Framewalk Maputo Düsseldorf

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Open doors and window seats Hot tea and tablespoons Hand shakes and body hugs Good food and Chef artist Walk in and keep moving Ask why and get one Time check and change lesson Warm up and break time Back up and coffee break Music2dance and dance2theatre Teen girl and sound waves This place and that space Fine lines and birth marks Cold weather and open stage Fluid movement and distant sound Dance moves and hit songs Fast walking and rain drops Chest out and open position High beat and sound tracks Key board and paper works White tent and heat machine Space in and space out

Write down and speak out Less drama and more music Hard work and pro-instructors Day questions and late answers Free lunch and ten Euros Sign here and age limit What else and further more Time line and Emotional Geography Physical space and cultural landscape Meeting people and people missing Attention span and lost control Path finding and marking places Which colour and why not Flat space and small stage Shared stage and equal space Free emotions and light effect Maputo Rock and DĂźsseldorf Sway Stop here and continue later Start time and close time

Yibor Kojo Yibor/aka Mr Black

It feels like hot chocolate on a cold day … …was the answer of a Framewalk participant to the question Which emotion represents this room to you? Young Performing Artists from Maputo came for a Framewalk return visit to Düsseldorf. For many of them it was the first visit to Europe, the first flight ever. The German Framewalkers were happy to meet again with their new friends from Mozambique. Together, professional artist instructors and the Framewalk participants turned the Kabawil space, the studio and the outside garden/quadrangle of Flurstrasse 11 upside down, based on research findings of emotional-creative geography and the grammars of their personal artistic disciplines. Emotional-creative geography enables the unveiling or reveals invisible elements of a room, the soul of a neighborhood or a city. With questions searching for the spirit, the breath of this specific space, its gender, or what emotions were aroused through it, we generated content that was then interpreted and staged in dance, music and theater. A participant specified the soul of the room as a twin-headed, orange bird coming from far to bring us its message. I just recently noticed that he referred to the Kabawil bird, the eponym of our association and our logo. Once again, Framewalk managed to unite cultural hybridity, the diversity of the group in origin and nationality, the individuality of single people and the art and creativity of the specific moment in this place at that time. We live in a time of transition in which complex forms of difference and identity, of past and future, of inside and outside, of inclusion and exclusion evolve, more and more through specific spaces in between. We move from a simple to an elastic singularity of identities or even to an identity of in-between. The concept of this interspace allows us to negotiate space for our own. For new concepts and strategies, for self-perception and self-expression, for a new positioning of our multiple internal selfs towards the external world. Framewalk as a concept provides this space, this in-between that allows us a new perspective, a new situatedness for a new, advanced identity. Petra Kron

The outer journey evolved into an inner journey. As a teacher I have participated in many international projects with students from diverse backgrounds. Whether I am researching for my own creations or teaching, as an artist and facilitator I am always especially interested in cultural diversity and the blending of the disciplines, not to be thought of in categories but as opportunities to see and experience artistic expression from different angles. The project Framewalk represents this same understanding, it offers a platform to meet each other, work together and to experience and exchange diverse manners of thought, communication and artistic practice. I understand emotional geography as a strategy to gather these aspects giving importance to depart from a sensorial apprenticeship of the changing conditions and environments we experience as we travel to different continents, using our intuition rather than to work from an intellectual, rational point of departure. In the case of Framewalk Maputo Düsseldorf I knew most of the artists from Maputo from before very close as students, as artists and as persons, so I could appreciate the shift the new environment in Düsseldorf made in them quite well from the moment they arrived: The weather, the architecture, the colours, the food, all kinds of new impressions they could absorb and integrate into their being. The work in the studio deepened the awareness towards their inner worlds. The outer journey evolved into an inner journey. Also, I could appreciate how the German students were in a condition where they had already digested the experiences from Maputo. Together with the ease they felt as they were used to the places in Düsseldorf, a different kind of comfort was reflected on how they involved their bodies and voices. As the roles of both groups had exchanged, all the participants had a sense for how their partners might feel. Empathy for each other laid the basis for the kind of studio practice we proposed and from which we constructed. Everybody could allow themselves to be seen beyond what social and cultural codes dictate and this freedom revealed many more layers we then explored through our time together inside and outside the studio putting it together into a final performance. In this process I see myself as a facilitator, who helps the artists to structure all these emotions and sensations into forms, not limiting myself to the role of a teacher but being one of the particles of the artistic growth and personal expansion that walks along the frame of Framewalk. Horacio Macuacua

Exchange is such a precious gift . We are Framewalkers exploring the borders, walking out of the frames, in this big mysterious walk of Life. Acknowledging the other, in a process of acknowledging ourselves. Emotional geographies inside out was the search, in this home Kabawil so far from home (Mozambique). Such different cultures, different visual frames, different smells, different rythms, different lifestyles, together now in this crazy short intense creative process. What do I have to say? Do you have to say? Do we have to say? Framewalk is a kind of a blind date, each meeting/intersection has its own living, its own beat, it’s irreversible. Time doesn’t wait. The exchange is such a precious gift and the feeling of welcoming others is so different than being welcomed. I was so lucky for growing up in constant contact with both worlds, being half Motswana/half Portuguese, based now in Maputo. Framewalk gives that to so many young artist from different countries, it’s inspiring! It’s bringing down walls, bringing hearts together, for the belief of creating something. In a week in Maputo plus 10 days in Dusseldorf, I can’t say how many people I connected with, from participants to instructors, to production team, to followers, to the cooking staff, venues, etc etc. And I’m only a part of a small portion of this network, like a litle star in this Universe. What a huge family. We are walking extensions of the people we meet all the way through this walk, the echo remains (the songs are still viral in my mind)!" Ok, this is it! I never thanked you but the way you received us there, the care, the hostel, the tickets for the shows, the food, even the candies, that was really warming! You have done it great! Obrigada from the heart.* Marisa Bimbo

Which emotion represents this space? Loss: We never know where we are going, we just go. Marisa Happiness: It’s like my world and makes me feel so good. Oswaldo Anxious: The different artistic expressions and the everyday things I see here take my breath away. Eugenio Curiosity: It’s like a new place I want to explore with the people around me. Leo Joy: I am always surrounded by creative people of truth. Judite Nostalgia: I like the challenge this spcae brings with every little thing it comes with. Edna Happiness: The activities that happen in this space bring me lots of excitement. Julio

Warmness: Like hot chocolate on a cold day. Lisa Happiness: It’s green and I can breath the freshness into me. Luisa Peace of Mind: It’s a quiet place and different from my own city. NBC Happiness: Two different cultures together, I find that unique and it makes me happy. Paulo Nostalgia: Many beautiful things are happening, so much pleasure and struggle at the same time. Tyshea Empathy: So many things are coming to me, I just open myself to them. Marie Lena Nostalgia: Remembering the rich days I spent with all these beautiful souls. Faraz

Pain: I am challenged to answer questions everyday. Teya

Love: Whenever I get here I find myself, then I find people who share love in different ways artistically. Estreanty

Uncertainty: This space seems uncertain, but the people, the ideas and new experiences open it up. Maxime

Happiness: I feel like a kid here,I can dance, play and laugh so much as though we were brothers and sisters, young and old. Sufaida

Desire: I have the feeling to take in all the spirits of the different people. Magdalena

If this space was gender, which gender would it be? Male: This space to me breathes in and out just like men at work. Paulo

Gender Fluid: it’s constantly in motion and everything. Teya

Female: It has a softness and is so delicate that it leads us to float with thoughts and feelings to the extreme. Eugenio

Female: Femininity is love, intuition, creativity and peace, just like this space. Tyshea

Female: It has the ability to take in and give birth. Oswaldo Female: It opens itself to receive all (artists) who come in, willing to learn. Julio Male: This space has a lot of energy, almost the same as I get from my father. Luisa Female: Since this space reminds me most of my mother, who influenced me the most from childhood on. Faraz Male: I find this space demanding, just like men. Magdalena I dont care if this space is male or female, I just care this space is good, forget about gender. Estreanty This space has no gender for me, gender is dead. Lisa Male & Female: I think this spcae is a mix of both in one. Matanyane

Male & Female: The union in this space shows no gender, this space is neutral. NBC Male & Female: In general this space forms a single body of both. Judite This space for me has no gender, it’s not relevant, we are souls. Marisa Transgender: It has a human atmosphere with no clear definition. Marie Lena Female: Like the arms of a loving mother, it brings us together, no matter who we are or where we’re from. Leo Male: I am attracted by the male gender and this space attracts me likewise. Sufaida Female: It gives birth and creates new life. This space begets and creates performanes. Maxime This space is of a third gender, gender free and free of sterotypes. Edna

What did you personally take along? Honesty, a lot of honesty was shared during the workshop and among the people. Faraz

The knowledge that my body can always go for more and not be afraid of my body. Marie Lena

Self-confidence and the desire to try new things. Leo

My dance instructor made me aware of my insecurity and told me to work hard to trust myself in the future. Tyshea

I am going away with having developed myself. Julio

The importance of using what I feel in order to create movements. Eugenio Since the first day love was in everything that everybody shared, so I take love with me. Estreanty I am filled with the knowledge of using my body to express myself. Matanyane Togetherness, I felt oneness was given by all. Oswaldo Creativity shared by all the participants. Maxime I learned a lot as a dancer, I feel stronger and more secure now to face the future. Judite Freedom to try new things and engage with new people. Sufaida The collective spirit of the group, the togetherness as a family and the cold rain. Paulo The ability to adapt to challenging situations and new people. Teya

The fact that this whole week just passed in a twinkle, it gives me the sense of here now, then gone. I learnt to take in every moment as it comes. Marisa The encouragement that there is nothing like failing. Just try as you try, you are already in it, doing it. Lisa Group Dynamic, I learnt to connect my ideas with other people’s and make it one. NBC The need to be flexible in my creative process, also how to create and present in a short time. Edna The knowledge that in dance even though we use our body we also use our imagination (Soul). Louisa The experience of reaching a goal through flexibility and openess within a group. It provides freedom for creativity, thus creating joy of living. Magdalena

A large school of different disciplines. Participating in Framewalk was important and good for me. The most wonderful thing was not only to be in my area of performance. ​​ Being a musician I was not only in music but I also had to participate and got to experience myself in dance and theatre.  Hence I discovered other techniques in the performing arts to implement in my musical performances. Working with people from different places (origins and ancestries) and with different talents was a great tool of bringing out group dynamics and this was a resource very important for our works. Kabawil, the organization provided several programs for the Framewalk artist instructors and participants. We went to watch musical performances, theatre performances, dance and we also visited Düsseldorf historical sites and museums. In addition to the artistic exchange there was also a great togetherness among the participants. We went out together after work, we did small, random performances etc. This strengthened and supported our relations for future collaborations. For me Framewalk is a large school of different disciplines, and the project must be sustained and pursued. Estêvao Carlos dos Santos Amisse aka NBC GAS BUTANO

Why Framewalk in Africa? Why not! will definitely be the answer when I’m asked why Framewalk in Africa? Certainly, since its conception Framewalk had demonstrated in many ways what it stands for, impacting lives and bringing creative beauty to almost all who had the opportunity to experience this project, both participants and instructors even to its audience whether home or abroad. Each experience is humbling and remarkable; student artists and/or upcoming artists with the support and guidance of already established artists work together and share in a space that allows real exchange. To experience Framewalk, we believe one must not be afraid of making mistakes; mistakes are an essential component in the process of creation when it comes to Framewalk, out of it come the wonders and beauty produced for the stage. The five days intensive cross-cultural program dubbed Framewalk once done it never leaves, it lives on in you, it enlarges your personal village, deepens your social/ communal awareness and expands your worldview. Framewalk as the name implies, challenges you to walk in and out of your comfort zone (frame), be it personal or group frame, emotional or geographic frame, local or national frame. One is allowed the freedom to explore other frames while walking and working in and out of your space. This is important to self-discovery and development, appreciating group dynamics and diversity in other cultures, people and countries. In context the significance of Framewalk is essentially built of three folds: continental, regional and personal. It is important to mention that the central focus of Framewalk Africa is mainly to the creative development of young African artists, creating an opportunity to meet and share with other young creatives across the continent/s. Framewalk is here to stay, as we look into the future it’s undoubtedly clear that the Framewalk Africa headquarters, the Haduwa Arts & Culture Institute, situated in Apam, along the coast of Central Region in Ghana, is home to all its partners across the continent. Ghana has over the past decade hosted several Framewalk projects in collaboration with local partners including the School of performing arts, at the University of Ghana; the Center for National Culture, Ehalakasa; Alliance Francaise Accra etc. Plans are under way and hopeful for our African partners from Mali, Ethiopia, South Africa, Mozambique, Namibia, Burkina Faso etc to converge for the annual Framewalk Africa Festival to be held at the Haduwa Institute in Ghana, a ground for artists and cultural practitioners in Africa and Europe to support excellence and diversity in and through the arts.

A space for a creative hub and collaboration is what Framewalk Africa is looking at; we want to raise and see young artists in the future who understand the language of sharing, exchange and community through the arts. We want them to be conscious of the language of sound, movement and action. We also want them to appreciate the sense of sight, smell, taste, feel and hearing. These are the elements that make Framewalk programs unique, outstanding and welcoming to all. Framewalk Africa is open to collaborations from universities, institutions and well-meaning individuals who believe in the power of the arts. Currently we are proud to know over one hundred Framewalkers in our partner countries that through the Framewalk encounters have become professionals in their own right facilitating and supporting other young artists to maintain the chain of creativity alive and moving. “I believe Framewalk is synonymous to music, dance and theatre, and no one brings out that spark, beauty and magic from Framewalk like the Framewalker (artist)�. Yibor Kojo Yibor, Director Framewalk Africa

Understand sharing, exchange and community through the arts.

Relationships between emotions and geography. Emotional geography is a subtopic within human geography, dealing with the relationships between emotions and geographic places and their contextual environments. Emotional geography specifically focuses on how human emotions relate to, or affect, the environment around them. Derek Gregory, The Dictionary of Human Geography, (2011)

This Framewalk combined emotional geography with the perspective of a creative geography thus stimulating the interaction between an urban scape and the created landscape. This inspired participants to explore how to relate to and artistically express individual experiences at different perceptual levels about this very space. We explored and created in reference to a sensory space of embodied experience as a response to a variety of visual, auditory, taste or smell stimuli

a built environment represented by traffic and/or particular features, buildings etc

people’s social interactions

Participants collected these events and experiences as moments of distinctive attention by actively engaging or interacting with the environment: meeting people, taking photos, walking, exploring, liking, disliking etc. Ultimately they transformed all into works of the performing arts and into Framewalk's distinct and incredible final presentation.

Framewalk — the cross-cultural workshop week, a platform enabling performing artists and students of different cultures and countries to perambulate frequently among their different tools and topics and creating unique, layered performances.

The Team: Music: Thomas Klein, Abiodun Odukoya, Matchume Zango Dance: Horacio Macuacua, Sônia Mota, Takao Baba Theatre: Rogério Manjate, Xolani Mdluli Kitchen: Heribert Münch, Anas Antifa Management, coordination, organization: Petra Kron, Mr Black, Angelina Anthony Performers, participants: Paulo Inacio, Eugenio Macuvel, Matanyane Armando Abilio Nhamucume, Edna Jaime Chichava, Nilza Adolfo Matiquete Sufaida Celia Moiane, Oswaldo Passirivo , Marisa Bimbo da Costa, Estreanty Ernesto Langa, Estevao Carlos Dos Santos Amisse, Julio Vasco Mariquele, Judite O Novela, Louisa Matilde Nhaca, Maxime von Koblinski, Teya Leonard Quarmyne, Lisa Hellmich, Marie-Lena Kaiser, Tyshea Suggs, Magdalena Oettl, Faraz Baghaei, Leonard Gaab.

KABAWIL e.V., Flurstraße 11, 40235 Düsseldorf T. 0211.9 36 55 00,,, follow or join framewalk on facebook. Framewalk – the Crosscultural Week is supported by: Landschaftsverband Rheinland

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