“We can eradicate malaria – within a generation” says Bill Gates. Humans discovered a cure for malaria 400 years ago and yet up to a million people die from the bite of a mosquito every year. Why is that? Inspired by debates about disease, medicine and belief systems, Flinn Works (Berlin) and Asedeva (Dar es Salaam) explore the unequal world of malaria in a theatre-science lab. Clinical studies oscillate with historical reenactments, scientific choreographies and TED talks.

The audience is confronted with the conflicting politics of malaria research and treatment: after being infected, how would you like to be cured, by the latest drug from Switzerland, Chinese herbal tea or a traditional Tanzanian healing ritual? Would you rather wear mosquito-repellent sandals, drink gin and tonics or eradicate malaria with genetically modified mosquitoes? Drawing from individual experiences and research, the performance becomes a headspin of a journey through decades and continents, creating an atmosphere alternating between high-tech lab, village square and fever dream.

Devised and Performed by: Isack Peter Abeneko & Konradin Kunze

Direction: Sophia Stepf

Stage and Costume Design: Léa Dietrich

Video Design: Jürgen Salzmann

Sound Design: Andi Otto

Consultant: Caroline Meier zu Biesen

Assistant Director: Alice Harrison

Assistant: Eric Ndikumana

Company Management: Helena Tsiflidis

Show Dates

A Flinn Works and Asedeva Production in cooperation with Sophiensaele Berlin, coproduced by Theater Tuchlaube Aarau Supported by Senatsverwaltung für Kultur und Europa des Landes Berlin, Fonds Darstellende Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien, Ilse und Dr. Horst Rusch-Stiftung, Gerhard Fieseler Stiftung, Vijana Vipaji Foundation, Hessisches Ministerium für Wissenschaft und Kunst, Kulturamt der Stadt Kassel & Goethe Institute Tanzania

In Cooperation with Museum am Rothenbaum & LICHTHOF Theater Hamburg, Institut für Sozial- und Kulturanthropologie der FU Berlin, Goethe-Institut Tanzania, Nafasi Art Space/Dar es Salaam, Ibuka Dance Foundation Arusha, TaSUBa Bagamoyo.

Maji Maji Flava is a collaboration between Flinn Works (Kassel/Berlin) and Asedeva (Dar es Salaam) which takes the MAJI MAJI WAR (1905 – 1907) of Tanzanian resistance against German colonial rule as its point of departure. From this shared historical event – that is perceived completely different in the two countries – the team will start an exploration of different themes: What are the perspectives on the Maji Maji War today? How can we represent this war that is at the same time myth, legend, taboo and historical event? How can we integrate different perspectives into one performance? How can we create a co-production that speaks to both Tanzanian and German audiences?

The artists and performers creating this work have radically different artistic, cultural and geopolitical perspectives. These perspectives will not be glossed over but rather sharpened into focus, driving the artistic process. Instead of seeking compromise, the project invites this clash of juxtaposing contemporary viewpoints on a shared historical event and its effects on today. Exoticism will be deconstructed, cultural stereotypes and opposing perspectives will be examined and performatively articulated. Maji Maji Flava will create an imaginative and generative artistic space in which language slips between German, Swahili and English, abstract theatre clashes with driving rhythms, magic confounds science, and contemporary dance co-exists with satire.

Direction : Sophia Stepf

Choreography : Isack Peter Abeneko

Music : Jan S. Beyer

Set and Costume Design : Brigitte Schima

Technical Director Kassel : Christian Franzen

Produktionsleitung : ehrliche arbeit - freies Kulturbüro

Dates

A production of Flinn Works in collaboration with ASEDEVA and Staatstheater Kassel. Funded by the TURN Fund of the German Federal Cultural Foundation, the Cultural Department of the City of Kassel, the Goethe-Institute Dar es Salaam and the Vijana Vipaji Foundation

Dance Garage is a new contemporary dance platform for all local and promising contemporary dancers & choreographers for basic training(master class), Movements research, choreographic conversation, Q&N about contemporary dance directions in Tanzania.

The project was organized by CEFA and Vijana Vipaji Foundation (VVF) in collaboration with ASEDEVA. The event was the final performance of "Art Against Poverty" project.

This was an assembly performance, reflecting the Art Against Poverty (AAP) by CEFA and VVF that showed the results of the work of local artists who participated in the AAP project. Subsequent, the 2 years of local artist receiving an effective training & performance to act against poverty in different aspect of art.

Meet the Artist performance was a collective process of creating together a live performance that brought together different artists with different skills which they had obtained in AAP. Art connects people, allows us to envision possibilities and bridges differences. Art can be inclusive of all people in society and empowers civil society. Cultural productions are powerful vehicles for freedom of expression and development of democracy. “It is time to share and show what we have received, what we have learnt, what have been improved’’ said by Aloyce Funga Funga one of the artist benefitting from AAP.

The creating together performance presented in this event was the result of the AAP project conscientious work in identifying talents and skills of our local artists from different parts of the country. It illustrates their multiplicity and their creativity that they have received through the Art Against Poverty project for 2 years

This production is a joint project between ASADEVA and the National Museum and House of Culture (NMHOC) under the Swedish Institute (SI) funded project, Art and Culture for Democracy. The project is a collaboration between NMHOC and The Swedish Friends of the Museum and House of Culture.

The Haba na Haba Contemporary Dance Training Program is a series of training workshops, held annually, that offer high-quality training in various techniques of contemporary dance to Tanzanian dancers (including youths and women). More than that, Haba na Haba is a networking opportunity that exposes its participants to life-skills and professional skills that build confidence in their art form and enable them to better their employment opportunities. The focus of the workshop is on Contemporary dance and exploring how this relatively new art form relates to Traditional Tanzanian dance forms.

Haba na Haba was initially conceived by Tanzanian dancer and choreographer, Isack Peter Abeneko in 2010, during his visit to the well-established “Chrysalides” contemporary and traditional dance training workshop in Dakar, Senegal. “Haba na Haba” is a Swahili saying meaning “little by little”, and the title is intended to reflect the founder’s belief that the workshop will serve as a platform in which to help the art forms of Contemporary and Traditional dance develop further and become more valued and appreciated in Tanzanian society “step by step”. In it’s short existence, Haba na Haba has already gained much attention in Tanzania. Supporters and partners have already included Vijana Vipaji Foundation, Goethe Institute of Dar es salaam, National Museum and House of Culture, Russian Tanzania Cultural Centre, New York Live Arts, Nanasi Studio, Real 2 Reel Productions and Azam.

Program goals: Haba na Haba aims to:

1. Introduce the art form of contemporary dance to Tanzanian artists and audiences, a majority of who have not been previously exposed to it.

2. Empower Tanzanian artists, in particular youths and women, by expanding their technical and professional skills.

3. Seek out and involve more women in the Tanzanian contemporary dance scene

4. Expand the understanding and skills of Tanzanian dancers by introducing them to new choreographic techniques.

5. Provide workshop attendees not solely with technical training, but also with life skills, self-management skills and knowledge of the national and international dance profession

6. Create opportunities for paid employment for workshop organizers and participants

7. Explore the relationship between Tanzanian Traditional and Contemporary dance forms; and finally to

8. Create public (indoor and outdoor) performances of contemporary dance, exposing a larger audience to the ability of contemporary dance to entertain, educate and express feelings.