Isabelle Schad (DE): TURNING SOLO

20. 9., 19:00, dance performance (30′), Dance Inn Autumn x Ganz @ SC Gallery

With Turning Solo, Isabelle Schad continues a series of works which attempt to create distinct and personal portraits through a purely physical approach, moulding respective rhythms and energies into choreographed experiences.

Turning Solo – the portrait for Naïma Ferré – is founded on her ability to spin for long periods. This whirling practice is brought into dialogue with Schad’s research around axial and weight shift, around inner movement material and its extension into the world, around energetic fields that characterize oneself and others. Little by little an initially minimalist study in movement becomes a shimmering jewel, a rotating sculpture, the choreographic portrait of a dancer.

Isabelle Schad is a dancer and choreographer. She studied classical dance in Stuttgart and worked with many choreographers until she started developing her own projects from 1999 on. Her research focuses on the body and its materiality, the body as process, place and space, the relationship between body, choreography, (re)presentation, form and experience, community and political involvement. Her projects work at the interface of dance, performance and visual arts.

Naïma Ferré is a contemporary dancer and performer. Her work focuses on exploring the relationship between body and mind. Mostly through solo dance improvisation – largely influenced by the work of Rosalind Crisp, she pushes the limits of this exploration and looks for new spaces within this relationship through the whirling dance.

Concept and choreography: Isabelle Schad
Co-choreography and performance: Naïma Ferré
Dramaturgical support: Saša Božić
Sound: Damir Šimunović
Lighting: Bruno Pocheron and Emese Csornai
Costumes: Charlotte Pistorius
Head of production: Heiko Schramm
Production: Isabelle Schad
Co-production: HAU Hebbel am Ufer Berlin


1.What would you say Goodbye to in the social and political context of your own city and country?

I would like to say Goodbye to competition, injustices and consumerism in the arts.

2. What would you say are good (positive) practices of cultural politics in your city and country?

In Berlin the open discussion (Runder Tisch) on how to improve structurally and financially the support for our dance scene opens for new potentials and change and creates hope for more justice and togetherness.

3. What impact did the implementation of these practices had on the cultural scene in your city and country?

We are still waiting for actual results deriving from these discussions…