gal Coming together to build an army to change the world. U–Gin

Framewalk for me is a way to change your life, to open up your inner artist and chakras. New, brave, magic intimacy. Orna Framewalk is a painting that gets its beauty from the various colours in it. Bashar

For me Framewalk is stepping out of my comfort zone. Getting out of my safety bubble and being open for new lessons and for gathering memories. Memories that will push me to walk out of my frame, I put myself in in the future. Shaden An opportunity for life. Khawla

The journey into myself and into that thing called multi cultural gathering. Gili Acceptance and a place where the love and fire for theatre has been reborn in me. Alon Framewalk means a lot to me. It was like a white canvas that invited my soul to create and to paint, as an individual, but also with great support of other colours that brought my own painting – frame to turn into a master piece. Elias Walking out of yourself into other people‘s hearts. Khulood It made me look at my problems from another perspective and deal with them in an artistic and powerful way. Henry

Framewalk creates an utopian world. Days of peace and unity. Alex Framewalk means to me the freedom of an unitiy. To be chosen as a participant, who can change and share something new, big with the world. Amena Framewalk is about opening your gaps, being in the middle of nowhere, accepting people that you would not get together with otherwise. It’s about sleeping in a tent with 25 people and sharing the noises of others. It’s about telling a story. But the very special thing is, that you involve the others in your own process. Marie

Desert / myths / music / dance / drama with black / east / west all in one place the Judaian desert. One of the most inspiring experiences anyone can have. At the beginning I said that I expect a tsunami and a tsunami it was – meeting people dancing singing acting in different ways – mix them in one big show in the middle of nowhere – between rocks and endless sand mountains – I guess it was more than a tsunami. Suddenly you explore again and again your body – your abilities to move to act to sing to feel the others – as if it was your first time feeling them With black / east / west melt in one big group of creative people – inspired by the desert – covering their bodies with dark gray mud – canceling all the differences I guess it‘s so hard to translate this experience to words – but I insist to describe it with my tsunami. Samaa Wakeem

First and foremost, the meeting with the German group had defined us, the Israelis. We went to the desert, 15 students for theater, Arabs and Jews, with our own differences and disagreements. We know each other well, we‘re studying together, performing together and yet from the first minute we met, the Germans and us, fences were starting to fall. Retrospectively, we didn’t exactly know where are we going to and what is the thing we‘re going to do there. For me it was very intriguing, the thought of Germans, Arabs and Jews together for a whole week in a middle of nowhere. I was very curious, yet skeptical. I was afraid of too much talking, accusations, political inputs and forced ideals. These were a big part of my experience in the university so far. I think it was for most of us.

I was proven wrong. There was a lot of talking, a lot of ideals and a lot of doing, but it came from sharing, real sharing, a thing that was not so achievable on campus. The desert has its own special magic and inspiration. It took a big part and a major role in this week. It will be hard to explain that to an outsider but this primeval landscape immediately affected us. More than anything, we created (unknowingly) a sketch of a clan, with its own definition and language. That is funny because we were communicating in English, so every word and every phrase had to be reconsidered almost every time and yet through theater, dancing and music, we held a society, one week old, of its own. I had a lot of ‚ups and downs‘ over there. An old friend came visiting me after almost a year without, the self-doubt. Gradually I realized that most of us dealt with some fragile materials, personal issues, although No one actually asked us to do so. I had the right to fail, at least once, without being ‚judged‘. Being a guy with a high self-criticism, it was a big thing for me to be hugged and appreciated nonetheless. From this exposed place, I could learn a lot about myself.

We had one show, in front of a camera, in a middle of the desert, which is basically nowhere. I think it delivers the state of mind we were in as a group. It was a rough presentation, almost tribal, very much united. It had some special peaks and a lot of fun. In some points it had some kind of religious flavors, although most of us are secular. Again, a lot of it came from the desert‘s strong effect. So as I wrote on our last day: it was all about people. A strong bonding was created between us. Strangers from another part of the world became my brothers and sisters in 7 days of inner journey, by letting me cry, laugh and express any sort of feeling. doing so was by letting me feel safe and accepted, allowing me accept and love others. That was a rare thing. An amazing and powerful experience, which I was lucky enough to take part of. Paz Magen P.S. A special thanks to Othello Johns, who taught me two things: 1. I can move and I can do it gracefully. 2. Moving and dancing are practically the same.

Mythology can refer either to the study of myths or to a body of myths. For example, comparative mythology is the study of connections between myths from different cultures, whereas Greek mythology is the body of myths from ancient Greece. In the academic field of folkloristics, a myth is defined as a sacred narrative explaining how the world and humankind came to be in their present form. Many scholars in other fields use the term „myth“ in somewhat different ways. In a very broad sense, the word can refer to any traditional story. One of the functions of myth is to establish models for behavior and that myths may provide a religious experience. By telling or reenacting myths, members of traditional societies detach themselves from the present and return to the mythical age, thereby bringing themselves closer to the divine. Myths having four basic functions: the Mystical Function—experiencing the awe of the universe; the Cosmological Function—explaining the shape of the universe; the Sociological Function—supporting and validating a certain social order; and the Pedagogical Function—how to live a human lifetime under any circumstances. Wikipedia

Drinking wwas like nothing sur. Relax! Release! Fly bird.(Ashkan Rahmani)

Petra Kron works as cultural anthropologist and cultural pedagogue for various productions and projects. She does the production management for KABAWIL’s dancetheatres. She developped KABAWIL’s concept of relation oriented cultural works. She plans and produces projects like Framewalk, the A rt of Cchatting and others. She’s got a Ph.D. (ABD) in Cultural Anthropology of Mainz University and a state board examination in Fine Arts and English from Düsseldorf University. Prof. Shimon Levi is Full Professor at the Tel Aviv University Theater Department, and was its chairman. His recent publications include ‚The Sensitive Chaos’, a book on Samuel Beckett’s dramatic works and on Hebrew drama – ‚Israeli Drama, The Israeli Theatre Canon’ and ‚The Bible as Theatre’. He has published numerous articles in Hebrew, English and German. Levy has been dramaturg for the Habimah Theatre and the Jerusalem Khan Theater, the artistic director of the Acco Festival and has translated over 140 plays into Hebrew. He has directed plays for theater and radio in Israel, Canada and Europe, and conducted dozens of Bible As Theatre workshops in the Israeli desert and abroad.

Aviva Apel-Rosenthal is founder and artistic director of PlayLife, Playback Theater Company, since 1991, and currently president of the International Playback Theatre Network. She is a theater practitioner, actress, director and teacher, and has a BA in Theatre Studies, MA in Gender and Arts Studies, and Diploma in Arts therapy. She is teaching Theater and Playback workshops for artistic, therapeutic and Education oriented groups and organizations, internationally. She is the director of the Israeli School of PT which is affiliated to the Centre for Playback NY. Steffen Laube, Actor born in Germany started his theater career at 12 years at the State Theatre in Karlsruhe. He studied acting at the Badische-Acting School from 197982. Since then he has worked at many state Theaters throughout Germany as an actor and director. His most treasured time was working for 12 years at the State Theatre in Bonn. Steffen also has numerous television and radio appearances to his credit, including working with the world famous Bonn Beethoven Orchestra. Steffen lives with his wife and daughter in Germany.

Yael Sheffer is a graduate of the ‚Seminar Hakibutzim’ institute, bachelor degree (B.ed) in education and has a teacher’s certificate for movement and dancing, specialized in composition and improvisation. Extensive experience in developing curriculum and innovation methods and their applications through dancing and movement, in various Enrichment Programs at the Ministry of Education. Currently teaching movement and dancing in various disciplines, choreographer and a mother of two beautiful girls. Othello Johns works as choreographer, dancer and pedagogue.He worked as a soloist for the companies of Milton Myers, Rod Rodgers, Isadora Duncan, Erick Hawkins and Tanzatelier Wien. He studied Dance and Choreography in New York at the Martha Graham School of Contemporary Dance and at the Erick Hawkins School. Abiodun Odukoya is a singer/songwriter and a pioneer of the afro/reggae/soul scene in Germany since the 90’s. Working as a teacher for voice, singing and rap. Nadav Wiesel is a Musical Theatre Composer and Lyricist, as well as Actor-Singer, trained in Tel Aviv University’s Theatre

Department. He wrote and composed “Femme Fatale” a theatrical song-cycle, staged in London’s ‘Upstairs at the Gatehouse’ Theatre , August 2010. Wrote and composed songs and incidental music for “The House by the Lake” which opened in Israel’s Acco Festival for Alternative Theatre, 2010. Nadav is writer Associate in Mercury Musicals, London. Katja Stuke is a is photographer and freelancer. Under the label Böhm/Kobayashi Publishing Project she and Oliver Sieber have bundled various projects. e.g. a virtual exhibition space where they invite artists and present their works. The couple also realises events like release parties or workshop talks, as well as book projects and photo editions. Annually since 2010 they curate ANTIFOTO, which was established to show the various aspects of the medium photography. Shiran Shveka was born in 1985 in Eilat. She moved to Tel Aviv in 2007. She worked as a journalist and a radio broadcaster. Nowadays she makes her money mostly from serving coffee and production projects. In 2011 she finished her degree in Theatre and she is now ‚lookong forward to HIT the world.‘

It was at the last days of my second year studies at the University of Haifa when I was invited to take part in a workshop for students from our department and students from Germany. I was tired and not creative at that time, because of the long year at studies, so I decided to go there and just take my time to rest and enjoy the silence of the desert. It took less than an hour after we arrived in the desert to change my mind and to pull out my guitar, join the group singing and playing music, telling jokes and sharing personal details among each other. And I was ready to give my all to this workshop. From the begining I was disturbed by the electric gate at the entrance of the place we were in (Mitzoki Dragot) and the fences that surrounded us all over. I guess it‘s the Israely mentality that lives in a chronic fear that makes it protecting itself always. Therefore I decided that I will take off these fences, the steel fence around us and the personal fences inside of me and the results were amazing.

We managed to create a community in a place that is isolated from the world but still not fantastic but real. The feeling of ‚I belong’ was all over me, and the most important detail was: No Names. we didn‘t care what time it was and what day, what was the name of this place, how the natives called it or the occupiers do. We gave ourselves and it was OK. This community danced, sang and acted each one as an individual and as a group. Just like the sea laying quite near the desert for centuries, the sea is not covering the desert and the desert is not leaving. For me it was the beginning of a new understanding in my life at that point. I managed to answer important questions about my existance and thanks to this workshop the answers can be concluded with one sentence that I will quote from the famous Palestinian writer Mahmoud Darweesh, he said: „Upon this land, there is something worth living for.“ Morad Hasan

Audience participation does not weaken the concept of ‚theatre’, in fact it supports it. But the audience should be prepared for the short-term contract signed for the duration of the show. In most cases a participating audience feels part of the event, responds to its often educational message and remembers it better as time passes. In our performance at Metzoke Dragot the participants became an active audience, well aware of the temporary contract signed and highly cooperative. In their response after the performance the participants described the performance as ‚very significant‘, even ‚unforgettable‘. The fact that the participants and the instructors too were the audience, enabled variations, sometimes in the scene, as happened when Prince held a mythical-social speech and all the rest around were his ‚people‘. [...] [...] In the end of our final, complete and fascinating show the only audience was the instructors, indeed highly involved because of the workshop sessions and interested how it will ‚work’, individually and in groups – and the participants. The effect was powerful. The other, non-performing participants too, followed intently how their friends realized their dreams, pains and wishes on the desert-stage.

Could it be that the lack of audience helped in closing circles of acceptance and reception between audience and performers? [...] When the show was over, all experienced an emotional burst I haven’t seen in a long time; indeed an end to an intensive process and a mutual acceptance between participants among themselves, with the instructors and instructors among themselves. The presence of an external audience would certainly have created new, not necessarily positive circles, instead of the inner ones created. External audience – in this case me [and Katja, documenting everyting with her camera] – what was my contribution to the event? Nothing. I had no function in whatever happened there. I was a fly on the rock. And felt wonderful as such. I enjoyed the details I collected in the previous days, enjoyed being a ‚mini participating community’. [...] In the final show I was sitting tense and involved to see how it has developed. [...] I could enjoy it as a regular audience and profit from the fact that I do not experience it in another media, or Facebook, like all those who saw the performance on Kabawil’s sight. I was fortunate to be an audience to experience a full, live theatrical performance, non-transposable to any other media. I did not really influence anything on stage. It was a unique hour. Sharon Maimon Levy

Framewalk – The Workshop Week Düsseldorf/Haifa/Metzoke Dragot in cooperation with University of Haifa supported by: Pakt mit der Jugend NRW, Jugendamt der Landeshauptstadt Düsseldorf.

KABAWIL e.V. Flurstraße 11 40235 Düsseldorf T. 0211.9 36 55 00 M. W.