Gallery

Dasniya Sommer & Silke Schönfleish — Bondage Duell

Wednesday, Thursday and Sunday evenings, I had the great pleasure of seeing Dasniya Sommer’s new performance, Bondage Duell, with Silke Schönfleisch at Sophiensæle. I was there to photograph and film, so saw the performance as a series of movement between the real world, camera screen and intercut with frozen images and instances of blackness. It’s always a weird way to see a performance and detaches me from the actual duration and progression of a work.

Bondage Duell is in Sophiensæle’s Kantine, a medium-sized rectangular chamber on the ground floor, in which Dasniya has set the audience in a shallow arc, like theatre half-in-the-round, on the long axis. Everything is compressed, as audience we’re much closer to Dasniya and Silke than we would be if the space was arranged more conventionally, using the depth. Their movement then, is side to side, long, flattened ellipses.

It’s brutal, touching, sexy, intimate; there’s a whiteout of fog, an audio landscape going from cars (courtesy our annual visits to the shrine of Fast & Furious) to cicadas, light moving from ’90s techno to blinding footlights to the softest, haziest, dreamlike seduction. Yes, there’s rope and shibari and suspension, these are after all what Dasniya has made her art for over a decade. Silke also, first coming to her workshop in Vienna at ImPulsTanz in 2014, and since then gradually working together and towards this performance, fitting it around her career as a Regierungsdirektorin in Berlin and formerly Staatsanwältin with the Bundesjustizministerium (that’d be currently a senior government official, and previously public prosecutor at the German Federal Ministry of Justice), basically deeply scary person when at work.

Dasniya’s last performance in Sophiensæle was MA — let’s give it it’s full and proper title, eh? — MA√ 15 { idiosyncrasy } || sin x = ly – fx²¯ in 2009, all turquoise everything, one of the most significant works bringing shibari into theatre and dance, certainly a huge influence on shibari and performance in Berlin, and particularly for trans and queer artists (especially on the women and feminine sides of those things). That was eight years ago, and the rest of the world has made inroads into catching up to what she was doing then — there’s a lot of brilliant art and performance being made with shibari these days. Dasniya’s also moved on, in addition to her own work, working with the likes of Roméo Castellucci, and being a long-time regular with Berlin theatre group, Das Helmi, which in turn has led to semi-regular collaboration with Zürich’s Theater HORA, as well as slowly and very determinedly taking and forming her ideas around rope, shibari, bondage, ballet, also queerness, feminism, femininity, representation, selfhood, her own history as both German and Thai. Anyone who’s seen what she’s been up to in recent years (like smaller performances in festivals like Männer in Garagen) will recognise what’s going on here.

It’s tough, and I don’t mean just the physical brutality of Dasniya and Silke tormenting each other. Obviously I’m biased as I’ve known her for as long as I’ve lived in Berlin, and I like the work of my friends, nonetheless Bondage Duell is doing what interests me in performance. It’s not passing off superficial, trashy, glib, cool, disposable politicising; it skates dangerously along the kerb with imagery that causes discomfort not just on the stage (like the nude paint orgy scene did in the Helmi/HORA collaboration, Mars Attacks!), and at the end I’m like, “Fuck yeah, that was brilliant.” It’s a little like Melanie Lane’s Wonderwomen, or Iain M. Banks’ Culture civilisation, it’s something to aspire to, a future we are making now.

In the end I saw the generale, première, and closing nights, so I saw the performance evolve over this short season, and some of this evolution was considerable. I know Silke and Dasniya talked through various things and were much more willing to take mutually tormenting each other to places where it became disturbing for the audience to watch, which in turn allowed them to revel in causing that unpleasantness. Whether to laugh or be outraged, they’d already moved on by the time we’d formulated a response. It was the gentleness I noticed as well, how they moved together, how completely confident and knowing each other as they mirrored each other’s movement while dressed only in pink and black lingerie, spontaneously growing in beautiful, tender ways. I loved also how the audience was both shocked and in love, how they were battered back and forth by the continual flipping of these states; by the end it was like they stunned.

So, photos. This is a mix from the generale and première, a mix which conveniently turned out to cover each other’s missed spots, so forms a patchwork of the whole (well, most of, there’s a few surprises yet). It is a patchwork though. As usual, I took hundreds of photos, kind of brute-forcing the limits of my camera in low light and fog to capture something. I ended up with about a hundred I really liked, which together convey the work more faithfully than these do, these which in the end are a somewhat arbitrary choice.

Dasniya Sommer — “Bondage Duell” At Sophiensæle + May Performances & Workshops

Everything Dasniya Sommer in May, in Berlin, Lyon, Bremen, performances, and workshops, and the première of her new performance, next Friday May 18th at Sophiensæale.

Dear Friends, Bondagisti, Theateristi and Dancers,

a bunch of performances in Berlin, Bremen, and Lyon this month, plus Tuesday mornings Shibari Technique in Haus Sommer.

As always, you can read all about this on my blog. In the meantime:

  1. Bondage Duell, with Silke Schönfleisch at Sophiensæle, May 18, 19, 21
  2. Nun on the Moon, at European Lab, Lyon, May 25
  3. Der besuch der verknallten Dame, with Das Helmi, at Theater Bremen, May 28
  4. Tuesday mornings Shibari Technique, in Uferhallen, Berlin-Wedding May 9, 23, 30
  5. Private & Group Lessons
  6. Blog!

Enjoy the arrival of spring’s sun!

Dasniya

1. Bondage Duell, with Silke Schönfleisch, at Sophiensæle

As part of the Every Body Festival in Berlin’s Sophiensæle, I am happy to première in Berlin Bondage Duellwith Silke Schönfleisch.

A 178cm tall ballerina and a 114cm small female government official on a tricycle appear on the scene. An uneven fight. The weapons: rope, muscular bodies and a thirst for adrenaline. Using classical dance means and Japanese bondage techniques, Bondage Duell examines physical and social patterns of bonding, empowerment and constraint. A place where cruelty and freedom, fun and curiosity lie closely together.

Dance: Silke Schönfleisch
Choreography & Dance: Dasniya Sommer,

Dates: Thursday 18th, Friday 19th May at 21:00; Sunday 21st May at 19:00
Location: Sophiensæale Kantine
Tickets: 13€ / 8€ (Online tickets)
Kombi-tickets: 18€ / 12€
More info: Sophiensæle

A production by haus sommer in coproduction with Grenzenlos Kultur Theaterfestival and SOPHIENSÆLE. Photo © Holger Rudolph

2. Nun on the Moon, at European Lab, Lyon

I will be speaker/performer at European Lab 2017 in Lyon in the Nuit Immersive, by Tracks and organised by Adami and European Lab.

Featuring the interactive contributions of a selection of unique and pioneering artists, the Nuit Immersive will be a night like no other. No seats or popcorn-holders, no stages or “fourth walls”, the Nuit Immersive will instead plunge you the public into the heart of the creative process and invite you to move around and explore this interactive performance as best you see fit. Advanced warning: here, the sign clearly states “PLEASE DO TOUCH”!

Date: Thursday, 25th May, starts at 21:30
Location: Les Subsistances • Le Hangar
Tickets: 8€ (Online tickets)
More info: European Lab

3. Der besuch der verknallten Dame, Das Helmi & Theater HORA at Theater Bremen

Once more with Das Helmi and Zürich’s Theater HORA, in Theater Bremen’s Festival Mittenmang.

Date: Sunday, May 28th, at 18:30
Location: Kleinen Haus, Theater Bremen
Tickets: 9€ – 20€ (Online tickets)
More info: Theater Bremen, Das Helmi, Theater HORA

4. Tuesday Mornings Shibari Technique in May

The workshop focusses on traditional Shibari technique, basic and intermediate level. Inspired by my teachers Osada Steve, Kamijoo Saki, Arisue Go, Tamandua Ropë. We start with the basics and security principles. Learning initial knots and floor work patterns with a partner. When these principles are set, we approach complex figures and suspension technique step by step.

Dates: Tuesdays, May 9th, 23rd, 30th, 2017 (No class on the 16th!)
Time: 10am-12pm
Level: Intermediate
Costs: 20 Euro per person
10 class card 160 €
@ Uferhallen Kulturwerkstatt – Wedding. Uferstrasse 8, 13357 Berlin. Entrance B
More info: Shibari Technique Morning Classes

Please call when you are in the court yard, in case you don’t find it, or the door is locked: + 49 174 393 70 49.

5. Private & Group Lessons

Of course it’s always possible to arrange another time for private and group workshops, sessions, choreographing ropes for performances, and other long-planned or spontaneous ideas. Drop me a line!

6. Blog!

Recent adventures make their way to my blog, perfect for a spring weekend afternoon of reading and pictures.

Dasniya Sommer — Bondage Duell at Sophiensæle

In two weeks: Dasniya Sommer’s Bondage Duell, with Silke Schönfleisch premières in Sophiensæle. We all know who Dasniya is, but who’s Silke? That’d be Staatsanwältin Schönfleisch with the Bundesjustizministerium, or Public Prosecutor for the German Federal Ministry of Justice. Who rolled up (literally) with her dog Jack at Dasniya’s Yoga & Shibari workshop at ImPulsTanz in 2014, did weird things with us, and since then Dasniya and her have been working on performaning together, having their first outing in Mainz late-last year, and now here’s their new piece in Berlin, part of the Every Body Festival in Berlin’s Sophiensæle. Am I excited? Oh yes!

A 178cm tall ballerina and a 114cm small female government official on a tricycle appear on the scene. An uneven fight. The weapons: rope, muscular bodies and a thirst for adrenaline. Using classical dance means and Japanese bondage techniques, Bondage Duell examines physical and social patterns of bonding, empowerment and constraint. A place where cruelty and freedom, fun and curiosity lie closely together.

Dance: Silke Schönfleisch
Choreography & Dance: Dasniya Sommer

Dates: Thursday 18th, Friday 19th May at 21:00; Sunday 21st May at 19:00
Location: Sophiensæale Kantine
Tickets: 13€ / 8€ (Online tickets)
Kombi-tickets: 18€ / 12€
More info: Sophiensæle

A production by haus sommer in coproduction with Grenzenlos Kultur Theaterfestival and SOPHIENSÆLE. Photo © Holger Rudolph

Dasniya Sommer, Silke Schönfleisch — Bondage Duell
Dasniya Sommer, Silke Schönfleisch — Bondage Duell

Reading: Iain Banks — Feersum Endjinn (7th+ time)

Ooo yes! I am reading my favourite book of all time! Iain M. Banks’ Feersum Endjinn. For the 7th time at least. Am I bored? Why would you even ask?

Close seconds to this work of absolute fucking genius are books like Alasdair Reynolds’ Revenger, Sofia Samatar’s A Stranger in Olondria, a couple of other Banks novels (I think I’ve read The Business almost as often), Ann Leckie’s Ancillary Justice, others not so far off but still way up in the collective luminary level that get whole symposiums devoted to them (like Ada Palmer’s Too Like the Lightning), but of all those Feersum Endjinn has the least acclaim and I doubt I will ever love a book more.

Feersum Endjinn. Iain Banks’ unappreciated science-fiction novel — maybe only Against a Dark Background comes close to the “meh. Also, not Culture,” disinterest. More than one person has said trying to deal with Bascule’s dyslexic journal entries has something to do with it. I think that makes them mediocre readers.

“Woak up. Got dresd. Had brekfast. Spoke wif Ergates thi ant who sed itz juzz been wurk wurk wurk 4 u lately master Bascule, Y dont u ½ a holiday?”

This is the equal of that famous first sentence of The Crow Road:

“It was the day my grandmother exploded.”

Well, perhaps that’s a little more pithy and grandiose. He probably came up with that one hooning and almost laughed himself into a ditch. Still, when Bascule starts transliterating a sparrow with a speech impediment called Dartlin, it’s a whole nother level of clever Banksian fuckery.

Ullo, Dartlin. howzit goin?
Fine, Mr Bathcule. I bin tewibwy bizzy, u no; tewibwy bizzy bird i been. I flu thwu 2 thi paliment ov thi cwows & pikd up sum gothip, wood u like 2 here it?

Followed some time later by a lisping sloth. But I’m not reading it for clever fuckery. Or am I? Let’s start with one of the main characters, who we would currently call a trans woman, and a woman of colour:

Floor beneath where lying; pressed earth, light brown with a few small stones pressed in it. The song is birdsong.

Get up slowly, arms back, resting on elbows, looking down towards feet; woman, naked, colour of the ground.

That’s the Asura, Asura (as in, she’s an Asura who decides Asura is a good name so sticks with it), who started — and ended, because Banks is doing one of those Use of Weapons multiple stories in multiple directions here — as Count Alandre Sessine VII. Or rather, Sessine had been designed by the data corpus called the Crypt to become Asura, and Sessine had lived seven lives — unknowingly for the most part — preparing for that. Then there’s “stocky, grey-haired old” Chief Scientist Hortis Gadfium III, as seen through Adijine VI’s implants:

Gadfium. It had annoyed the King throughout his this life-time — and Gadfium’s last two — that she had stuck with the male version of her name; why hadn’t she changed it to Gadfia when he had become a she between incarnations? Wilful type, Gadfium.

Gadfium, who uses bed meetings as a cover for espionage, much like in The Algebraist (and possibly in The Business, which either way had the ‘count to 1024 in binary using your fingers’ bit). The meeting is one where she declines the comfortably jocular offer of sex (more on that in a moment), yet her relationship with another woman, observatory chief Clispier implies a recognisable queerness:

‘There now, dear; let one old lady look after another.’
[…]
‘Clisp…’ Gadfium said, sitting up and holding out her arms; they hugged for a moment.
‘It is good to see you again, Gad.’
‘And you,’ Gadfium whispered. Then she took the other woman’s hands and gazed urgently into her eyes. ‘Now; old friend […]’

I say recognisable because there are certain Banksianisms habitually returned to. It’s a feeling, a specific acknowledgement of a relationship he doesn’t need to bludgeon into obviousness. In this instance how they interact is unique in the book, except for two young, minor characters infatuated with each other, and is counterpointed by the joking offer of sex with a man which she amusedly declines.

But back to the gender stuff. Banks’ first published novel, The Wasp Factory was entirely about gender. It’s received somewhat valid criticism of using a nominally trans figure (with whom I share a name, fuck yeah!) as a metaphor for something else (à la the actually shoddy Middlesex), but unlike Middlesex or other novels usually by cisgender, hetero men, Banks had a clear, ongoing interest in gender and identity which draws on both a political, feminist position and something fundamentally subjective. I’m not claiming Banks was trans. Rather, as he stated in an interview, he saw the Culture’s ability for human-basic body types to move between male and female as a strategy for enforcing equality through subjective experience in an utopian environment. But why would anyone move between male and female, or any of the other multitudes of sexes for politics alone?

And some various asides here: Culture bodies transitioning is across the full gamut of physiology. One of the less common, but still well-established trajectories was for a couple (or more) to both get pregnant by alternating sex and delaying gestation, then both continuing pregnancy together (this is one of the narratives in Excession). Some decide to find possibilities for selfhood outside male or female, some even decide to become different species. Incidentally, all these are in Excession, and to varying degrees in Feersum Endjinn. And while I’m aside-ing here, my current — at the time of writing — discomfort with words like sex, gender, identity, leaves me using selfhood as a useful generalisation. The sex/gender binary that still won’t die (see Anne Fausto-Sterling for this) and still proposes something like an immutable, biologic, essentialist sex, and separate, mutable, cultural, performative gender is as useful or factual as the flat Earth model, yet the false binary (like so many false binaries, such as mind-body) gives the believer the luxury of not having to fundamentally critique their methodology. It may be the currently out-of-favour term ‘sex-change’ is a whole lot more precise in describing what happens, even while pointing out the poverty of language on this subject. So, for the moment: sex/gender/identity are out; selfhood is in.

So why would anyone move between the multitudes of selfhoods (including species) for politics alone? Because that’s the kind of utopia Banks is proposing. A civilisation where understanding of self was mutable. To become male or female or Affront acknowledged the process would change you. Yes, self was something that could be separated from a specific sex or gender or corporeal body, via backups, uploads, replacement bodies, but self was ultimately defined by physicality, by being embodied, by experiencing the world in a specific way in a specific body, by being irrevocably changed by this (unless, of course, you reverted to a previous backup). And yes, this politics presupposes hedonism, which the Culture — and Banks — is rightly famous for. What is more glorious than to change sex? Repeatedly. The Culture is the ultimate transgender recruitment tool.

In Feersum Endjinn, we see a variation on specific markers of Banks’ ideas around selfhood which he makes a core principle of the Culture: the ability for self to be stored in the Crypt for multiple (maximum seven) reincarnations; the ability to be reincarnated in the sex/gender/ethnicity of one’s choice (choice being conditional here, because the Crypt has its own agenda); the ability to split oneself off into the Crypt; the ability to share one’s self with those split-off selves via ‘implants’, which are more like the Culture’s genetic modifications and enhancements that you’re born with than actual things implanted, and which bear a striking resemblance to the Culture’s neural lace. Plus whatever else I’ve forgotten.

Let’s have a diversion into names. In one of Banks’ last novels, The Hydrogen Sonata, there’s a Culture Eccentric ship called Mistake Not…. We don’t find out what the ellipsis hides until the end. It’s worth the wait. In Feersum Endjinn, he describes the the fastness Serehfa, a colossal space elevator once called Acsets built to resemble a mediæval castle on the scale of kilometres and mountains, as something where the massiveness we are first confronted by is the bare outskirts, behind which its true scale is like the ship’s full name: “Mistake Not My Current State Of Joshing Gentle Peevishness For The Awesome And Terrible Majesty Of The Towering Seas Of Ire That Are Themselves The Mere Milquetoast Shallows Fringing My Vast Oceans Of Wrath.”

Which leads me into:

Good to see you again. Sometime we must do this for real!
You always say that.
Always mean it. What IS that perfume?
Enough. To business.
Funny name for a … No tickling!

This is the scene where Gadfium is in bed with Sortileger Xemetrio. They arrange to meet like this, giving the appearance of having a secret affair so they can pass information through their conspiracy network. This is not them speaking, either; they are in darkness under the sheets writing in luminous ink on a notepad. It’s the joke on the name that gives it away: Enough. To business. It’s exactly what Banks would have a Culture ship call itself, and Xemetrio saying, “Funny name for a …” signals Banks telling us what’s going on.

Feersum Endjinn is not a Culture novel — officially, in the public perception, maybe even in Banks’ mind. It was published directly after Against a Dark Background, which Banks said was the last novel rewritten from old (pre- or around-Wasp Factory era) material, which is also not a Culture novel. The other not-Culture skiffy novel is The Algebraist. Of the three, the latter is perhaps the most difficult to find parallels with the Culture universe, though Fassin Taak, as a Slow Seer has much in common with both Bascule, and Genar-Hofoen in Excession, so again there’s these layers of geology, architecture, landscape, environment, self that get moved through and change the person.

So it’s not a Culture novel, yet is full with markers of the Culture. The planet of the fastness Serehfa is Earth. A future Earth post-diaspora, when all who remain behind live in technology they can neither control nor comprehend; which is slowly falling in on itself, like parts of the fastness itself, kilometre-high walls and rooms now rubble around volcanic cones; entire levels succumbing to erosionary geological processes.

We know the Culture came to Earth. In The State of the Art, 1970s Earth is decided, after much debate, to be left uncontacted, as a control, to be monitored from outside. If the Earth of Feersum Endjinn is the same as this one (and generally Banks didn’t go much for multiple, parallel universes, except in Transition, and even there there’s an Earth which is this Earth), and sufficiently far in the future, and with so many technological and cultural markers of the Culture, it seems reasonable to suppose the diaspora is at least in part Culture-inspired or derived, and Earth itself is like the anti-technology cult on Vavatch orbital in Consider Phlebas, or the Sarl in the Shellworld of Matter, regressive civilisations embedded in mind-boggling technology. Or perhaps the timeframe is even greater, and this Earth exists post-Culture. We know from Look to Windward the Culture either Sublimes or dies out. The Behemothaur Yoleusenive finds a body that has been floating in space for one Grand Cycle, a complete revolution of the galaxy, about 240 million years, and this conversation takes place:

The creature that is before us was of the name Uagen Zlepe, a scholar who came to study […] from the civilisation which was once known as the Culture.
—These names are not known to us.

Feersum Endjinn sits in the middle period of Banks œvre — though it’s not really possible to divide his work like that; even splitting along M. and non-M., or science-fiction and non-skiffy lines is messy and ultimately misleading. Despite owing much to the Culture novels he’d worked on in the ’70s and ’80s, it belongs equally to ideas he developed in earlier works like The Bridge, the contemporaneous politics of Complicity, subsequent ones like Whit, and his final Culture works, Matter, The Hydrogen Sonata, and Surface Detail. I often think there’s a way of reading Banks in which his novels flow seamlessly together — even the ones that struggle with themselves. I’m not talking about stylistic qualities here, or narrative structures, though obviously that plays a part. It’s something deeper I think he gained a certitude of very early on. This certitude reveals itself in recurring decisions, like why so many of his main characters are women, and why quite a few are brown, and why moving between selfhoods is always there, and why all this is unremarkable, taken as a given, the way things should be.

And with this, there’s the landscape and architecture that we move through, and returns in all his novels. It’s the landscape and architecture of Scotland that is always there, whether we’re in The Crow Road, or Feersum Endjinn. It’s part of this certitude. It’s inseparable from it. So when we find one, we find the other. It is his intention that we read his conventional novels in the same way. Read The Crow Road, or The Steep Approach to Garbadale knowing this, knowing what he proposed for selfhood from the very beginning, knowing it’s in these novels just as the landscape is.

Iain M. Banks — Feersum Endjinn
Iain M. Banks — Feersum Endjinn

Gallery

Melanie Lane — Wonderwomen, HAU1 Dress Rehearsal

The brilliant Melanie Lane’s new performance, Wonderwomen opens tonight in HAU1, with: the awesome pair of professional bodybuilders that are Rosie Harte and Natalie Schmidt; set and costume design by Robert Bartholot; music by Clark; lighting by Fabian Bleisch; and feministing up in your dramaturgy by Frances d’Ath (yup, the one who has this blog). It’s on the main stage, and looks deadly. Here’s some photos from dress rehearsal yesterday.

Reading: Becky Chambers — The Long Way to a Small, Angry Planet

It’s not like the days when Charlie Jane Anders was running io9 and her monthly roundup of all things skiffy getting published pretty much guaranteed at least one book I’d stick in my reading list — I suddenly realise I’ve gone off on a tangent here — but that monthly summary has returned or reinvigorated itself, and with the arrival of The Root and Fusion under the Gawker Gizmodo Media banner, I could hope that io9 might similarly get the love it deserves and be de-subdomained from gizmodo.com, because it is one of the best sci-fi/fantasy/speculative fiction/etc websites around.

Which is a long way of saying I’m pretty sure I heard about Becky Chambers’ The Long Way to a Small, Angry Planet there, probably when it came out late-2015, but didn’t put it on my Must Eventually Buy list until a few months ago. I’m going through another phase of random experimentation with new writers, and she seemed to pass my rather strict interpretation of the Bechdel Test. And now I’ve read this, and yes, she does.

It’s a light read, in the sense that unlike say, Alasdair Reynold’s Revenger, we don’t have entire space ship crews annihilated just as we’ve begun to care for them, nor do the protagonists come out the other side morally terrifying. Almost all the story takes place on their moderately sized, ramshackle construction ship as they move ever core-wards in the galaxy. And the story, the actual story from which all those things we’re told are crucial come, narrative tension and arcs, conflict, and so on, all this is more like the background staging through which they move. What’s in fact the story is a group of individuals — well, for the most part individuals — let’s just say a small mob who we get to know as they live and work their daily lives.

I was thinking it owes something to Firefly, which is one of those series that’s either hugely pivotal in people’s sci-fi evolution, or entirely baffling. A more recent comparison might be Mass Effect. Either way, it owes a lot to fan fiction set in these universes. It also owes a lot to current critical discussions on identity — a word I’m very ambivalent about at the moment, and have been trying selfhood as a rickety replacement, not sure it’s much better, but the problem is with English (and English-influenced) language and its fixation on describing the world in a highly rigid manner going back to the Enlightenment — and you can’t easily think outside language.

In a lot of science-fiction set in the future — in writers who are actively trying to work through this stuff — I find that where we are currently around language, identity, selfhood, what constitutes personhood or a person, these massive discussions we’re having amongst ourselves and fighting against others who would deny us, are carried over into a future hundreds or thousands of years away. Or maybe it’s just a future where gender neutral ze / hir is used isn’t one I really aspire to. Perhaps also because this again proposes a future in which Anglo-American culture is dominant, something interestingly that Firefly tried to modulate with its use of Chinese language. And given English has a singular they (which is used in the novel), spoken Mandarin has nǐ, Cantonese has 佢 keoi5, Persian has او (yes, I’m imagining a future where Cantonese and Persian is in the galaxy), on and on, I feel like ze / hir is kinda redundant at best (plus I’m not a fan of Kate Bernstein). So on one hand I liked the novel and Chambers for working with this, and on the other, a far future where we’re still struggling with early-21st century identity is probably not a future we’d have survived to live in. Which is maybe to say, Chambers could be a lot more deliberate in thinking these ideas through to far more interesting and developed states.

Then I realise I haven’t said much about the story itself, like a review and all, where you get familiarised with a synopsis and a bit of who’s who. A crew of multi-planetary species mostly vaguely humanoid, one who I decided looks like a sloth, another a tardigrade with chin tentacles, another like Vastra the Silurian from Doctor Who, another who reminds me of Jewel the mechanic from Firefly, a ship artificial intelligence like Cortana from Halo (or pretty much any recent sci-fi with a ship A.I.); a hyperspace ship like a well-loved junkyard with modules and sections bolted on, one of which is a garden and kitchen, dining, hanging out area; the lives and relationships of this crew I both could imagine hanging out with and find their lack of boundaries a little off-putting. That’s not a review. You can find those everywhere. So, yes, despite my truculence, I read it and enjoyed it, enough I’ll read the sequel / offshoot  A Closed and Common Orbit.

Becky Chambers — The Long Way to a Small, Angry Planet
Becky Chambers — The Long Way to a Small, Angry Planet

Melanie Lane’s Wonderwomen at HAU Berlin

Yes! The one with the two women bodybuilders! In Berlin and on the main stage at HAU. Next week! And then back to Leipzig for you all down there. Here’s all the details:

Melanie Lane invites you to her new work Wonderwomen, at HAU1 Hebbel am Ufer, Berlin.

Wonderwomen invites the two female professional bodybuilders Rosie Harte and Nathalie Schmidt to meet in a performance context. They contemplate their highly demanding sport that amplifies and transforms the body. While striving for an ultimate physical form, the women navigate their profoundly trained bodies and the potential for a new body language. Wonderwomen is a dialogue that brings together strength and vulnerablility, representation and transformation, athleticism and femininity.

Concept and choreographie: Melanie Lane
Performance: Rosie Harte, Natalie Schmidt
Light design: Fabian Bleisch
Sound design: Clark
Set and costume design: Robert Bartholot
Dramaturgy: Frances d’Ath
Choreography Assistant: Florian Bücking
Production-management: M.i.C.A.

HAU1, Berlin: April 21, 22, 23, 19:00
LOFFT Das Theater, Leipzig: May 12, 13, 14

Melanie Lane — Wonderwomen
Melanie Lane — Wonderwomen

Video

BANDEN! Festival Bike Caravan

In Oldenburg for the première of Das Helmi’s collaboration with Oldenburgisches Staatstheater, the “progessive feminist science-fiction soft-porno project” Gullivera’s Reise (and repeatedly realising I should have gone: London, train to Brussels, night in Brussels, train to Oldenburg, and not London, fly to Berlin, arrive at midnight, get a morning lift to Bremen, train to Oldenburg, arrive half an hour before the show). It was most excellent seeing the Helmi mob (including Dasniya Sommer and Solene Garnier) once again — the company I’ve seen more than any other.

Friday night was the second and last of this season, in the BANDEN! Festival, and after we joined the throng in the parking lot of Exerzierhalle for food and beer. And there was this bicycle caravan thing, delivering people from one party to the next. This thing was riding around Oldenburg at night like a deranged dragon pirate ship. I saw some mad good bikes in Oldenburg.