For the fourth time since 2007, three young choreographers could take part in our eight-month residency program at K3. After participating in this program in the past, many choreographers have moved on to successful international dance careers. For many, Hamburg has become their home and place of work.
Our sponsorship program for young choreographers unites many aspects of the K3 program – support, qualification, artistic research, local, national and international networking as well as cultural education and mediation of contemporary dance – and is therefore paradigmatic for the entire program.

The 2010 choreographers in residence are Sebastian Matthias (Berlin), Margrét Bjarnadóttir (Island) and Lea Martini (Amsterdam / Berlin). They have been working at K3 from April until December. Paulina Pomana (Hamburg) got a short term residency from April until Summer.

Twitching, swaying, trembling and falling… What is the essence of these movements? What are their different effects on the senses and the body? Various dance-like movements can be distinguished from one another in terms of “movement attributes”. Together with Isaac Spencer, Lisanne Goodhue and Anna Wehsarg, Sebastian Matthias develops choreographic building blocks to create compositions of tension. When dance movement not intended for expression is formalized, the result is a strong concentration on the sensual. This result is then complemented and reinforced by audio frequencies: Jassem Hindi’s tactile sound installations turn the stage into an acoustic body.

Sebastian Matthias (Berlin) studied performing arts at the Juilliard School (New York City) and mastered in dance studies at the Free University of Berlin. Since 2004, he has worked as a dancer and choreographer and was a 2009 fellow of Pépinières européennes pour jeunes artistes. Since 2007, he has worked on “movement attributes”.

When understanding collapses, confusion follows, and in the mess new discoveries can be made. "On Misunderstanding" looks into the nature of misunderstandings, into how communication can break down, into behavioral malfunctions, into illusions, distortions and parallel realities. Is it all a question of perspective? A bad translation? Or is reality the most basic misunderstanding of them all?

with: Margrét Bjarnadóttir, Dani Brown and Saga Sigurdardóttir
Set desgin: Elín Hansdóttir

Margrét Bjarnadóttir (Island) graduated with a BA in choreography from ArtEZ Dansakademie in Arnhem in 2006. As well as making her own work she is a member of the Icelandic dance and theater collectives "saga&magga" and "Me and My Friends".

While using our bodies to retrace the history of collective memories, an almost tender paradigm shift occurred. Our bodies moved out of the focus and the space that surrounded us emerged with amazing clarity.

The theatre space, which has flexibly and amenably withstood quite a few conversions, and its immediate materiality became a counterparty to us. Its space has been overwritten with hundreds of visions and realities, leaving visible and invisible traces in its texture.

What can it tell us when, for once, we try not to regard it as functional? Could it be a body with individual needs and stories? Could the walls show us their sexy legs and the floor let its golden hair fly free?
Let’s take a step back and witness the stage as it discreetly unfolds in front of us.

Lea Martini (Berlin | Amsterdam) studied at the School for New Dance Development in Amsterdam. Together with Chris Leuenberger and Julia Jadkowski, she founded the performance group White Horse. Last year, the artistic collective Deter/Müller/Martini created the piece memor I am in which they grappled with the physical appropriation of pictures.